10.23.2024

PhotoPlace Gallery : A Call to Enter Portals: Windows, Mirrors, Doors

“Water Portal” © Norm Halm
 “PORTALS: Windows, Mirrors, Doors” 
 A Call for Entries 
 PhotoPlace Gallery 
 Deadline to Enter : Nov 11, 2024
 Juror: Elizabeth Avedon
 Exhibition: January 3 - 24, 2025 
 
For “Portals: Windows, Mirrors and Doors”, we’re looking for images that use any or all these devices in intriguing ways. All capture methods and processes are welcome. A portal can be an architectural feature (a gate, window, doorway, mirror, tunnel) that frames or isolates or adds dimension to an image. In a fictional sense, a portal can be a magical doorway through time and space. Alone or in combination, they hold unlimited creative possibilities for photographers.

 
“View” © Leslie Jean-Bart
 
Juror Elizabeth Avedon will select 35 images for exhibition in our Middlebury, Vermont Gallery and up to 40 more for our Online Gallery. All 75 images will be reproduced in the exhibition catalog. 

Middlebury, Vermont
 

South x Southeast Gallery: Call the Dogs! A Call for Entry

 
LouLou, 2023 © Nancy McCrary

Call the Dogs!

Curated by Elizabeth Avedon

South x Southeast Gallery Online

Call for Entry: October 13, 2024

Entry Deadline: November 15, 2024

Exhibition Date: December 2024/January 2025

South x Southeast Gallery online

EnterHere : sxsegallery.com

"Dogs are man’s best friend,” said every dog lover! Pure bred, show dogs, mutts or mongrels, I’d love to see your best dog photographs! They may be a pampered member of your family, sitting in on all your family portraits, or maybe caught by your camera out in the world"– Elizabeth Avedon

 
Ruth Sleeps, 2023 © Nancy McCrary

Open to all photographers. No images created with AI. Photographs accepted from our previous exhibitions are not eligible. A Zoom group critique of these images with Elizabeth Avedon and the photographers will be held at a date to be determined during December/January Link To Enter

7.30.2024

CENTER FOR PHOTOGRAPHIC ART: International Juried Exhibition 2024


CALL FOR ENTRIES
2024 Center for Photographic Art International Juried Exhibition
Juror: Elizabeth Avedon
Deadline to Enter: Monday, September 16, 2024

 2023 1st Place: © Kayhan Jafar-Shaghaghi, Octopus, 2022

© Annette LeMay Burke
Welcome, from the series Memory Building, 2020

2023 Honorable Mention © Rashod Taylor
Easter Sunday, 2021

© Denise Laurinaitis, Devil and Pony, 202

 
© Jerry Takigawa, Sansei Legacy, 2020

CALL FOR ENTRIES: 2024 Center for Photographic Art International Juried Exhibition. Juror: Elizabeth Avedon. 

Deadline to Enter: Monday, September 16, 2024

Eligibility: The 2024 International Juried Exhibition (IJE) is open to all living photographers, worldwide, over the age of 18, working in all still photographic media (no video). No images created with AI. There is no theme; Any subject matter is eligible. Photographs accepted for previous CPA IJE gallery exhibitions are not eligible.

Details in link: https://www.photography.org/events/2024-cpa-international-juried-exhibition

The Photographs above are a small selection from last year's CFPA 2023 International Exhibition, Juried by Shana Lopes, Assistant Curator San Francisco Museum of Modern Art.

Link To Enter: https://www.photography.org/events/2024-cpa-international-juried-exhibition

 Many Thanks to CFPA Executive Director Ann Jastrab


4.12.2024

IMAGES OF MEXICO | Scheinbaum & Russek Ltd. | The Photography Show 2024 presented by AIPAD | Booth B06

 
Laura Gilpin (1891 - 1979)
Castillo interior with boy, Chichen Itza, Yucatan, 1932   
Vintage gelatin silver print
Image: 13 3/4 x 9 1/2"; Paper: 13 7/8 x 11"
Signed and titled in pencil on the reverse.
 
Manuel Alvarez Bravo (1902 - 2002)
La Hija De Los Danzantes, 1933, printed 1980s   
Gelatin silver print
Image: 9 5/8 x 6 7/8"; Paper: 10 x 8"
Signed and annotated 'Mexico' in pencil on the reverse.
 
Manuel Alvarez Bravo (1902 - 2002)
El Ensueño, 1931, printed 1980s   
Gelatin silver print
Image: 9 1/2 x 7 1/2"; Paper: 10 x 8"
Signed and annotated 'Mexico' in pencil on the reverse.
 
Edward Weston (1886 - 1958)
Pulqueria, 1926, Printed 1946   
Gelatin silver print
Image: 7 1/2" x 9 1/2"; Mount: 13 1/4" x 15" 
Mounted on Crescent board, Signed, dated 'From 1946', with a negative number '8A' and numeric notation '#50' (crossed out) by Cole Weston in pencil, with a 'Negative by Edward Weston Print by Cole Weston' stamp and a Museo de Arte Moderno Mexico exposition label from an exhibition.
 
"Images of Mexico" 

Photographs of Mexico by Laura Gilpin, 

Edward Weston and Manuel Álvarez Bravo

April 25 - 28. 2024
THE PHOTOGRAPHY SHOW presented by AIPAD
Booth B06.
The Park Avenue Armory
643 Park Ave, New York, NY 10065
 
 

4.09.2024

MONA KUHN: Between Modernism & Surrealism | Edwynn Houk Gallery

 
Spectral, 2021© Mona Kuhn
Solarized gelatin silver enlargement print

 
Interleaving, 2022 © Mona Kuhn
Solarized gelatin silver print

Portrait Revealed, 2021 © Mona Kuhn
Solarized gelatin silver enlargement print
 
Photographer Mona Kuhn and Darius Himes, International Head of Photographs at Christie’s 
Photographer Mona Kuhn and Darius Himes, International Head of Photographs at Christie’s discuss her series along with artworks by masters exploring surreal representation.

“Mona Kuhn: Between Modernism and Surrealism” 

An exhibition of seven solarized photographs by Mona Kuhn from her series Kings Road in dialogue with artworks by masters exploring surreal representation, including Man Ray, Láslzó Moholy-Nagy, Dora Maar, Erwin Blumenfeld, and Bill Brandt.  +  +  +  

Mona Kuhn’s portraits visualize an uncanny love story. Kuhn’s solarized photographs in this exhibition follow a young woman throughout the groundbreaking mid-century modernist home designed by architect Rudolph Schindler in West Hollywood. In this mysterious narrative, Kuhn explores the core themes of Surrealism — dreams, desire, creation, and a challenge to conventional modes — through this autonomous woman. An active subject, she seeks formal and spiritual union with the King’s Road House, an avant-garde center of its day and a symbol of community and creativity. Kuhn’s solarization pushes these scenes further into the otherworldly, dissolving the aesthetic distinction between the human body, and its presence within the building. Rendered in layers of oxidized silver, body parts and architectural elements mirror and dissolve into each other, and the woman’s silver shadow cast on the building creates a literal space of integration.

The breakthrough of Surreal explorations in photography are widely traced to Man Ray’s experimentations, which radically expanded the horizons of photography beyond straight representation. This show presents two of the artist’s solarized gelatin silver prints, a technique that he discovered with Lee Miller in 1931: a nude portrait of Meret Oppenheim posing in front of Salvador Dalí’s painting, printed on a carte-postale, as well as a portrait. Both the figure of the mysterious woman and architecture were key motifs used by Surrealists and artists influenced by the movement, and photographs by László Moholy-Nagy, Dora Maar, Erwin Blumenfeld, and Bill Brandt open a historical dialogue with Kuhn’s practice.

Edwynn Houk Gallery, 745 Fifth Ave NY 
through May 11, 2024
 
Mona Kuhn: Kings Road, Published by Steidl
Mona Kuhn’s lyrical and formally daring portrait of the iconic Schindler House in Los Angeles, supplemented with letters, blueprints and more. In Kings Road, Californian photographer Mona Kuhn (born 1969) reconsiders the realms of time and space within the architectural elements of the Schindler House in Los Angeles. Built by Austrian architect Rudolph M. Schindler in 1922, the house was both a social and design experiment and an avant-garde hub for intellectuals and artists in the 1920s and 1930s.

4.05.2024

JACKIE ROBINSON and the COLOR LINE | GITTERMAN GALLERY

 
Javan Emory, c. 1885
Vintage gelatin silver print 
Legend has it that it was because of Javan Emory's extraordinary skills as a ball player that the color line was drawn by the National League.
 
Ohio Wesleyan Baseball Team [Branch Rickey and Charles Thomas], 1903
Vintage gelatin silver print
In 1903, Charles Thomas (second row, third from left) faced an act of discrimination so searing that it haunted Branch Rickey (top row, left), then the baseball coach at Ohio Wesleyan, and inspired him to be instrumental in dismantling the color line in Major League Baseball.

Roy Partlow after defeating Satchel Paige, San Juan, 1939
Vintage gelatin silver print
Roy Partlow replaced Johnny Wright as Jackie Robinson’s roommate in Montreal, but like Wright, failed to make it to Major League Baseball. This image of Partlow is arguably the greatest image of triumph ever taken in the Negro Leagues. Partlow is carried on the shoulders of fans after defeating Satchel Paige in the Puerto Rican winter league.

George Strock (1911-1977) Satchel Paige in Harlem, 1941 
Vintage gelatin silver print
Used in LIFE magazine, June 2, 1941
George Strock’s photographic essay for LIFE depicts Satchel Paige’s larger-than-life persona. The same qualities that made Paige a hero to fans made him questionable to Major League team owners.
 
Tom Watson
Jackie Robinson's first Major League home run, April 18, 1947
Vintage gelatin silver print
Illustrated in Daily News, April 19, 1947, back cover
Jackie Robinson hit his first home run for the Dodgers on April 18, 1947. Tommy Tatum, the next batter, is seen shaking Robinson’s his hand as he touches home. This iconic image, its symbolism obvious to all, ran on the Daily News’ back cover the next day.

George Silk (1916-2004)
Satchel Paige, 1948
Vintage gelatin silver print
This iconic photograph symbolizes Satchel Paige’s long-awaited breakthrough into Major League Baseball. The old Cleveland uniform, however, is a reminder that Baseball had more work to do. An example of the patch from 1947-1950, is also included in the collection.
 
Jackie Robinson signs his contract, January 24, 1950
Vintage gelatin silver print
This photograph, taken during a contract signing, exemplifies Branch Rickey’s deliberate use of images and powerful symbolism in shaping the narrative for Jackie Robinson’s integration into Major League Baseball. For this photo opportunity, Rickey removed all the other photographs on the walls except for the Lincoln portrait.
 
J. R. Eyerman (1906-1985)
Jackie Robinson, 1950
Vintage gelatin silver print
Used in LIFE magazine, May 8, 1950, cover
J.R. Eyerman’s low angle photograph during the filming of The Jackie Robinson Story portrays Robinson as a heroic figure. This iconic image graced the cover of LIFE magazine and also became part of the US Postal Service’s Black Heritage stamp series.

Jackie Robinson and the Color Line
April 15 – May 24, 2024

Gitterman Gallery proudly presents "Jackie Robinson and the Color Line", an exhibition of the collection of Paul Reiferson, which uses photographs and artifacts to vividly narrate the story of baseball’s journey toward integration. The exhibition opens on Monday, April 15th in honor of Major League Baseball’s Jackie Robinson Day from 11 a.m. to 6 p.m. and runs through Friday, May 24th.
 
Jackie Robinson, a trailblazing figure in civil rights, shattered baseball’s color line when Martin Luther King, Jr. was still in college, earning praise from King as “a sit-inner before the sit-ins, a freedom rider before freedom rides.” The exhibition frames Robinson’s odyssey within a larger one that had begun sixty years earlier, when men like Fleet and Weldy Walker, Sol White, Robert Higgins, and Javan Emory played for integrated teams in the late 19th century.

• Witness the original photographs of Satchel Paige and Jackie Robinson that were used to produce the iconic images in LIFE magazine

• Explore the telegrams establishing the first contact between the Dodgers and Jackie Robinson and arranging and planning the historic meeting with Branch Rickey

• See Jackie Robinson’s journey through original photographs capturing on-field triumphs and challenges

Paul Reiferson is a dedicated collector driven by a passion for preserving American stories. “I saw that the color line transcended baseball, that it was about America struggling to solve a terrible problem, and that the stories of the people in that fight were extraordinary,” Reiferson explained.

This exhibition of photographs, complemented by historic artifacts, illuminates the pervasive racism and the fervent aspirations for integration during that era. We hope everyone from collectors to students and families with children can visit this exhibition. By experiencing these powerful images together, we hope to help foster a deeper appreciation for photography as a medium of storytelling.

Nearly 500 prints from Reiferson’s collection of photographs by Charles M. Conlon have been gifted or promised to the Metropolitan Museum of Art. Many others have been exhibited at the Brooklyn Museum, Bronx Museum of the Arts, American Folk Art Museum, and Tampa Museum of Art, among others.
 
Gitterman Gallery 3 East 66th Street, 1b New York, NY 10065

2.07.2024

RUDDY ROYE: When Living Is A Protest Galerie Polaris through February 25

When Living is a Protest • Galerie Polaris, Paris
Photograph © Ruddy Roye


'This Too Is An American Story II, November 18, 2021'
 Photograph © Ruddy Roye Ed. of 5

'Isolated in Ferguson, August 28, 2014'
 Photograph © Ruddy Roye Ed. of 5 

'Twenty year-old Robert Scott' 'When Living is a Protest Series'
Photograph © Ruddy Roye

"When Living Is A Protest"
 Photographs by Ruddy Roye
 Exhibition through February 25th, 2024 
 Galerie Polaris • 15 rue des Arquebusiers • 75003 Paris 

Support Artists, Buy Prints

Follow Ruddy Roye on Instagram @ruddyroye

MOSIJAH ROYE: Black History Month

 
 Antonio © Mosijah Roye
Black History Month to Antonio means celebrating his lineage
and honoring those who have walked the path 
that many of us are walking through our lives today.

 
Rell © Mosijah Roye
Black History Month for Rell is community, he says 
it’s sad that we allow our culture to be celebrated for only a month 
when in reality it should be celebrated everyday.

 
Bryce © Mosijah Roye
Black History Month to me is a celebration of 
all the black people who died for us and to give up their lives for us 
to be where we are today. People like Martin Luther King , and Nelson Mandela.
 
'Kin' © Ruddy Roye
Portrait of Mosijah Roye by his father Photographer Ruddy Roye
 
Photographer and student Mosijah Roye asks, "What is Black History Month to you? For the month of February I would like to post one black person every day detailing what this month, our month means to us. Every weekday I will post a person and write a short caption about what this month means to them"