Curatorial Catalogue 2024-25

Assistance. Advisory. Exhibitions.

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Curatorial

113 East Union Street Pasadena, California, 91103 US 4 Cromwell Place London, SW7 2JE, UK Telephone: +1– 62 6 – 57 7– 9 6 9 6 info@curatorial.com curatorial.com

TA BL E O F C O N T E N T S

Curatorial

We are your partners, dedicated to preserving, preparing and connecting fine art with people worldwide.

Assistance Museum-Quality Services

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Crating and Packing

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Display Fabrication

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Fine Art Shipping

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Fine Art Storage

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Installation and Handling

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Framing, Mounting and Matting

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Digital Photo Lab

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Advisory Curatorial Consultation

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Publications

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Collection Management

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Exhibitions Exhibitions Available

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2024-2025 Exhibition Program

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F RO N T COVER

André de Dienes Untitled (Marilyn Monroe), Tobay Beach, New York, 1949 archival pigment print 2 0 2 4 –2 0 2 5 PRO SPE C T US

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OV E RV I E W

Curatorial: your museum without walls Organized into three divisions, Assistance, Advisory and Exhibitions, Curatorial is equipped to solve nearly any challenge, from art creation and display to shipping, logistics, storage, collections management and exhibition programming.

For more than thirty-five years, Curatorial has provided high quality fine art support services, advisement and exhibitions to museums, galleries, artists, collectors and private clients.

At Curatorial Assistance our team of industry-leading art professionals provides true integration of art-related services available to you from one company rather than from separate vendors. The efficiency and economy of having your fine art service needs available at Curatorial results in an optimal result at lower cost. Choose from a comprehensive range of fabrication options to match your bespoke needs.

Curatorial Advisory offers expert artist, estate and collection management for private and institutional clients.

At the heart of the company, our 501(c)(3) nonprofit Curatorial Exhibitions provides meaningful, engaging and cost-effective exhibitions that have delighted, inspired and challenged audiences worldwide.

These three overlapping spheres enable the successful realization of your project regardless of where your Curatorial journey begins.

BE LOW TOP

Curatorial Main Office in Pasadena, California, 2021.

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Curatorial Gallery Space at Cromwell Place in South Kensington, London, 2021.

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OUR MISSIO N

Curatorial is dedicated to creating affordable, museum-quality solutions for the global art community.

We are committed to cultivating meaningful visual art experiences for artists, their audiences and art enthusiasts to deepen our understanding of our diverse lifestyles, cultures and creativity.

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Assistance Curatorial provides professional fine art support services for all of your projects, artworks and collections, no matter the shape or the size. We handle your art storage, shipping, framing and display fabrication needs with the highest level of quality and care.

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Museum professionals at your service We treat every job with the same expert attention, from hanging a painting to framing a fragile vintage photograph, to managing the most complex and challenging international shipping logistics.

Decades of experience in art industry support allow us to anticipate and prevent problems before they arise.

Our team of specialists has been trained in virtually every art medium, from prints, drawings, photography and painting to fashion, textiles, sculpture, sound and video art.

SE RV I CE S OF F E R E D BY CU R ATORIAL : Crating and Packing Display Fabrication Fine Art Shipping Fine Art Storage Installation and Handling Framing, Mounting and Matting Digital Photo Lab

C O N TAC T

assistance@curatorial.com +1–626–577–9696 10

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ArtCrates and other economical packing solutions TM

Our innovative crate design experts have developed a full range of fine art packaging, storage and shipping container products that allow your artwork to be moved, stored and protected with safety and ease.

Correct packing of art begins with understanding the artwork, its condition, and how it was made. We create an optimal protective envelope around works of art to ensure their safe and stable transit.

From economical plywood shipping boxes to traditional art crates and custom high-tech art cases, all our crating products are optimized specifically for the secure, safe and economical transport of all types of fine art objects.

CUSTO M ARTCR ATES™

With their unique hardshell exteriors, ArtCrates™ are highly versatile enclosures that can be built to virtually any size and configured with any kind of custom interior. Choose options such as micro-climate control, suspension systems, air-tight seals, tilt monitor, permanent or detachable locking rolling casters, and other options to securely manage your art in transit. Saves about 30% over wooden crate shipping costs due to its innovative compact and light-weight design.

STANDARD ARTCR ATE S™

Available for same-day shipment, economical, and durable, Curatorial’s legendary eco-friendly ArtCrates™ are equipped with butterfly-lid locks, rubber-grip handles, steel-capped corners, and impact resistant melamine/plywood walls.

TR ADI TIO NAL WO ODE N CR ATE S

One-way economy shipping crates are constructed with rugged plywood walls and pine baton frames. These economical and quick packing solutions are ideal for your shipments via common carrier or air freight.

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C O N TAC T

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Custom fabrication for your art display

Our experienced fabricators provide custom gallery and museum-quality display furniture for the highest-level, quality presentation of fine art, artifacts and collectibles.

We produce your bespoke pedestals and plinths, vitrines, floor and wall cabinets and more, with capabilities that include lathe machining and fiberglass sculpting, as well as the ability to work with wood, stone, glass, acrylic and metal components The aesthetic integrity, security and conservation of objects are all taken into consideration in order to create displays that are elegant, professional, safe and durable even under the most extreme conditions. Custom solutions including vapor barriers and non-reactive paints and textile linings are available.

Headquartered in Southern California, our bespoke artexhibit furniture products have been presented in world-class museums, galleries and homes around the globe, and can be safely shipped worldwide.

DISPL AY PEDE S TA L S & V I T R I N E S

Pedestal frame-stands are handcrafted by our museumtrained staff for the elegant display of your art in the freestanding spaces of a gallery. Secured by acrylic covers fitted with security locks, Curatorial art pedestals and vitrines can be fitted snugly into form-fitted ArtCrates™ for safe and economical transportation. Display solutions are custom designed in virtually any size, shape, and configuration to meet your needs.

C O N TAC T

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Move your art anywhere

Curatorial provides a wide range of transport solutions to expertly move your valued fine art, whether across town or to the other side of the globe.

Your artworks arrive safely at their destination whether local, national or foreign. Complicated customs, import and export documentation are managed for you.

You benefit from decades of art-moving experience, including the movement of all types of fine art, from canvas and panel paintings, large and small scale framed prints and photographs, multi-media works, fragile textiles, sculptures, collectibles, musical instruments and more, all expertly packed and handled with care.

We are strategically based in the Los Angeles area, an international transportation hub, and manage fine art shipments between any locations worldwide. Transportation can be arranged through our own fleet of trucks, assuring the most responsive and reliable service.

SE RV I CE S : Air, sea, and ground transportation options Local, regional, domestic and international services ranging from our base in Southern California and the United States to the UK, Europe, Asia, Africa, Australia and more White glove fine art handlers and commercial carriers US Customs import/export documentation and filing International network of agents and resources to assure compliance with local governments Complimentary budgeting support throughout all stages of consignment travel Protection policy options available Airport pick-up and delivery Courier service Armed guard escorts available

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assistance@curatorial.com +1–626 – 577–96 9 6 2 0 2 4 –2 0 2 5 PRO SPE C T US

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A S SIS TA NCE

Low-profile, high-security fine art storage Protect your artwork with Curatorial’s museum-quality concierge fine art storage services in Los Angeles. Climate-controlled art storage facilities are managed by our own expert art handlers for optimum privacy and security.

Our staff of experts provides secure professional storage spaces and care for canvas paintings, vertical and horizontal art, flat file art prints, photographs, sculptures, archival documents, collectibles, musical instruments and more.

Combining a low-profile presence with high-level security, our two fine art storage facilities are discreetly situated in downtown Los Angeles and Old Town Pasadena, California, providing geographically strategic art collection storage solutions for Southern California and the world.

ART STOR AGE FACI L I TI E S : Climate-controlled environment monitored 24 hours a day Inspection and approval by major fine art insurers Museum standards practiced at all times Fine art insurance coverage 24-hour armed guard and system monitoring to provide immediate response to alarms Digitally-recorded video monitoring and CCTV Smoke detection and fire suppression systems Vertical storage racks and flat file storage available Viewing access can be arranged on short notice Facility reports and historical climate data available upon request Inventory management platform Dust free environment Fully equipped dock and warehouse services Privacy and confidentiality Clients have access to our full complement of art services and our museum-trained staff and creative departments

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A S SIS TA NCE

Safe and secure art installation and handling Whether hanging a single canvas in a living room, installing an immersive museum gallery exhibition, assuring UVsafe placement of a vintage photographic print or lifting a massive sculpture into a public square by crane, Curatorial’s decades of experience and staff of experts assure that art of any type, size or medium is handled with exquisite skill and care.

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assistance@curatorial.com +1– 626 - 57 7– 9 6 9 6

Curatorial moves, handles and installs fine artworks with expert care and skill in any environment, from world-class museums and galleries to airports, public spaces, professional offices and private residences.

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Frame, showcase and protect your art

A great frame gives an artwork context and protection, allowing a piece to look its absolute best.

Our custom art framing, mounting and matting services are handled by an in-house team of experienced experts who can showcase all types of artworks with professional gallery and museum-level quality.

From standard glass and acrylic options to Museum Glass® and Optium®, Curatorial offers a wide range of glazing options.

The value of your artwork will be instantly enhanced by bespoke framing, continuing to shine for decades to come.

Our Pasadena shop serves Los Angeles, Southern California and discerning art lovers internationally.

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STANDARD ARTF R A M E S™

Available for same-day shipment in most cases, these classic museum frames are made of fine wood moldings and are spline-joined and crafted to enhance your art-viewing experience. All frames are available in black or white satinpainted finish, and in a coffee-walnut finish. ArtFrames™ come standard with glass, backing board, and a rear-fitting bevel strainer sealed against off-gassing for optimal structural and archival integrity. Glazing and backing upgrades are available.

Moldings are square-faced with a 1 1⁄2 inch (38 mm) depth and a 1⁄2 inch (12.7 mm) face.

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CUSTO M F RA MES

ArtFrames™ are premium quality picture frames manufactured by our team of trained craftsmen.

ArtFrames™ are made of natural hardwoods in a wide variety of molding shapes and finishes, featuring American woods from sustainably managed sources, so the frame provides the optimal visual presentation of the artwork while affording archival protection. Choose from a wide variety of archival boards, moldings and finishes, or be expertly guided by one of our framing specialists.

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A S SIS TA NCE

Digitize, print and organize your images Professional scanning, digitization and printing of your images to professional gallery and museum standards will realize your artistic vision and provide you with museum-quality photo prints for exhibition or archives.

DI GI TAL CAPTU RE

Your photographic prints, slides, negatives and other original works, such as paintings, can be optimally reproduced with our industry-leading digital reprographic systems, which include high-resolution Phase One and Fuji GFX digital capture stations. With optimal digital correction, retouching and imaging for presentation, your images will look their best.

PRINTIN G

A selection of different photo printing papers gives you a choice of archival solutions for the precise interpretation of your work, in tandem with our mounting, matting and framing services which are available in-house.

A wide range of papers and printing substrates is available for virtually any printing solution.

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Advisory With decades of art industry experience, unique resources and high-level contacts spanning the globe, Curatorial’s art consultancy strategically manages your art, helping you to grow, preserve, protect, promote and enhance the long-term cultural significance and investment value of your valuable assets.

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Build and preserve your legacy

Curatorial Advisory organizes and preserves archives for artists, collectors and corporate entities, providing consulting and support services to help manage, grow and market your holdings.

The preservation of your archive or collection not only protects your cultural treasure and monetary investment, it also enables it to live into the future where it can engage and inspire audiences.

Let our team, with a long and successful track record in arts consulting, archiving and collections management, catalogue and preserve your valuable holdings and help to build their wider public awareness, accessibility and support in market value.

SE L E C TE D C OL L E C TI O NS MANAGE D BY CU RATOR IAL: Solander Collection E.O. Hoppé Estate Collection Vaslav Nijinsky Estate Collection Paul Outerbridge Estate Collection Hans Burkhardt Estate Collection Greg Gorman Archive Roger Steffens Reggae Collection Ernst Haas Estate Collection Robert Heinecken Collection The Beard/Sankofa Collection Graham Nash Collection

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Publications

Curatorial develops, designs, produces and distributes fine art books and exhibition catalogues, under its own imprint or in co-publishing agreements, for select art projects, traveling exhibitions and private clients.

SE L E C TE D P U BL I CATI O NS : An Alternative History of Photography Edward Weston Life Work: Portrait of the Young Man as an Artist Paul Outerbridge: New Color Photographs from Mexico and California 1948–1955 The World of Reggae Featuring Bob Marley: Treasures from Roger Steffens’ Reggae Archives TITANIC: The Exhibition, City of Memphis B O OKS F RO M TH E E .O. H OP P É E STATE C OL L E C TI O N : Amerika: Modernist Photographs from the 1920s Bombay: Photographs from 1929 E.O. Hoppé’s Australia E.O. Hoppé: The English E.O. Hoppé: The German Work E.O. Hoppé: Unspeakably Queer E.O. Hoppé: Women One Hundred and One Photographs: Emil Otto Hoppé and the Ballets Russes Photographs of Greater Romania, 1923 Portraits: Society, Studio and Street Santiniketan: Photographs from 1929

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Organize and enhance your collection Preserving, documenting and organizing your assets can instantly increase their monetary and cultural value. Our team provides collection management solutions that give your holdings increased accessibility, data depth, marketplace prominence and monetization options.

The creation of a digital archive of your art collection is a low-cost and highly flexible management solution that increases the value of your treasured assets, and Curatorial has all the resources you need to achieve it.

From applying standard database packages to customdesigned management networks, we can help you select the solution most appropriate for your needs and provide the technical means to build and manage an effective system.

Clients have access to Curatorial’s full complement of art services, as well as to our highly trained staff and creative departments specializing in exhibit and graphic design, touring exhibitions, art projects, collections management, and photo-reprographic services that include high-quality digitizing of artworks, fine art printing, and conservation services. Keep your assets preserved, documented and organized to enhance their value and accessibility for future generations.

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DIGITAL MANAGEME N T

Accessing your artwork 24/7 from your smart phone, iPad or desktop computer is normal and expected today. Our custom-designed art database enables you to access your collection at any time and request its movement, installation, loan or sale from the convenience of your personal digital devices.

Having access to your Curatorial database puts you in direct control of your collections seamlessly and without fuss or bother.

CURATION

An exhibition, publication or other mediated form of encounter with artworks should spark our curiosity and encourage us to know and learn.

We define ourselves in part by our cultural experiences, and curation is the process by which we guide an educated and intelligent encounter with and understanding of an artwork. At Curatorial, we seek the optimal way to interpret, explain, understand and embrace all works that are and become our cultural heritage.

D O CUM EN TATI O N

Digital photographs enable you to display your art on all your personal devices and to share those images with others, but it all starts with an accurate, high-quality capture of the artwork itself.

Our art photographers are among the best in their field and apply superior technical prowess with interpretive intelligence to create an accurate representation of your artwork, whether it be for personal viewing or broadcast to a larger audience.

CATALO GU I N G & STORAGE

Keeping accurate record of your art assets is fundamental to protecting your holdings.

Whether in storage, transit or on exhibition, a detailed record of your artworks enables you convenient access to its information and allows you to communicate it to those who simply enjoy the thrill of experiencing the art.

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Exhibitions Curatorial Exhibitions provides art museums, cultural and educational institutions with access to affordable, top quality, rentable traveling exhibition programming.

Our thought-provoking exhibitions educate, engage and inspire audiences by inviting them to discover, inquire and deepen their understanding of our diverse lifestyles and cultures.

DIVERSITY THAT MATTERS

Curatorial Exhibitions currently feature 52 women artists, makers from 36 countries, and representatives of indigenous and historically underserved communities.

Curatorial exhibitions proudly include BIPOC and LGBTQ artists, subjects and themes.

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363 exhibitions.

21,016,203 visitors.

36 years.

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Curatorial Exhibitions provides cost-effective ready to hang installations allowing you to do more for less. Our award-winning, diverse range of exhibitions is personally supported by Curatorial staff and industry-leading external curators.

Herb Alpert: Totems ACE Gallery, Beverly Hills, California

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2024–2025 Catalogue

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SCREEN TIME Photography and Video Art in the Internet Age

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AN ALTERNATIVE HISTORY OF PHOTOGRAPHY

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MR. PRUITT’S POSSUM TOWN Trouble and Resilience in the American South 30 2 4 2 4 –2 0 2 5 PRO SPE C T US

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MARILYN | ELVIS Mirror Image

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UNSPEAKABLY QUEER: Portraits of Boundarybreaking Individuals

by E.O. Hoppé

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SEARCH & CREATE: Vale, RE/Search, and the Rise of DIY

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THE DAY MAY BREAK Photographs by Nick Brandt

FREE AS THEY WANT TO BE Artists Committed to Memory

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UNDER A SOUTHERN STAR Identity and Environment in Australian Photography

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BOTERO: The Passion of Christ 35

2 0 2 3 –2 0 2 4 CATA L O GU E

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MALKOVICH, MALKOVICH, MALKOVICH: Homage to Photographic Masters by Sandro Miller

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TODD WEBB: PARIS 1948–52

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JERRY UELSMANN COUNTERCULTURE Photographs 1960s–70s

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MURRAY FREDERICKS: TIME’S PASSAGE

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15 E.O. HOPPÉ: WOMEN Portraits of Achievement in Art, Science, Literature and Politics

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PARRWORLD Photographs by Martin Parr

ESPRESSIONISMO: Masterworks of Italian Painting, 1918–42

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MANGA DREAMS Fantastical Portraits

by Anderson & Low

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GHOSTS OF SEGREGATION Photographs by Rich Frishman

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2 0 2 3 –2 0 2 4 CATA L O GU E

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THIS EMPTY WORLD Photographs by Nick Brandt

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PALETTES Robert Weingarten 38

SIGHT UNSEEN International Photography by Blind Artists

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CHILDREN OF GRASS A Portrait of American Poetry

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POSING BEAUTY IN AFRICAN AMERICAN CULTURE

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DUANE MICHALS The Portraitist

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LUMINOUS Early Color Photographs

by Paul Outerbridge

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WHERE CHILDREN SLEEP Photographs by James Mollison

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2 0 2 3 –2 0 2 4 CATA L O G U E : O N E GA L L E RY

Small, affordable and impactful: One Gallery

Introducing economically sized and priced One Gallery exhibitions.

With participation fees as low as $8,000, we currently have five exhibitions specifically created for small and medium gallery spaces. Our One Gallery exhibitions pack a punch, not only designed for economical transport and installation but also carefully curated to draw audiences.

For current exhibitions visit: curatorial.org

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O N E GA L L E RY E X H I BI T IO NS :

DIANE ARBUS: 10 YEARS MICHEL KAMENI Portraits of an Independent Africa PAT O’NEILL Cars and Other Problems CIRCLE OF TRUTH 49 Paintings Ending with Ed Ruscha DAIDO MORIYAMA: BLACK SHADOW

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DIANE ARBUS: 10 YEARS

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MICHEL KAMENI Portraits of an Independent Africa

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PAT O'NEILL: CARS AND OTHER PROBLEMS

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CIRCLE OF TRUTH 49 Paintings Ending with Ed Ruscha

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DAIDO MORIYAMA: BLACK SHADOW

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D I V E R SI T Y A N D GL O BA L I NCLUSIO N S TAT E M E N T

Our commitment to diversity and global inclusion

We believe in the power of art to enrich lives and build better communities.

Curatorial is committed to a diverse and inclusive culture, embracing the creativity of others regardless of background, orientation or belief. We seek out talented employees and collaborators who bring the variety of life experiences, knowledge, innovation, and self-expression vital to serving our global art community, and necessary for us to succeed as a strong, multi-faceted company. We welcome team members, artists and partners from underserved communities, and will never discriminate on the basis of ethnicity, gender, age, sexual orientation, disability, socioeconomic status or religion.

We aim to make art relevant and accessible to everyone by providing meaningful opportunities for learning and enjoyment through our traveling exhibition program.

We showcase and empower artists and curators of different backgrounds whose art has historically been underappreciated, overlooked, or forgotten, yet is deserving of museum-quality care, management and attention.

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B.A. Van Sise Joan Naviyuk Kane, 2017 From Children of Grass: A Portrait of American Poetry 2 0 2 4 –2 0 2 5 PRO SPE C T US

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01 AN ALTERNATIVE HISTORY OF PHOTOGRAPHY CU R AT E D BY

Phillip Prodger, Executive Director of Curatorial Exhibitions and former Head of Photographs at the National Portrait Gallery, London All works courtesy of the Solander Collection AB OV E

James Barnor Flamingo Model Sarah Mills Okaikoi and Friend, Balham Park, London, 1965 vintage gelatin silver print

E X H I BI T IO N OV E RV I E W

As inclusive, dynamic and exciting as the medium itself, this utterly original look at the history of photography integrates the landmark discoveries of recent decades to chart new pathways that encompass under-recognized artists, traditions and techniques.

The real history of photography is a vast collection of interconnected stories stretching from East Asia to West Africa, from New Zealand to Uzbekistan. It parallels acknowledged greats with forgotten masters, and lesserknown works with regional champions. It is a complex interplay of fine art, scientific, anthropological, documentary and amateur traditions forged by women and men alike.

Drawn from the extraordinary Solander Collection, this pioneering, alternative history of photography is based on principles of diversity and democracy, allowing famous works to be seen with fresh eyes, and giving more obscure works the platform they deserve.

Contemporary in outlook, visually captivating and with contributions from leading curators and photo historians, this exhibition will provide viewers with a startling, revelatory look at photographic art.

Solander is a private collection founded by two curators, and based in California and Oregon. It has a special emphasis on women, under-recognized artists and diverse traditions internationally.

Photographs are vintage (made within a few years of the negative) except as noted.

In addition to providing a touchstone for conversations about new perspectives in art history, An Alternative History of Photography engages with educational themes including colonialism, gender, class, privilege and racial and ethnic identity.

Images by Ansel Adams, Diane Arbus, Robert Frank, Man Ray and Edward Weston are seen alongside those of John Lindt, Helen Stuart and early, self-trained practitioners Major Francis Greeley and Lady Augusta Mostyn, as well as African studio photographers Michel Kameni, Malick Sidibé and Sanlé Sory. It contains many rarities and “firsts” and spans photography’s early decades with linchpin works by Hippolyte Bayard, Julia Margaret Cameron, Sir John Herschel and William Henry Fox Talbot.

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TOP

Emilio Amero A Bride Dances, 1937 vintage gelatin silver print BE LOW LE F T

Malick Sidibé Untitled (Two men), 1974 vintage gelatin silver print BE LOW R IGH T

Roy Decarava Lonely Women, 1960 vintage gelatin silver print LOW E R LE F T

Stefan Korwin Botanical Studies of Medicinal Plants, c. 1920s from folio of vintage gelatin silver prints LOW E R RIGH T

Madame Gelot-Sandoz Philosophy, after Raphael, c. 1843 daguerreotype, half plate

WO R K S

100-150 photographs D I M E NSIO NS

Various SPACE R E QU I R E M E N T S

330 to 500 linear feet (100 to 150 linear meters) E D UCAT IO N A L PRO GR A M M I NG

Curator available for lectures and panel discussions I NQU I R I E S

exhibitions@curatorial.org +1–626–57 7– 0 0 4 4 FEE

Please inquire

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A N A LT E R NAT I V E H IS T O RY O F PHO T O GR A PH Y

AB OVE

Virginia Oldoïni The Comtesse de Castiglione, La Sultane, 1865 salt print with gouache overpainting 46

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Valie Export Expectation (Erwartung), 1976 vintage photomontage 2 0 2 4 –2 0 2 5 PRO SPE C T US

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02 SCREEN TIME Photography and Video Art in the Internet Age CU R AT E D BY

Richard Rinehart, Director of the Samek Art Museum at Bucknell University Phillip Prodger, Executive Director of Curatorial Exhibitions and former Head of Photographs at the National Portrait Gallery, London

AB OV E

Christian Marclay Telephones, 1995 single-channel video

All works are generously loaned

by THE EKARD COLLECTION E X H I BI T IO N OV E RV I E W

Fun, mischievous and subversive, the artists in Screen Time pursue playful, engaging and thought-provoking approaches to contemporary culture. Turning the telescope in on themselves, they question the evolving role of still photography and video media in an age of digital communication, appropriation and memes.

Screen Time features a powerful and up-to-date selection of leading international artists seeking to critique and engage with the role of media in today’s society. Drawn from one of the preeminent art collections in Europe, it includes an extraordinary group of artists separated by geography, ethnicity and gender, but united in their concern with the onslaught of information in the twenty-first century. These works include wry references to historical photography and video art while exhibiting a fresh sensibility of humor, self-awareness and intersubjectivity. The artists tackle issues of identity influenced by the internet age that are in turn selfobsessed, skeptical, nostalgic and funny.

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The artists represented in Screen Time embody what have become known as post-internet artistic practices—art that may or may not be made for the internet, but nevertheless acknowledges online culture as an omnipresent influence, inseparable from contemporary social conditions. They ask what it means to be a photographer when everyone is an Instagram influencer; what it means to make video art when everyone is a TikTok video star; and how to deliver meaningful social commentary in the age of the meme.

This is a show that will inspire and amaze, entertain and surprise.

The exhibition offers many different themes for interpretation and educational programming, including the meaning and importance of still photography, video, cinema, television and digital forms of art and communication. It engages with famous and emerging artists from the United States, Canada and Europe, as well as Australia, Brazil, China, Kenya, Nigeria, and South Africa.

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26 total: 18 photographs, 6 videos (5 projections, 1 monitor), 2 sculptures DIMENSIONS

Various

Puck Verkade Plague, 2019 single-channel video BE LOW

William Kentridge Anti Mercator, 2010/2011 high-definition film transferred to video

SPACE R E QU I R E M E N T S

250 linear feet (76 linear meters) EXHIBITOR RESOURCES

Exhibition catalogue available EDUCATIONAL PROGRAMMING

Curators available for lectures I NQU I R I E S

exhibitions@curatorial.org +1–626–577–0 044 FEE

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2 0 2 4 –2 0 2 5 PRO SPE C T US

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D I V E R SI T Y A N D GL O BA L I NCLUSIO N S TAT E M E N T

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Screen Time: Photography and Video Art in the Internet Age Princeton University Art Museum Princeton, New Jersey 2 0 2 4 –2 0 2 5 PRO SPE C T US

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03 MR. PRUITT’S POSSUM TOWN: Trouble and Resilience in the American South CU R AT E D BY

Berkley Hudson, PhD Associate Professor Emeritus University of Missouri School of Journalism

“Engaging with this history in this way moves us all one step closer to building a society where equal justice for all is fully realized.”

Bryan Stevenson, Founder, Equal Justice Initiative, MacArthur Fellow, and clinical professor at the New York University School of Law

E X H I BI T IO N OV E RV I E W

Mr. Pruitt’s Possum Town: Trouble and Resilience in the American South reveals life between 1915–60 in Columbus, Mississippi—a town, according to curator Berkley Hudson, “shaped in the crucible of slavery and cotton and the Civil War.” Built around the collection of photographer Otis Noel Pruitt, a white man in the racially segregated South, the exhibition explores race relations and issues of class, gender and religion.

Described as a “national treasure” by William Ferris, former chairman of the National Endowment for the Humanities, Pruitt’s work is distinguished by a passion to prolifically and diligently document the customs, lives, joys and sorrows of people in his hometown. His pictures provide a candid and ultimately disturbing visual history of the inequality of that era in the Jim Crow American South, and serve as an invaluable resource for those interested in civil rights, photography and American history.

This project aims to place in context Pruitt’s lifelong work of documenting Southern culture. His photographs

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are representative of small towns in the American South at critical and tumultuous times in our nation’s history.

Images include family picnics, river baptisms, carnivals, parades, fires, tornadoes, and even two of Mississippi’s last public executions by hanging—as well as the 1935 lynching of two Black farmers.

This exhibition, with images, film, period Mississippi music and spoken word, provides extensive access to these important images, and the stories behind them, and will encourage conversations within our own communities as we continue to strive for equality and deeper understandings of the role of culture and history in 21st-century America.

It is rich in educational content, providing opportunities for educational programming on numerous subjects including American and African American history, legacies of racism, segregation and slavery in American culture as well as the meaning and importance of documentary and studio photography.

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“These images can tell important narratives about ethnicity, gender, and class. Those stories can provide a crucial context for understanding not only that era but for understanding the 21st century and beyond.”

Deborah Willis, PhD MacArthur and Guggenheim Fellow, and Chair of the Department of Photography & Imaging at the Tisch School of the Arts, New York University

WO R K S

100 photographic prints Archival film footage and contemporary video D I M E NSIO NS

Frames 11 × 14 ins (28 × 36 cm) to 30 × 40 ins (76 × 100 cm) SPACE R E QU I R E M E N T S

Approximately 330 linear feet (100 linear meters) E D UCAT IO N A L PRO GR A M M I NG

Curator available for lectures and panel discussions I NQU I R I E S

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TOP

AB OV E

Marie's Dancing Beauties archival pigment print

Studio portrait of a woman archival pigment print

Grocery store interior, 1940s archival pigment print

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04 MARILYN | ELVIS Mirror Image CU R AT E D BY

Phillip Prodger, Executive Director of Curatorial Exhibitions and former Head of Photographs at the National Portrait Gallery, London

E X H I BI T IO N OV E RV I E W

A beautiful young woman, practically anonymous, play-acts on the beach, pretending to be happy, sad and even dead, while wrapped in a thick gray blanket.

Meanwhile, a shy young man with a voice of gold is guided into the limelight, barely comprehending the force of fame that will befall him.

They would become heroes of the American century, defining male and female for generations...

This major, groundbreaking exhibition, drawn from the definitive MUUS Collection, features some of the earliest professional photographs ever made of Marilyn and Elvis, showing how the identity of these two cultural icons was shaped. Remarkably touching and intimate, it combines photographs of Monroe made by the celebrated and eccentric photographer André de Dienes from the time of their first photo shoots in 1945 until their last in 1953, together with the fanciful photo collages he made from the resulting negatives later in life. The exhibition also features photographs by Alfred Wertheimer, renowned for the pictures he made of Elvis in public and behind-the-scenes starting in 1956, at the very beginning of his stratospheric fame. Wertheimer’s photographs would help shape his identity for legions of new fans.

Combining famous images with many never seen before photographs, the exhibition provides new context for understanding these two American cultural titans. More than mere session photographers, Wertheimer and de Dienes spent time with their subjects, traveling with them and getting to know them personally (in the case of de Dienes and Marilyn, the two were even briefly engaged).

As a result, the photographs they made share an insider’s view of who Marilyn and Elvis were, not just as public figures, but also as individuals. They have a genuine, personal quality unparalleled in any other portrayals.

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The exhibition is organized into sections, allowing visitors to see Marilyn and Elvis with fresh eyes. It begins with some of the very first photographs made of each, revealing the innocence before they were famous. Another section shows Marilyn and Elvis engaged in parallel activities.

Separate sections are dedicated to the two independently: Marilyn, through the extraordinary “blanket” series in which de Dienes photographed her enacting various emotions, and through the obsessive photo collages and small shrine the photographer built for her after they separated; Elvis, through the marvelous fragmentary photographs Wertheimer made of close-up body parts such as hands and eyelashes, and the pictures leading up to and including The Kiss—one of the most famous photographs of Elvis ever made, in which the singer is seen kissing a fan backstage in 1956.

The exhibition will be developed to include vintage 3D objects and interactive materials as available. Examples may include fashion objects, correspondence, magazines and ephemera. In addition, a "sound studio" will be created using the same model of microphone used by Elvis Presley in the photographs on display. Visitors will be able to pose and interact with the microphone, with the possibility of a social media component. Music will be incorporated into the display, subject to permissions. Film and television clips will also be incorporated as appropriate.

Marilyn | Elvis, Mirror Image is a landmark exhibition revealing two of the most popular figures of the twentieth century as they have never been seen before. It is rich in educational content, including questions of portraiture and identity, postwar American culture and gender studies.

Marilyn | Elvis, Mirror Image is produced in collaboration with the MUUS Collection.

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CONTENTS PAGE

OPP OSITE

TOP LE FT

TOP R IGH T

AB OV E LE F T

AB OV E RIGHT

André de Dienes Untitled (Marilyn Monroe), Tobay Beach, New York, 1949 archival pigment print

Alfred Wertheimer Don’t Be Cruel, RCA Victor Studio 1, July 2, 1956 archival pigment print

André de Dienes Untitled (Marilyn Monroe), near Malibu, California, 1946 gelatin silver print

André de Dienes Untitled (Marilyn Monroe), near Malibu, California, 1946 gelatin silver print

André de Dienes Untitled (Marilyn Monroe), near Malibu, California, 1946 gelatin silver print

André de Dienes Untitled (Marilyn Monroe), near Malibu, California, 1946 gelatin silver print

2 0 2 4 –2 0 2 5 PRO SPE C T US

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M A R I LY N | E LV IS M I R RO R I M AGE

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Approx. 120 photographs D I M E NSIO NS

Various SPACE R E QU I R E M E N T S

500 linear feet (150 linear meters) E D UCAT IO N A L PRO GR A M M I NG

Curator available for lectures and panel discussions I NQU I R I E S

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Please inquire

AB OVE

André de Dienes Untitled (Marilyn Monroe), near Malibu, California, 1946 archival pigment print 56

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E X H I BI T IO NS

AB OVE

Alfred Wertheimer Untitled (Elvis Presley), Warwick Hotel, New York City, March 17, 1956 gelatin silver print 2 0 2 4 –2 0 2 5 PRO SPE C T US

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05 UNSPEAKABLY QUEER: Portraits of Boundary-breaking Individuals by E.O. Hoppé CU R AT E D BY

Mark S. Melville, E.O. Hoppé Estate Collection Archivist

E X H I BI T IO N OV E RV I E W

Unspeakably Queer celebrates the LGBTQ+ portrait subjects of E.O. Hoppé, one of the most famous photographers of the 1920s and 30s. Working at a time when male homosexuality was illegal and notions of transsexuality were embryonic, Hoppé was a major ally, photographing dozens of what we would now think of as gay, lesbian, bisexual and gender-transgressive individuals of all ages with surprising candidness and extraordinary sensitivity.

A century after they were made, the portraits in Unspeakably Queer are striking in their modernity and contemporary relevance. The exhibition includes portraits of legendary figures that include writers Willa Cather, Thomas Mann, W. Somerset Maugham, Vita Sackville-West, infamous occultist Aleister Crowley, the painter Gluck, iconic ballet dancer Vaslav Nijinsky, actor/composer (and songwriting award namesake) Ivor Novello, and pioneering sexologist Havelock Ellis—creative people whose personal lives were as complex and fascinating as their creations.

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Other remarkable personalities, like the androgynous artist Alan Odle, scandalous Salome dancer Maud Allan, Russian/British royal Lady Nadejda Mountbatten and the irrepressible, flamboyant “Bright Young Thing,” Stephen Tennant, are less known by the general public today, but are ripe for rediscovery by new generations who are ready to find inspiration and representation in their historical predecessors.

Shown together in this exhibition for the first time and reproduced in unprecedented high-quality platinum prints from the original camera negatives, Hoppé’s queer-relevant portraits remind us that same-sex romance, gender-fluidity and non-binary presentations are by no means new.

Unspeakably Queer raises numerous educational themes including LGBTQ+ history, as well as issues of representation, gender identity, gender non-conformity and self-expression.

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57 platinum prints from the original negatives D I M E NSIO NS

20 × 16 ins (50 × 40 cm) SPACE R E QU I R E M E N T S

150 linear feet (46 linear meters) E X H I BI T O R R E S OU RCE S

Prospectus E D UCAT IO N A L PRO GR A M M I NG

Curator available for lectures I NQU I R I E S

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OPP OSITE TOP

AB OV E

Stephen Tennant, 1922 platinum palladium print

Willy Clarkson, c. 1913 platinum palladium print

TOP

Marion Morgan Dancers, 1923 platinum palladium print

AB OV E RIGH T

Vita Sackville-West, 1916 platinum palladium print R I GH T

Gluck, 1924 platinum palladium print

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06 SEARCH & CREATE: Vale, RE/Search, and the Rise of the DIY Movement, 1977-1984 CU R AT E D BY

Graham Larkin, Guest Curator

E X H I BI T IO N OV E RV I E W

Named after an Iggy Pop song and modeled on Andy Warhol’s Interview, a remarkable newsprint magazine hit the streets of San Francisco in spring, 1977. At a dollar an issue, supported by custom-made music ads and $100 grants from the poets Alan Ginsberg and Lawrence Ferlinghetti, Search & Destroy was the brainchild of the Japanese-American artist Vale, who had been born Vale Hamanaka in an Arkansas wartime internment camp. Now known simply as Vale, with the help of artists and writers based in San Francisco, Los Angeles and as far afield as London, he was intent on giving the burgeoning punk rock movement the close attention it deserved. At once raw and judiciously crafted, Search & Destroy zines set a new standard for the form and content of the affordable avant-garde publication.

Two years and ten issues later, the punk music that so mattered to Vale and his collaborators had effectively run its course. So in 1979, Search & Destroy morphed into the even more elaborately engineered RE/Search books, which for decades served as indispensable, first-hand guides to countercultural trends across many media.

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Search & Create charts this cultural ferment by displaying the finished publications alongside the ravishing layout pages— variously called flats, paste-ups and mechanicals—that were used to produce published pages. The "flats" exhibit a spirited collision of words and photographs, or fragments of photographs, along with elaborate hand-drawn artwork.

The resulting collages are powerfully analog, and their texture, sheen and gentle decay must be experienced in the original. Building on the early twentieth-century traditions of Surrealism and Dada, Vale’s ideas anticipated the Do It Yourself spirit of post-internet culture, and continue to resonate with young and old audiences alike.

Search & Create engages with educational themes including major figures in late twentieth-century music and literature, collage, publication, zine culture, and the DIY movement. It also profiles an important, but underappreciated JapaneseAmerican artist, musician, and publisher.

Works appear courtesy of V. Vale: RE/Search and Search & Destroy collection.

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OP P O SITE

Cover for Search & Destroy #2, 1977 magazine cover Photo of Tomata du Plenty by Bruce Conner

BELOW

Cover art for RE/Search #6/7 (Industrial Culture Handbook), 1983 magazine cover Drawing (right top) by Peter Hannan Concept and photography (right bottom)

by Bobby Adams

WO R K S

+/- 100 works on paper and objects D I M E NSIO NS

Various SPACE R E QU I R E M E N T S

Up to 525 linear feet (175 linear meters) E X H I BI T O R R E S OU RCE S

Illustrated catalogue is planned E D UCAT IO N A L PRO GR A M M I NG

Publisher V. Vale and the curator are available for lectures and panel discussions I NQU I R I E S

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SE A RCH & CR E AT E : VA L E , R E /SE A RCH , A N D T H E R ISE O F T H E D I Y MOV E M E N T, 19 7 7-19 8 4

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E X H I BI T IO NS

OP P O SITE TOP

Collage advertisement for Devo at Rather Ripped Records.

Published in RE/Search #10, 1978 collage on paper OP P O SITE B OT TOM

Boyd Rice of Non, 1980 collage on paper Photo by Ruby Ray

BE LOW

German Electronic Music Chart

by Mary Svirsky, published in RE/Search #2, 1979 collage on paper

2 0 2 4 –2 0 2 5 PRO SPE C T US

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07 FREE AS THEY WANT TO BE Artists Committed to Memory CU R AT E D BY

Cheryl Finley, PhD, Director of the Atlanta University Center Art History + Curatorial Studies Collection and distinguished visiting professor at Spelman College Deborah Willis, PhD, MacArthur and Guggenheim Fellow, and Chair of the Department of Photography Imaging at the Tisch School of the Arts, New York University

“Freedom is not something that anybody can be given; freedom is something people take, and people are as free as they want to be.”

James Baldwin

E X H I BI T IO N OV E RV I E W

Free as they want to be: Artists Committed to Memory presents contemporary art inspired by historical memory.

The exhibition considers in comparative perspectives the historic and contemporary role photography and film have played in remembering legacies of slavery and its aftermath.

It also examines the social lives of a diverse group of Americans within various places—on the land, at home, in photographic albums, at historic sites, and in public memory. Including nineteenth-century photographs made by Cincinnati studio photographer James Presley Ball and other photographs of Black Americans taken during the ongoing struggle for freedom, Free as they want to be offers a view of a people who expressed their desire to be free in early photographic portraits.

Free as they want to be addresses the making and uses of photographic archives, the narratives they tell and the parameters that define them as objects of study. Social and economic histories as well as experiences of race, class, gender and sexuality affect the construction, acquisition and maintenance of archives and their ability to influence knowledge production. This exhibition includes artists working in photography, video, projection, sculpture and mixed media installation. Their strength and determination are documented in their wide-ranging themes and aesthetic practices supported by a fierce engagement with archival research. The exhibition creates a framework in which to reimagine and reflect on historical events, as well as public and personal memory.

This exhibition acknowledges artists’ ongoing efforts to explore the possibilities of freedom and their relationship to it. Their subject matter depicts the persistent quest to be “as free as they want to be” as well as their persistent drive to innovate aesthetic practices in photographic media.

This exhibition engages numerous educational themes including the legacy of racism, segregation and slavery in American culture, and the ability to understand and overcome injustice. It will inspire conversations about contemporary racial and ethnic diversity, migration and identity, the slave trade and the African diaspora.

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CU R AT O R I A L : A S SIS TA NCE . A DV IS O RY. E X H I BI T IO NS .

OP P O SITE

Bisa Butler The Storm, the Whirlwind, and the Earthquake, 2020 cotton, silk, wool, and velvet quilted and appliqué TOP

Yelaine Rodriguez From Mal De Ojo: Point B of The Door of No Return, 2022 analog photography LEFT

Daesha Devón Harris How I got over, One More River to Cross, fall 2017 cotton rag archival pigment print B OT TO M

Terry Adkins Miy Paluk 1866, 2012 single-channel digital video with sound

WO R K S

Approx. 70 objects; 3 videos D I M E NSIO NS

Various SPACE R E QU I R E M E N T S

220 linear feet (68 linear meters) P U BL ICAT IO N

Free as they want to be: Artists Committed to Memory (Damiani, June 2022) E D UCAT IO N A L PRO GR A M M I NG

Curators available for lectures and panel discussions I NQU I R I E S

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Hank Willis Thomas Exodus, 2019 lenticular Image courtesy of The Gordon Parks Foundation

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08 THE DAY MAY BREAK: Photographs

by Nick Brandt E X H I BI T IO N OV E RV I E W

One of two exhibitions offered from Nick Brandt, one of photography’s great environmental champions, the new exhibition The Day May Break addresses the impact of environmental exploitation and climate change on humans, animals and the natural world. As part of this new, ongoing global series, the exhibition focuses on some of the most endangered populations globally.

The three chapters of The Day May Break feature native inhabitants of Zimbabwe, Kenya, Bolivia and Fiji. In Chapters One and Two, the people in the photos have all been badly affected by climate change—some displaced by cyclones that destroyed their homes and others, displaced and impoverished by years-long severe droughts. Shot at five sanctuaries/ conservancies, the animals are almost all long-term rescues as a result of everything from habitat destruction to wildlife trafficking. Photographing humans and animals together in the same frame at the same time, the photographs suggest the sitters' shared experience of navigating a rapidly degrading natural world.

In SINK / RISE, Chapter Three of the series, Nick Brandt provides a literal and metaphorical representation of the impact of rising sea levels. Photographed underwater off the coast of Fiji, the people in the photos are representatives of the many men and women whose lives will be dramatically impacted in the coming decades as sea levels rise.

AB OV E

Richard and Sky, Zimbabwe, 2020 archival pigment print BE LOW

Making of The Day May Break, 2020 archival pigment print OP P O SITE TOP

Alice, Stanley and Najin, Kenya, 2020 archival pigment print OP P O SITE B OT TOM

Harriet and People in Fog, Zimbabwe, 2020 archival pigment print

In his signature eloquent style, Nick Brandt’s photographs in The Day May Break aim to jolt the viewer out of complacency, as communities around the world struggle to adapt.

This exhibition addresses urgent educational questions including climate change and environmental exploitation, as well as social and political activism and art’s ability to inspire change.

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CU R AT O R I A L : A S SIS TA NCE . A DV IS O RY. E X H I BI T IO NS .

WO R K S

+/- 60 framed photographs D I M E NSIO NS

Various SPACE R E QU I R E M E N T S

Up to 500 linear feet (152 linear meters) T H E M AT IC SE C T IO NS

Chapter One - Zimbabwe and Kenya Chapter Two - Bolivia Chapter Three - Fiji E D UCAT IO N A L PRO GR A M M I NG

Artist available for lectures and panel discussions I NQU I R I E S

exhibitions@curatorial.org +1–626–577–0 044 FEE

Please inquire 2 0 2 4 –2 0 2 5 PRO SPE C T US

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T H E DAY M AY BR E A K: PHO T O GR A PHS BY N ICK BR A N D T

R IGHT

Ruth and Zosa, Bolivia, 2022 archival pigment print BELOW L EF T

Luis and Hernak, Bolivia, 2022 archival pigment print BELOW R I GH T

Lucio and Chascas, Bolivia, 2022 archival pigment print

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E X H I BI T IO NS

AB OV E LE F T

Serafina Holding her Brother Keanan, Fiji, 2023 archival pigment print AB OV E RIGH T

Petero by Cliff, Fiji, 2023 archival pigment print LEFT

Serafina at Table, Fiji, 2023 archival pigment print 2 0 2 4 –2 0 2 5 PRO SPE C T US

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09 UNDER A SOUTHERN STAR: Identity and Environment in Australian Photography CU R AT E D BY

Deborah Klochko, Executive Director and Chief Curator of the Museum of Photographic Arts in San Diego, California Graham Howe, CEO, Curatorial Ashley Lumb, independent curator

E X H I BI T IO N OV E RV I E W

As one of the most diverse, multicultural countries in the world today, Australia is a place where artists examine their past to find their future. Urgently navigating their postcolonial history with a desire to respect and reconcile Indigenous, Anglo-European, Asian and other cultures, Australian artists explore questions of identity and belonging in the context of an increasingly ecologically fragile continent.

These challenging circumstances have given rise to some of the most exciting and meaningful contemporary photography anywhere.

Over a span of nearly 150 years, the baton of well-known historic Australian photographs by famous artists such as Harold Cazneaux, Olive Cotton, Max Dupain, John Lindt and David Moore is picked up in the late 20th century by Bill Henson, Rosemary Laing, Tracey Moffatt and Roger Scott. Contemporary image-makers such as Pat Brassington, Michael Cook, Leah King-Smith, Ricky Maynard, Trent Parke, Tobias Titz and Justine Varga, and the late Polixeni Papapetrou further the artistic conversation surrounding identity and environment.

Drawn from the Peter Farrell Australian Photography Collection at the Museum of Photographic Art, San Diego, the exhibition combines iconic images from Australia’s photographic history with powerful work by ten internationally renowned Australian contemporary artists.

“Under a Southern Star” navigates the cultural collision between the “Old World” of Europe and the so-called “New World” of Terra Australis, illustrating changing views of Australian identity, and confronting omissions.

Meanwhile, antiquated ideas of Australian identity as white, independent, and stoically masculine are variously challenged.

For example, the exhibition includes a variety of portraits of Aboriginal Australians, re-affirming their centrality to Australia’s pre-European and its postcolonial history. In addition, acclaimed artist Anne Zahalka, visualizes the stark impact of modern industrialization and climate change.

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OP P O SITE

Vee Speers June. GuiltyNotGuilty, 2022 video projection with voice—20-second loop LEFT

Tobias Titz Edie Ulrich, 2018 inkjet print from Polaroid 665 BE LOW

Tracey Moffatt The Bunker, 2019 chromogenic print

WO R K S

Comprised of a diverse array of visually striking techniques— solarization, digitally altered photo tableaux, daguerreotypes, inscribed Polaroids and street portraits taken on grainy 35mm film, among others—the juxtaposition of historical and contemporary photography included in the exhibition allows visitors to follow the medium’s evolution while providing critical insight into Australia’s cultural history.

Educational themes include Indigenous culture and cultural identity, migration and colonialism, nationhood and environment.

82 framed works, 2 digital videos D I M E NSIO NS

20 × 16 ins (50 × 40 cm) to 94 × 50 ins (240 × 130 cm) SPACE R E QU I R E M E N T S

Up to 525 linear feet (175 linear meters) E X H I BI T O R R E S OU RCE S

Prospectus E D UCAT IO N A L PRO GR A M M I NG

Curators available for lectures and panel discussions I NQU I R I E S

exhibitions@curatorial.org +1– 62 6 – 57 7– 0 0 4 4 FEE

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10 BOTERO: The Passion of Christ PRO D UCE D I N A S S O CI AT IO N W I T H

GLOCAL Project Consulting, Rome All works courtesy of the Museum of Antioquia, Medellín

AB OV E

Jesús y la multitud (Jesus and the Crowd), 2010 oil on canvas

E X H I BI T IO N OV E RV I E W

For two years, between 2010 and 2011, famed Colombian artist Fernando Botero produced one of his most significant cycles of paintings, commemorating Christ’s Passion. This cycle, made up of twenty-seven oil paintings and thirty-four works on paper, has drawn large audiences internationally and is now available by special arrangement with the Museum of Antioquia in Medellín.

Botero’s The Passion expresses a theme that has been a feature of Botero’s work since his youth in Colombia, a world abounding in public and private religious imagery. His expansive vision references earlier treatments of the subject— but never a simple imitation—by some of the leading figures in Western art history, including Paul Cézanne, Pablo Picasso, Peter Paul Rubens, Paolo Uccello and Diego Velázquez.

The Passion represents a crossroads where memories of his childhood intersect forms of worship deeply ingrained in his culture, and in his broader iconography. The soft features, the ideas and the environments that at first seem so stable, are disrupted by a profound upheaval, in which grief and tragedy take center stage.

In addition to its resonance with Baroque and Renaissance art, this exhibition engages with educational themes such as Latin American history and culture, intersections between art, literature, politics and religion, and humor and satire in painting.

Since developing his mature style in the 1970s, Botero has become known for building sensual worlds peopled with beings brimming with immense pleasure and happiness, and through the tranquil and sumptuous abundance of forms. His exaggerated and sometimes distorted style, frequently used as a means of commenting on his country’s fractured politics, is among the most beloved and recognizable in contemporary art.

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LEFT

AB OVE

María y Jesús muerto (Mary and Dead Jesus), 2011 oil on canvas-

WO R K S

El beso de judas (The Kiss of Judas), 2010 watercolor and pencil on paper BE LOW

El beso de judas (The Kiss of Judas), 2010 oil on canvas

61 total; 27 paintings & 34 drawings D I M E NSIO NS

Various SPACE R E QU I R E M E N T S

142 linear feet (43 linear meters) I NQU I R I E S

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2 0 2 4 –2 0 2 5 PRO SPE C T US

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BOTERO: The Passion of Christ Palazzo delle Esposizioni Rome, Italy 2 0 2 4 –2 0 2 5 PRO SPE C T US

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11 MALKOVICH, MALKOVICH, MALKOVICH: Homage to Photographic Masters by Sandro Miller CU R AT E D BY

AB OV E

OP P O SITE TOP

Man Ray/ Tears (1932), 2017 pigment print

Andy Warhol/ Green Marilyn (1962), 2014 silkscreen

Anne Morin, Director of DiChroma Photography, Madrid

E X H I BI T IO N OV E RV I E W

It is a game, but a serious one, because it asks fundamental questions that have to do with the creative process.

What is appropriation of the work and its detour, where is the threshold between fiction and reality, and where does irony enter the scene?

—Anne Morin, curator Playful, inviting and unforgettable, the ongoing collaboration between actor John Malkovich and photographer Sandro Miller (known as Sandro) has resulted in mesmerizing pictures replicating some of photography’s most iconic works. Combining the skill of one of the greatest American actors with Sandro’s amazing photographic eye, Malkovich, Malkovich, Malkovich combines theatrical virtuosity with unparalleled artistic craft.

At the age of sixteen, upon seeing the work of Irving Penn, Sandro knew he wanted to become a photographer. Mostly self-taught, he relied on books published by many of the great artists canonized in photographic history. Through their pictures, he learned the arts of composition, lighting and portraiture. More than thirty years later, with clients ranging from Forbes, GQ and Esquire to American Express, Coca-Cola 78

and BMW, Sandro has secured his place as one of the top fashion photographers internationally.

In 2013, Sandro decided to honor the men and women whose photographs had helped shape his career. After selecting thirty-five images to emulate, Sandro contacted his friend Malkovich, who instantly agreed to help.

Malkovich, Malkovich, Malkovich painstakingly recreates some of the legendary photographs that impacted Sandro.

Instantly recognizable works include Irving Penn’s photograph of Truman Capote in a corner, Bert Stern’s photographs of Marilyn Monroe, Dorothea Lange’s image of a migrant mother, Robert Mapplethorpe’s self-portrait with a gun, Annie Leibovitz’s iconic image of John Lennon and Yoko Ono, Diane Arbus’s classic photo of a boy with a hand grenade, and Richard Avedon’s beekeeper, among many others.

In addition to providing a brief overview of twentieth-century photo history, the exhibition is rich in educational themes including identity and self, theatricality, acting and tableaux, the making and meaning of photographs, artistic pastiches and the nature of fiction and representation.

CU R AT O R I A L : A S SIS TA NCE . A DV IS O RY. E X H I BI T IO NS .

WO R K S

61 photographs D I M E NSIO NS

Various SPACE R E QU I R E M E N T S

150 linear feet (46 linear meters) E X H I BI T O R R E S OU RCE S

Illustrated catalogue is planned I NQU I R I E S

exhibitions@curatorial.org +1–626–577–0 044 FEE

Please inquire

BE LOW

Richard Avedon/ Ronald Fischer, Beekeeper, Davis, California, May 9, (1981), 2014 pigment print

AB OVE

Diane Arbus/ Identical Twins, Roselle, New Jersey (1967), 2014 archival pigment print

2 0 2 4 –2 0 2 5 PRO SPE C T US

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12 JERRY UELSMANN COUNTERCULTURE Photographs 1960s–70s CU R AT E D BY

Phillip Prodger, Executive Director of Curatorial Exhibitions and former Head of Photographs at the National Portrait Gallery, London All works courtesy of the Solander Collection

E X H I BI T IO N OV E RV I E W

The ghostly form of a tree rises from the ocean like an atomic blast. A meteorite hovers above a girl asleep in a meadow.

A halved nut is lodged in a woman’s chest like a strange, malformed lung. Jerry Uelsmann’s surreal photographs are among the most recognizable ever made, yet their meanings remain stubbornly ambiguous. “Obviously symbolic, but not symbolically obvious,” as Uelsmann liked to say, they provoke thought without providing easy answers.

This unique exhibition is the first to focus on the social, political and personal context of Uelsmann’s early works.

Made up of vintage prints selected directly from the artist’s studio archive, Jerry Uelsmann Counterculture features photographs made during the 1960s and 70s. From the Cold War to the Civil Rights Movement, and from the Summer of Love and Women’s Liberation to Watergate, this was a time of profound change in the United States and Europe. Reflecting the period in which he worked and occasionally referencing current events in his pictures, Uelsmann set out to explore the zeitgeist, securing a place for individual thought and feeling amid the rapidly shifting currents of popular opinion.

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Counterculture features many of Uelsmann’s best-known photographs, combined with spectacular, never before seen examples. Praised as one of the “fathers of Photoshop” for using multiple negatives to create seamless photomontages, he nevertheless made his photographs in a traditional darkroom, using a series of carefully arranged enlargers, masks and templates. This exhibition demonstrates Uelsmann’s extraordinary virtuosity with this demanding technique. At the same time, it reveals his boundless creativity. His “Post-Visualized” photographs are not only products of camera and lens, they are expressions of his restless imagination.

The exhibition engages with educational themes, including the history and politics of 1960s and 70s America, symbolism and meaning in art, photographic technique, photomontage and darkroom practices, personal identity and interpersonal relationships.

CU R AT O R I A L : A S SIS TA NCE . A DV IS O RY. E X H I BI T IO NS .

OP P OSI TE

Untitled, 1971 gelatin silver print L EFT

Untitled, 1969 gelatin silver print BELOW

In search of a cause, 1966 gelatin silver print

WO R K S

100 framed photographs D I M E NSIO NS

20 × 16 ins (50 × 40 cm) SPACE R E QU I R E M E N T S

350 linear feet (100 linear meters) I NQU I R I E S

exhibitions@curatorial.org +1–626–577–0 044 FEE

Please inquire

2 0 2 4 –2 0 2 5 PRO SPE C T US

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LEFT

Untitled, 1964 gelatin silver print OP P OSI TE TOP

Myth of the Tree, 1963 gelatin silver print OP P OSI TE B OT TOM

Small woods where I met myself (final version), 1967 gelatin silver print 82

CU R AT O R I A L : A S SIS TA NCE . A DV IS O RY. E X H I BI T IO NS .

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13 TODD WEBB: PARIS 1948–52 CU R AT E D BY

Keith F. Davis, Hallmark Collection and Nelson-Atkins Museum (former) in conjunction with the Todd Webb Archive

E X H I BI T IO N OV E RV I E W

Paris in the aftermath of the Second World War was a place where the hopes and failures of twentieth-century society were laid bare. The epicenter of humanist photography in the twentieth century, it brought together a group of photographers who aimed to change the world, by highlighting the activities of ordinary people living from day to day. This major new exhibition features rarely seen work made by Todd Webb in postwar Paris, from 1948–1952. It includes many never-beforeseen vintage photographs from a long-lost archive of his prints.

The rediscovery enticed preeminent photographic scholar and curator Keith F. Davis to take a new look at this rich body of work. This exhibition enlarges our understanding of Paris’s cultural importance, while providing a deeper understanding of a great and original photographic artist.

WO R K S

+/- 95 framed photographs D I M E NSIO NS

16 × 20 ins (40 × 50 cm) to 20 × 24 ins (50 × 60 cm) SPACE R E QU I R E M E N T S

Webb came to Paris, funded by the Marshall Plan, to document the rebuilding of Europe after the war. Completely enchanted by the city, he roamed major thoroughfares and quaint old neighborhoods alike, immersing himself in the city’s culture and creating a uniquely poetic visual record of a now legendary time and place. His subjects are richly varied, ranging from the Luxembourg Garden, Île Saint-Louis and the Seine, to sidewalk cafes, the Rue Mouffetard and other street markets, as well as tributes to heroes of the recent war, portraits of street vendors, families, and children, and walls decorated with everything from film posters to Communist cries for opposition to German rearmament.

280 linear feet (24 linear meters) E X H I BI T O R R E S OU RCE S

Prospectus E D UCAT IO N A L PRO GR A M M I NG

Curator available for lectures and panel discussions I NQU I R I E S

exhibitions@curatorial.org +1– 62 6 – 57 7– 0 0 4 4 FEE

Please inquire

Webb proudly remarked that one of his greatest satisfactions was that “the French people liked my work, [and] many of them say this is the real Paris.” In his images of people, street life, and buildings, Webb captured the soul of one of the world’s greatest cities.

Educational themes include photography as a tool for social change, European history, war and reconstruction, and French and Parisian life and culture. The launch of the exhibition is timed to coincide with the Summer Olympic and Paralympic Games in 2024.

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CU R AT O R I A L : A S SIS TA NCE . A DV IS O RY. E X H I BI T IO NS .

OP P O SITE

Paris, 1948 archival pigment print R IGHT

Café on Champs Elysées, Paris, 1949 archival pigment print BELOW L EF T

Rue Alesia, Paris, 1949 archival pigment print BELOW R I GH T

Rue des Plantes, Paris, 1950 archival pigment print

2 0 2 4 –2 0 2 5 PRO SPE C T US

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14 MURRAY FREDERICKS: TIME’S PASSAGE CU R AT E D BY

Graham Howe, CEO, Curatorial

E X H I BI T IO N OV E RV I E W

Camping alone for weeks at a time in some of the world’s most remote and desolate regions, legendary artist Murray Fredericks makes videos and still photographs of earth, sky and the horizon, creating immersive abstract landscapes revealing the transcendence of the natural world. This exhibition, featuring key video and photographic works of the last twenty years, provides a breathtaking view of our place in the cosmos according to Fredericks’s unique vision.

Fredericks’s time-lapse Southern Hemisphere videos take us on an all-night journey to the stars as the Earth rotates on its axis, or as we are transfixed by the miasmal northern lights in his Borealis, seeing how we are fixed on Earth and how life becomes a space-time continuum. Australia’s remote Lake Eyre with its featureless, salt-encrusted surface stretches outward to infinity. Greenland’s ice sheet presents a limitless expanse that could be a place of meditation, activating a heightened sensory experience, or signal danger. Sound in such spaces is muffled. We become disoriented, aware that without gravity holding us, we might simply float off into space. It is these sensations that Fredericks articulates so clearly in his transformative landscapes: antidotes for urban self-absorption.

WO R K S

4 videos for in-gallery projection 15 large-scale photographs 2 “Behind the scenes” videos available, showing Fredericks producing the work D I M E NSIO NS

Photographs each approx.

60 x 40 ins For monitor and projection specifications, please inquire SPACE R E QU I R E M E N T S

280 linear feet (24 linear meters) E X H I BI T O R R E S OU RCE S

Prospectus E D UCAT IO N A L PRO GR A M M I NG

Artist available for lectures and panel discussions I NQU I R I E S

exhibitions@curatorial.org +1– 62 6 – 57 7– 0 0 4 4 FEE

Please inquire

Educational themes include environmentalism, climate change, geography and astrophysics, land art and exploration.

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CU R AT O R I A L : A S SIS TA NCE . A DV IS O RY. E X H I BI T IO NS .

OP P O SITE

Blaze #24, Muloorina, 2023 digital pigment print AB OVE

Salt 195, 2007 digital pigment print R IGHT

BOREALIS, 2013 video projection with audio 2 0 2 4 –2 0 2 5 PRO SPE C T US

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Murray Fredericks Array #11, 2018 digital pigment print 2 0 2 4 –2 0 2 5 PRO SPE C T US

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15 E.O. HOPPÉ: WOMEN Portraits of Achievement in Art, Science, Literature, and Politics CU R AT E D BY

Lady Marina Vaizey, CBE E S S AY BY

Catlin Langford, Curator at the Centre for Contemporary Photography, Melbourne/ Naarm

E X H I BI T IO N OV E RV I E W

This powerful exhibition explores Emil Otto Hoppé’s contribution to the recognition of accomplished women of the early twentieth century, and cements his status as a leading portrait photographer of the age. At a time of women’s suffrage and sweeping change in the roles and social expectations, Hoppe’s approach to photographing women was revolutionary. He was a key ally in the celebration of women of achievement, photographing many pioneering figures in art, literature, science, sport, screen and stage.

Bold in their approach, Hoppé’s portraits of women reveal an inherent understanding of his sitter’s personalities and energy. Rather than merely flatter his subjects, he aimed to be true to their character. His portraits feature figures recognized for their pathfinding and frequently difficult work, including Sylvia Pankhurst, Vita Sackville-West, Ellen Terry, Margot Fonteyn and many others. His photographs commemorate these women’s achievements and their active participation in, and contribution to, modern society.

WO R K S

40 platinum palladium prints

AB OV E

Dame Margot Fonteyn, ballet dancer, 1935 platinum palladium print

D I M E NSIO NS

14 × 11 ins (35 × 28 cm) to 20 × 16 ins (50 × 40 cm) SPACE R E QU I R E M E N T S

Approximately 135 linear feet (12 linear meters)

OP P O SITE TOP L EFT

Tilly Losch, Countess of Carnarvon, dancer and actor, 1928 platinum palladium print OP P O SITE TOP R I GHT

Mrs. M.B. Dalal, 1923 platinum palladium print

I NQU I R I E S

exhibitions@curatorial.org +1– 62 6 – 57 7– 0 0 4 4 FEE

Please inquire

OP P O SITE B OT TOM L EFT

Dame Mary Bailey, aviator, 1929 platinum palladium print OP P O SITE B OT TOM R I GHT

Käthe Kollwitz, artist, 1927 platinum palladium print

Educational themes include recognition of pioneering women in various fields, and exploration of the changing roles of women in the suffrage era.

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16 PARRWORLD Martin Parr CU R AT E D BY

Phillip Prodger, Executive Director of Curatorial Exhibitions and former Head of Photographs at the National Portrait Gallery, London

E X H I BI T IO N OV E RV I E W

Remember when travel was routine, and airports were not a nightmare? Join Britain’s preeminent documentary photographer, Martin Parr, for a playful and provocative journey around the world—ParrWorld.

Martin Parr has been traveling with his camera for nearly his entire career. From early photographs in Ireland to explorations of remote locations across the UK, he is widely recognized as one of the foremost chroniclers of British life. Another side of Parr’s photography was revealed in the landmark publication Small World (1995), featuring his unique, satirical approach to global tourism and the travel and leisure industry. From famed sites such as the Leaning Tower of Pisa and the Great Sphinx to curious corners of shopping centers, hotels and vistas, Parr revealed the strange, unexpected and deeply human side of consumerism in the twentieth (and twenty-first) century.

This unique exhibition combines a selection of works from Small World with photographs made later, including sensational pictures never seen before. As Parr’s fame has grown, his travels around the world have accelerated, providing fresh opportunities to photograph. Recent series include beach culture, sporting events and dance, as he has traveled from Sri Lanka to Hong Kong, and from Kenya to the United States.

WO R K S

Approx. 150 photographs D I M E NSIO NS

Various SPACE R E QU I R E M E N T S

600 linear feet (180 linear meters) E D UCAT IO N A L PRO GR A M M I NG

Artist available for lectures and panel discussions E X H I BI T O R R E S OU RCE S

Illustrated catalogue I NQU I R I E S

exhibitions@curatorial.org +1– 62 6 – 57 7– 0 0 4 4 FEE

Rendered in Parr’s signature saturated color, these alwayspopular photographs are sure to bring a smile to visitors’ lips.

Please inquire

ParrWorld provides opportunities for educational programming with themes including travel, migration and identity, globalization, consumerism and consumption.

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CU R AT O R I A L : A S SIS TA NCE . A DV IS O RY. E X H I BI T IO NS .

“The thing about tourism is that the reality of a place is quite different from the mythology of it.”

Martin Parr

OP P O SITE

Leaning Tower of Pisa, Italy (Small World), 1990 archival pigment print AB OV E L EFT

O’Connell Bridge, Dublin, Ireland, 1981 archival pigment print AB OV E RIGHT

Benidorm, Spain (Autoportrait), 1997 archival pigment print LEFT

New Brighton, England (The Last Resort), 1983–85 archival pigment print

2 0 2 4 –2 0 2 5 PRO SPE C T US

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17 MANGA DREAMS: Fantastical Portraits

by Anderson & Low

E X H I BI T IO N OV E RV I E W

In Manga Dreams, Jonathan Anderson & Edwin Low explore a visual hybrid of photography, graphics, digital painting and calligraphy. The exhibition is a collaborative construction between the subjects and photographers in which numerous layers of interpretations, translations, exchanges, reproductions and visual executions are involved.

The subjects tailored their look to that of manga, styled hair and costume, while performing for the photographers—and the photographers dressed, groomed and photographed their subjects. Manga, stemming originally from Asia, means “cartoon” and, within the context of this exhibition, connects street youth and visual cyber culture with contemporary art.

For this project Anderson & Low embraced digital technology and postproduction to enable the addition of montage layers to this visually exuberant body of work, thus creating a world that no longer feels entirely like our own.

The underlying current within this project speaks of familiar themes throughout their work; identity, costume and the projection of identity through appearance. The subjects project identities with their distinct appearance and are, in a sense, living their dreams; Manga Dreams.

AB OV E

Untitled (U), 2009 pigment print

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CU R AT O R I A L : A S SIS TA NCE . A DV IS O RY. E X H I BI T IO NS .

“…these dreams we have documented, are they the manga-inspired dreams of humans or the human-inspired dreams of manga?

Is this art imitating life, or life imitating art?”

Anderson & Low

LEFT

AB OV E

BE LOW

Untitled (Steam Punks), 2009 pigment print

Untitled (The Five Heroes), 2005 pigment print

Untitled (Ming with Sword), 2009 pigment print

WO R K S

35 photographs D I M E NSIO NS

38 × 25 ins (96 × 63 cm) to 78 × 52 ins (200 × 132 cm) SPACE R E QU I R E M E N T S

300 linear feet (90 linear meters) I NQU I R I E S

exhibitions@curatorial.org +1–626–577–0 044 FEE

Please inquire

2 0 2 4 –2 0 2 5 PRO SPE C T US

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CU R AT O R I A L : A S SIS TA NCE . A DV IS O RY. E X H I BI T IO NS .

Manga Dreams: Fantastical Portraits by Anderson & Low Musée de la Civilization Montreal, Quebec, Canada 2 0 2 4 –2 0 2 5 PRO SPE C T US

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18 ESPRESSIONISMO: Masterworks of Italian Painting, 1919–42 O RGA N I Z E D BY

GLOCAL Project Consulting, Rome All works courtesy of the Giuseppe Iannaccone Collection

E X H I BI T IO N OV E RV I E W

This unique exhibition brings together a rarely seen but pivotally important group of artists who energized Italian art between the Wars. Loosely described as Expressionists, their work conveyed the profound disillusion of artists after the brutal experience of the First World War. In Italy, which had earlier given rise to the techno-utopian Futurist movement, this disenchantment was acutely felt.

Espressionismo draws from the definitive collection of Giuseppe Iannaccone, widely considered the most important private collection of Italian painting of the period. Focusing on key oil paintings, it articulates the frailty of the period, and reveals the complexities of Italian Expressionism through a selection of "outsider" artists and unpublished works.

The exhibition places man and woman at the center of art and seeks to draw attention to those artists who have used reality in the service of their own poetics, found in the everyday. In the distinctive experiences they chronicle, and in their intimacy and emotion, they form a new and unconventional chapter in the history of art.

Through a careful selection of leading artists including Arnaldo Badodi, Renato Birolli, Broggini, Lombard Chiaristi Fontana, Renato Guttuso, Mario Mafai, Giuseppe Migneco, Aligi Sassu, Scipione, Antonietta Raphaël, Italo Valenti, Emilio Vedova and Alberto Ziveri, themes such as war and conflict, the loss of humanity, the power of color and the dramas of the time are addressed.

AB OVE

Antonietta Raphaël Autoritratto con lettera (Self-portrait with letter), 1942 oil on canvas

WO R K S

100–120 paintings D I M E NSIO NS

Various SPACE R E QU I R E M E N T S

500 linear feet (153 linear meters) E X H I BI T O R R E S OU RCE S

GLOCAL Project Consulting I NQU I R I E S

exhibitions@curatorial.org +1– 62 6 – 57 7– 0 0 44 FEE

Please inquire

Educational topics including war and reconstruction, Expressionism and art history, and Italian society and culture are addressed.

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LEFT

Emilio Vedova Il Caffeuccio Veneziano (The Venetian Café), 1942 oil on canvas

LEFT

Arnaldo Badodi Il Circo (The Circus), 1939 oil on wood panel

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AB OVE

Renato Birolli I poeti (The Poets), 1935 oil on canvas

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CU R AT O R I A L : A S SIS TA NCE . A DV IS O RY. E X H I BI T IO NS .

AB OVE

Scipione Natura morta con piuma (Still life with feather ), 1929 oil on wood panel

2 0 2 4 –2 0 2 5 PRO SPE C T US

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19 GHOSTS OF SEGREGATION Photographs by Rich Frishman

AB OV E

Colored Window at Edd’s Drive-In, 2019 archival pigment print

E X H I BI T IO N OV E RV I E W

In Ghosts of Segregation, photographer Rich Frishman explores the lingering presence of segregation, slavery and institutional racism hidden in everyday American architecture.

From the New Orleans Slave Exchange and “colored entrances” at movie theatres to the abandoned Negro Nursing School in Houston, Frishman’s photographs show how our surroundings bear witness to history, reminding us where we have been, where we are now, and crucially asking, “where do we go from here?”

Implicit in this uniquely powerful project is the belief that together we have the capacity to rise above the deep-rooted ramifications of slavery, “America’s original sin.” Frishman’s photographs speak to the complex and difficult road towards social justice and equality in America, and cast light on generations of painful inequality and social turmoil.

The project arrives at a moment when our culture struggles to re-evaluate the dynamics of race, and re-calibrate the prospects for improved race relations in America.

Seeking to spark an honest conversation about the legacy of racial injustice in America, Ghosts of Segregation explores vestiges of racism in places that have been repurposed or partially covered up: the curious side window at Pascagoula’s Edd’s Drive-In, the enigmatic barred door at Seattle’s Moore Theatre, or the quaint cabins dotting Idlewild, Michigan.

The shock of Frishman’s pictures is how insidious evidence of segregation and historic racism can be. Jim Crow not only extended across America, it became part of everyday life in communities across the country.

Ghosts of Segregation is rich in educational content. Extended labels are provided for each work, explaining the significance of the places depicted. The project engages themes of American and African American history, racism, segregation and slavery, as well as land and architecture use. It provides a touchstone for conversations about contemporary racial and ethnic diversity, migration and identity, and the African diaspora.

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CU R AT O R I A L : A S SIS TA NCE . A DV IS O RY. E X H I BI T IO NS .

WO R K S

35 framed photographs D I M E NSIO NS

24 × 24 ins (61 × 61 cm) to 40 × 50 ins (102 × 127 cm)

“Our built environment, in other words, is a kind of societal autobiography, writ large.”

Rich Frishman

SPACE R E QU I R E M E N T S

220 linear feet (68 linear meters) E X H I BI T O R R E S OU RCE S

Prospectus E D UCAT IO N A L PRO GR A M M I NG

Artist available for lectures and panel discussions I NQU I R I E S

exhibitions@curatorial.org +1–626–577–0 044 FEE

Please inquire

2 0 2 4 –2 0 2 5 PRO SPE C T US

TOP

AB OV E

Edmund Pettus Bridge, Selma, Alabama, 2019 archival pigment print

Colored Entrance, Seattle, Washington, 2020 archival pigment print

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20 THIS EMPTY WORLD: Photographs

by Nick Brandt E X H I BI T IO N OV E RV I E W

In the last century an enormous percentage of the world’s flora and fauna have vanished. Considering biodiversity is nature’s own deterrent to extinction, this reduction leaves our environment increasingly vulnerable. This Empty World, a new traveling exhibition of photographs by Nick Brandt, conveys the need to address man’s role in the escalating environmental and ecological destruction of the natural world.

Anchored by the creative devices that have become characteristic of Nick Brandt’s powerful and penetrating artistic style, the exhibition envisions a world overwhelmed by development, where there is no longer space for animals to survive. He aims to highlight the vulnerabilities of both animals and poor rural people, the primary casualties in the environmental degradation that comes with the short-term economic gain of out-of-control development.

Technically, each image is a combination of two moments in time, captured weeks apart, almost all from the exact same locked-off camera position. Initially, a partial set was built and lit. Weeks, even months followed, while the animals that inhabited the region became comfortable enough to enter the frame. Once the animals were captured on camera, the full sets—bridge and highway construction sites, a petrol station, a bus station and more—were built. A second sequence was then photographed with the full set and a large cast of people drawn from local communities and beyond.

Through his photographs, Nick Brandt creates a vision of the pollution and destruction of an entire ecosystem, of both humans and animals suffering as victims of environmental devastation in the aftermath of progress. It is the emotional effectiveness of exhibitions such as This Empty World, hopefully, that will encourage humankind to place the natural world at the center of its global consciousness.

WO R K S

31 framed works (checklist can be curated by venue) Mounted text panels (Introductory, “Behind the Scenes,” and “About the Big Life Foundation”) D I M E NSIO NS

Frame sizes up to 60 × 130 ins (140 × 300 cm) SPACE R E QU I R E M E N T S

Up to 500 linear feet (150 linear meters) E D UCAT IO N A L PRO GR A M M I NG

Artist available for lectures and panel discussions I NQU I R I E S

exhibitions@curatorial.org +1– 62 6 – 57 7– 0 0 4 4 FEE

Please inquire

This Empty World addresses numerous educational themes related to environmental science, wildlife conservation and preservation, migration and politics.

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CU R AT O R I A L : A S SIS TA NCE . A DV IS O RY. E X H I BI T IO NS .

“The astonishing images in This Empty World deliver the emotional shock rarely felt, but urgently needed, to accelerate global conservation.”

E.O. Wilson, biologist and naturalist

2 0 2 4 –2 0 2 5 PRO SPE C T US

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AB OV E

Bridge Construction with Elephants and Workers At Night, 2019 archival pigment print

Bus Station with Elephant in Dust, 2019 archival pigment print

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This Empty World: Photographs by Nick Brandt Museum of Photographic Arts San Diego, California 2 0 2 4 –2 0 2 5 PRO SPE C T US

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21 SIGHT UNSEEN: International Photography

by Blind Artists CU R AT E D BY

Douglas McCulloh, an American photographer notable for conceptual photographic projects based on “systematic randomness” and chance operations.

E X H I BI T IO N OV E RV I E W

Sight Unseen presents work by the world’s most accomplished blind photographers as they explore ideas about the nature of seeing. Great art, it has been said, is not a product of the eyes, but of the mind. Beethoven composed music without the ability to hear, and blind writers Milton and Homer conjured the landscapes of the heavens and the underworld. Similarly, the artists of Sight Unseen, in bringing their inner visions into the world of the sighted, reveal a rich visual and emotionally complex blending of the physical and conceptual worlds.

The artists represented span a wide spectrum of sight impairment: most are completely blind, some are legally blind but nevertheless perceive an attenuated image of the physical world in varying degrees. All of them, with photography as their medium, navigate with their other senses to visualize and represent the space around them.

The project engages with educational themes including representation and accessibility for disabled individuals as well as issues of gender, class, privilege and racial and ethnic identity.

WO R K S

121 photographs, 8 tactile illustrations DIMENSIONS

8 × 10 ins (20 × 25 cm) to 48 × 57 ins (121 × 144 cm) SPACE R E QU I R E M E N T S

500 linear feet (153 linear meters) I NQU I R I E S

exhibitions@curatorial.org +1– 62 6 – 57 7– 0 0 4 4 E X H I BI T O R R E S OU RCE S

Prospectus Documentary Film: Shot in the Dark (Frank Amman, 2016) EDUCATIONAL PROGRAMMING

Curator available for lectures FEE

Please inquire

AB OV E

Bruce Hall Desperation 0479 Digital Print 10 8

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“Blind photographers operate at the heart of the medium: they are the zero point of photography.

These artists occupy the pure, immaculate center—image as idea, idea as image.”

Doug McCulloh

LEFT

Gerardo Nigenda Entre lo invisible y lo tangible, llegando a la homeostasis emocional (Reaching Emotional Equilibrium) gelatin silver prints hand punched with Braille text BE LOW

Seeing With Photography Collective Portrait of Alan chromogenic color prints

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22 PALETTES Robert Weingarten

E X H I BI T IO N OV E RV I E W

Robert Weingarten’s photographs take us inside the mind of famous artists. Divorcing himself from conventional portraiture, he places the artist’s environment and its periphery at the forefront of artistic creation.

By photographing extreme close-ups of palettes and work surfaces inside the studio, Weingarten probes the perception of light and color. The resulting images range from raw materials (such as Ed Ruscha’s cotton ball with pigment), drippings on a sink (in Ed Moses’ studio), random brush strokes and writing on a wall (in David Salle’s studio), an accumulation of paint stains on a table (in Red Grooms’ studio), floor drippings (as seen in the studio of Jim Dine) to artists’ actual palettes and paintings (as in the case of Fernando Botero, Chuck Close, and Jasper Johns).

Presented as large-scale photographs, Weingarten’s Palettes reveals the intimate moments with these behind-the-scenes objects, applauding painting practice and technology as the conduit for sensational visual experiences and inviting us to gain insight into some of the most recognized painters of our time.

The exhibition addresses themes including artistic creativity, color and color theory, painting techniques and the physicality of art objects.

WO R K S

90 photographs D I M E NSIO NS

20 × 16 ins (50 × 40 cm) to 44 × 64 ins (110 × 160 cm)

I NQU I R I E S

exhibitions@curatorial.org +1– 62 6 – 57 7– 0 0 4 4 FEE

Please inquire

SPACE R E QU I R E M E N T S

700 linear feet (200 linear meters) E D UCAT IO N A L PRO GR A M M I NG

Artist is available for lectures and panel discussions

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AB OV E

C O N TE N TS PAGE

Jim Dine (Paint Brush) #1, 2005 archival pigment print

Juan Genoves #1, 2007 archival pigment print

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AB OV E L EFT

Chuck Close #1, 2004 archival pigment print LEFT

Laura Owens #1, 2004 archival pigment print OP P O SITE TOP

Wayne Thiebaud (Paint Plates) #1, n.d. archival pigment print OP P O SITE B OT TOM

Chuck Arnoldi Ladder #2, n.d. archival pigment print

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23 CHILDREN OF GRASS A Portrait of American Poetry E X H I BI T IO N OV E RV I E W

Whether it’s catching the perfect light and angle or penning the right word or phrase, the diversity of voices and craft in Children of Grass: A Portrait of American Poetry offers a new understanding of what it means to be an American in the 21st-century.

Displayed alongside the poems by new and established contemporary poets, B.A. Van Sise’s Children of Grass presents an anthology of photographic portraits paying tribute to the poets of today. These magical, inspired and sometimes subversive photographs, created in collaboration with the subjects and designed as visual riffs on their poetry, not only epitomize the intriguing symbiosis between the two mediums but also ground us in the humanity of storytelling and self-expression.

Many of the most renowned poets working today are included in the exhibition. Literary revolutionaries like Rita Dove, Nikki Giovanni, Joy Harjo, X.J. Kennedy, Ted Kooser, Joyce Carol Oates, Robert Pinsky and Patricia Smith are featured as well as the current US Poet Laureate Ada Limón and other new artists including Meg Day, Joan Naviyuk Kane, Joseph O. Legaspi, Hieu Minh Nguyen, Nicole Sealey, Danez Smith and Javier Zamora.

The exhibition provides opportunities for educational programming on numerous subjects, including the intersections between visual art and literature, poetry and its practice, and issues of class, privilege, racial and ethnic identity, as well as the meaning and importance of different forms of communication and art.

AB OV E

WO R K S

50 photographs, 1 digital video

Jane Hirshfield, 2017 archival pigment print OP P O SITE TOP

Rita Dove, 2016 archival pigment print

D I M E NSIO NS

16 × 24 ins (41 × 61 cm)

OP P O SITE M IDDL E

SPACE R E QU I R E M E N T S

150 linear feet (46 linear meters)

Joseph O. Legaspi, 2018 archival pigment print OP P O SITE B OT TOM

E D UCAT IO N A L PRO GR A M M I NG

Curator available for lectures and panel discussions

Mark Doty, 2017 archival pigment print

E X H I BI T O R R E S OU RCE S

Illustrated catalogue is planned I NQU I R I E S

exhibitions@curatorial.org +1– 62 6 – 57 7– 0 0 4 4 FEE

Please inquire

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CU R AT O R I A L : A S SIS TA NCE . A DV IS O RY. E X H I BI T IO NS .

R I TA D OV E

Demeter’s Prayer to Hades This alone is what I wish for you: knowledge.

To understand each desire has an edge, to know we are responsible for the lives we change. No faith comes without cost, no one believes without dying.

Now for the first time I see clearly the trail you planted, what ground opened to waste, though you dreamed a wealth of flowers.

There are no curses—only mirrors held up to the souls of gods and mortals.

And so I give up this fate, too.

Believe in yourself, go ahead—see where it gets you.

JO SE PH O. L E GA SPI

Imago As soon as we became men my brother and I wore skirts.

We pinched our skirt-fronts into tents for our newly-circumcised penises, the incisions prone to stick painfully to our clothing.

I was partial to my sister’s plaid skirt, a school uniform she outgrew; my brother favored one belonging to my grandmother, flowers showering down his ankles.

By this stage, the skin around the tips of our penises was swollen the size of dwarf tomatoes.

As a cure, my mother boiled young offshoots of guava leaves.

Behind the streamline of hung fabric, I sat on a stool and spread

before a tin washbasin. My mother bathed my penis with the warm broth, the water trickling into the basin like soft rain on our roof.

She cradled my organ, dried it with cotton, wiping off the scabs melted by the warmth, and she wrapped it in gauze, a cocoon around my caterpillar sex.

I then thought of the others at the verge of their manhood: my brother to replace me on this stool, a neighborhood of eleven-, twelve-, and thirteen-year old boys wearing the skirts of their sisters and grandmothers, touched by the hands of their mothers, baptized by green waters, and how by week’s end we will shed our billowy skirts, like monarchs, and enter the gardens of our lives.

MARK DOTY

Deep Lane When I’m down on my knees pulling up wild mustard by the roots before it sets seed, hauling the old ferns further into the shade, I’m talking to the anvil of darkness: break-table, slab no blow could dent rung with the making, and out of that chop and rot comes the fresh surf of the lupines.

When the shovel slips into white root-flesh, into the meat coursing with cool water, when I’m grubbing on my knees, what is the hammer?

Dusky skin of the tuber, naked worms who write on the soil every letter, my companion blind, all day we go digging, harrowing, rooting deep. Spade-plunge

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and trowel, sweet turned-down gas flame slow-charring carbon, out of which sprouts the wild unsayable.

Beauty’s the least of it: you get ready, like Deborah, who used to garden in the dark, hauling out candles and a tall glass of what she said was tea, and digging and reading and studying in the dirt. She’d bring a dictionary.

If study is prayer, she said, I’m praying.

If you’ve already gone down to the anvil, if you’ve rested your face on that adamant, maybe you’re already changed.

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24 POSING BEAUTY IN AFRICAN AMERICAN CULTURE CU R AT E D BY

Deborah Willis, PhD, MacArthur and Guggenheim Fellow, and Chair of the Department of Photography Imaging at the Tisch School of the Arts, New York University

E X H I BI T IO N OV E RV I E W

Posing Beauty in African American Culture explores the contested ways in which African and African American beauty have been represented in historical and contemporary contexts through a diverse range of media including photography, film, video, fashion, advertising and other forms of popular culture such as music and the internet. Throughout the Western history of art and image-making, the relationship between beauty and art has become increasingly complex within contemporary art and popular culture.

The first of three thematic sections, “Constructing a Pose,” considers the interplay between the historical and the contemporary, between self-representation and imposed representation, and the relationship between subject and photographer. The second theme, “Body and Image,” questions the ways in which our contemporary understanding of beauty has been constructed and framed through the body. The last section, “Modeling Beauty & Beauty Contests,” invites us to reflect upon the ambiguities of beauty, its impact on mass culture and individuals, and how the display of beauty affects the ways in which we see and interpret the world and ourselves.

Posing Beauty in African American Culture challenges contemporary understandings of beauty by framing notions of aesthetics, race, class and gender within art, popular culture and politics.

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WO R K S

103 photographs, 2 videos D I M E NSIO NS

Various SPACE R E QU I R E M E N T S

Up to 350 linear feet (108 linear meters) TOP

B O O K I NG

Available until December 31, 2024 EXHIBITOR RESOURCES

Prospectus EDUCATIONAL PROGRAMMING

Curator available for lectures

Lauren Kelley Pickin’, 2007 color-coupler print AB OV E

Sheila Pree Bright Untitled 14, From the Plastic Bodies Series, 2005 digital print

I NQU I R I E S

exhibitions@curatorial.org +1– 62 6 – 57 7– 0 0 4 4 FEE

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BE LOW

Carrie Mae Weems I Looked and Looked but Failed to See What so Terrified You (Louisiana Project Series), 2006 digital prints (diptych)

“Taken together, these photographs are far more than just striking pictures of African American men and women…each piece is the starting point for an intriguing discussion about what is considered beautiful, both within African American culture and within society in general.”

Melissa Magsaysay, Los Angeles Times

LEFT

Omar Victor Diop Jean-Baptiste Belley, 2014 inkjet pigment print

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25 LUMINOUS Early Color Photographs by Paul Outerbridge CU R AT E D BY

Graham Howe, CEO, Curatorial Phillip Prodger, Executive Director of Curatorial Exhibitions and former Head of Photographs at the National Portrait Gallery, London

E X H I BI T IO N OV E RV I E W

Paul Outerbridge was a pioneer of color photography, whose unprecedented pictures transformed expectations about color’s role in photographic art. This extraordinary exhibition features a selection of rare and famous images from the mid1930s, when Outerbridge burst on the scene with his new, magnetic and utterly original approach to the medium.

In the early 1920s, Outerbridge was known as one of the brightest rising stars in black and white art and commercial photography. A dapper young graduate from the famed Clarence White School, he dazzled New York with Precisionist still lifes and sensuous nudes, marked by compositional elegance and exquisitely layered space. In 1925, he moved to Paris where he was introduced to the art scene by fellow Americans, Man Ray and Lee Miller, along with Ray’s former lover, Kiki de Montparnasse. He befriended some of the most influential artists and thinkers of the day, including Georges Braque, Marcel Duchamp, Igor Stravinsky, Francis Picabia, Pablo Picasso and other figures who embraced him as one of their own. Returning to the United States four years later, he spent the Great Depression in virtual retreat, perfecting the new, and technically challenging, color photography.

By the mid-1930s Outerbridge had completely reinvented himself as a color photographer. Combining unparalleled technical excellence with Paris Surrealist influence, he produced some of the most memorable photographs of his time. In this new phase, female nudes were presented not as passive recipients of the male gaze, but as strong and independent women asserting and in charge of their own sensuality. Outerbridge also became interested in pop culture, exploring conventions of advertising photography even as he subverted them.

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Drawn from the Paul Outerbridge Foundation S.A., Luminous presents works never before seen, remastered from the original negatives. It engages with educational themes, including Surrealist influence in art, photographic technique and the optics of color, as well as photographic and Modern art history.

WO R K S

E X H I BI T O R R E S OU RCE S

45 photographs

Illustrated catalogue is planned

D I M E NSIO NS

I NQU I R I E S

22 × 16 ins (55 x 40 cm) to 20 × 30 ins (50 x 76 cm)

exhibitions@curatorial.org +1– 62 6 – 57 7– 0 0 44

SPACE R E QU I R E M E N T S

FEE

225 linear feet (70 linear meters)

Please inquire

E D UCAT IO N A L PRO GR A M M I NG

Curators available for lectures and panel discussions

CU R AT O R I A L : A S SIS TA NCE . A DV IS O RY. E X H I BI T IO NS .

OP P O SITE

Kandinsky, 1935 tri-color carbon print AB OVE

Woman with Red Shoes, c. 1936 tri-color carbon print R IGHT

Persephone, 1937 tri-color carbon print

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26 DUANE MICHALS: The Portraitist CU R AT E D BY

Linda Benedict-Jones, independent curator and former Curator of Photography at Carnegie Museum of Art

AB OV E

Mr. Backwards Forwards (Tilda Swinton), 2016 digital chromogenic print with hand-applied text

E X H I BI T IO N OV E RV I E W

Duane Michals: The Portraitist presents the first comprehensive overview of inventive photographic portraits by one of the medium’s most influential artists. Best known as a pioneer who broke away from established traditions of documentary photography in the 1960s, Michals is widely recognized for his ability to navigate between imposing his style and allowing his sitters to express themselves, and for the sequences he assembles to convey personal visual narratives, often adding handwritten messages and poems on the photographic print surface.

More than 125 portraits by this beloved photographer are included in Duane Michals: The Portraitist, many of which were recently discovered in a workroom in his brownstone building in New York City. Frequently commissioned to create portraits of actors, writers, musicians and others, Michals relished the challenge of distinguishing each personality with an improvisational approach. Collectively the prints reveal the artist’s spontaneity and highlight his expansive toolkit of techniques, including multiple exposures, reflections, uncommon vantage points, collage, hand-painting and more, to create a unique image.

The diversity of personalities, along with the tremendous variety of photographic approaches, creates a nourishing visual experience and, as always, the works by master photographer Duane Michals do not cease to surprise and delight.

This exhibition engages with educational themes including major figures in late twentieth-century art, music and literature as well as issues of identity, performance, and social critique in media and popular culture.

WO R K S

135 framed photographs DIMENSIONS

Various SPACE R E QU I R E M E N T S

405 linear feet (123 linear meters) I NQU I R I E S

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TOP

LEFT

AB OV E

Shelley Duvall, 1980 gelatin silver print with hand-applied text

Yves Saint Laurent, 1983 gelatin silver print with hand-applied text

Meryl Streep, 1975 gelatin silver print with hand-applied text 121

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Duane Michals: The Portraitist Finnish Museum of Photography Helsinki, Finland 2 0 2 4 –2 0 2 5 PRO SPE C T US

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27 WHERE CHILDREN SLEEP Photographs by James Mollison E X H I BI T IO N OV E RV I E W

In this revealing series of photographs, James Mollison invites us into the diverse stories of children in many different countries and circumstances. Each studio-style portrait is accompanied by a detailed study of the child’s “bedroom,” which can range from elaborate sanctuaries to the barest spaces set aside for sleep.

The photographs and their related texts convey the story of a universal childhood, full of insecurity, hope, pain, comfort and doubt. Economic inequality, children’s rights and how we are defined by our possessions and formed by our circumstances are some of the complex social, typological and cultural issues that resonate in Mollison’s work. It is rich in educational content, addressing issues of childhood, class, privilege and racial and ethnic identity.

The project, in all its diversity, is frankly observant and often surprising. Mollison’s subjects convey the simple truth that all children, whether from a first- or third-world economy, need to be nurtured and protected. His call to action is that we might walk away changed, viewing every child we meet as an individual in need of love and care. As the very concept of sleep and personal space conveys, Where Children Sleep is, above all else, a portrait of vulnerability.

“As much as the project is about the quirkiness of childhood, it is, more strikingly, commentary on class and on poverty. But the diversity also provides a sense of togetherness.”

The New York Times

WORKS

52 photographs (26 portraits, 26 bedrooms) D I M E NSIO NS

Portraits: 23 × 29 ins (60 × 73 cm) Bedrooms: 43 × 53 ins (110 × 136 cm) SPACE R E QU I R E M E N T S

288 linear feet (88 linear meters) P U BL ICAT IO N

Where Children Sleep (Chris Boot, November 2010) I NQU I R I E S

exhibitions@curatorial.org +1– 62 6 – 57 7– 0 0 4 4 E X H I BI T O R R E S OU RCE S

Prospectus (Available upon request) FEES

Please inquire

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FAR L E F T

Risa, 15, Kyoto, Japan archival inkjet print LEFT

Risa, 15, Kyoto, Japan archival inkjet print

FAR L E F T

Indira, 7, Kathmandu, Nepal archival inkjet print LEFT

Indira, 7, Kathmandu, Nepal archival inkjet print

FAR L E F T

Prena, 14, Kathmandu, Nepal archival inkjet print LEFT

Prena, 14, Kathmandu, Nepal, archival inkjet print

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One Gallery

DIANE ARBUS: 10 YEARS CU R AT E D BY

Catlin Langford, Curator at the Centre for Contemporary Photography, Melbourne/ Naarm Works appear courtesy of the Gary Johns collection

E X H I BI T IO N OV E RV I E W

One of the most beguiling and beloved of contemporary photographers, during an intense period from 1961-71 Diane Arbus produced some of the most memorable photographs of the twentieth century. This small exhibition celebrates her legacy through twenty-eight celebrated images.

With her incomparable eye for detail, Arbus had an uncanny ability to express empathy and compassion for her sitters, while at the same time questioning social norms. Her photographs of circus performers, naturists, and people from various walks of life photographed in their own living rooms explore questions of personal happiness, identity and belonging, with special attention for individuals living on the social fringe. Arbus accepted these people with wonder and appreciation, whether they were aging aristocratic ladies, or gender non-conforming men.

Diane Arbus: 10 Years includes examples from key series during this famous period of the artist’s work. Among the highlights are a series of five rare portraits of African American and white families taken in Beaufort County, South Carolina. The selection also includes iconic works such as Young Waitress at a Nudist Camp (1963), Patriotic Man with a Flag, N.Y.C. (1967) and Seated Man in Bra and Stockings, N.Y.C. (1967).

The exhibition provides numerous touchstones for interpretation. It engages with issues of self-identity, status and social critique, as well as the marginalization of nonconforming individuals, and people of perceived difference.

Note: Due to the policies of the Diane Arbus Estate, traditional publicity images are not available for this exhibition.

OP P O SITE

Diane Arbus in the Automat at Sixth Avenue between 41st & 42nd Street, New York City, c. 1968 Photo by Roz Kelly/Michael Ochs Archives/Getty Images.

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“I really believe there are things which nobody would see unless I photographed them.”

Diane Arbus

WO R K S

28 framed photographs D I M E NSIO NS

20 × 16 ins (50 × 40 cm) SPACE R E QU I R E M E N T S

80 linear feet (25 linear meters) I NQU I R I E S

exhibitions@curatorial.org +1–626–577–0 044 FEE

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2 0 2 4 –2 0 2 5 PRO SPE C T US

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29

One Gallery

MICHEL KAMENI Portraits of an Independent Africa All works courtesy of the Solander Collection

E X H I BI T IO N OV E RV I E W

Amid the stone-paved alleyways and bustling nightlife of the “Brickyard” district in Yaoundé, one of the great African masters of photography operated his studio in Cameroon’s capital for more than fifty-seven years. Although he lost his sight to cataracts in 2007, Michel Kameni (c. 1935–2020) claimed to remember details about each and every one of the more than 120,000 photographs he made over the years. This depth of understanding is revealed in his extraordinarily sensitive portraits.

From its founding in 1963, Kameni’s studio attracted a true cross-section of society—men and women of power along with the burgeoning middle class, Christians and Muslims alike, from farmers to businesspeople. Brimming with optimism and full of humor, his pictures show shifting tastes in fashion and material possessions, changes in deep-seated family structures and gender roles, and the proud entry of women into the workforce. Seen together, they affirm the humanity and dynamism of postcolonial Africa, the extraordinary promise of newly independent Cameroon, and the hopes and dreams of its residents.

Made up entirely of unique vintage prints selected from the Kameni archive, this small exhibition shows the artist’s remarkable sensitivity as a portraitist as well as his technical virtuosity. Rich in educational possibilities, it engages themes of family, gender, personal identity, social structure, ethnicity, fashion, consumerism, colonialism and its aftermath, and West African history and culture.

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AB OV E

Untitled vintage gelatin silver print

CU R AT O R I A L : A S SIS TA NCE . A DV IS O RY. E X H I BI T IO NS .

“We see in his images the dreams and aspirations of a nation in transition, new musical influences and western fashions, a natural fusion between the tradition and the modern.”

All About Photo

AB OVE

WO R K S

42 artworks DIMENSIONS

18 × 14 ins (45 × 35 cm) SPACE R E QU I R E M E N T S

Approximately 120 linear feet (36 linear meters)

Untitled (Two Women Holding Hands), 1970 vintage gelatin silver print TOP RIGH T

Untitled (Double Portrait), 1966 vintage gelatin silver print RIGH T

Untitled (Sunglasses), 1970 vintage gelatin silver print

I NQU I R I E S

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One Gallery

CIRCLE OF TRUTH 49 Paintings Ending with Ed Ruscha CU R AT E D BY

Laura Hipke, American artist, curator and author Shane Guffogg, Los Angeles-based artist and curator

AB OV E

Shane Guffogg 1, 2009 oil on linen

E X H I BI T IO N OV E RV I E W

Circle of Truth is the visual equivalent of the childhood game where a message is whispered in the ear of a first person, then relayed to a second person, a third, and so on until the original message becomes so mangled by its reinterpretation that by the time it arrives at its final understanding the words hardly bear any resemblance to the original.

This domino chain started with a source painting created

by Circle of Truth co-curator Shane Guffogg, whose work was delivered anonymously, along with a blank canvas, to the second artist in “the Circle.” Each subsequent artist then received an identical package: the anonymously created previous artist’s painting, a blank canvas, and the instructions to find and paint their response to the “truth” that they saw in the first painting. This chain was repeated to some 49 artists over a period of nine years.

The resulting exhibition and accompanying catalogue provides a compelling insight into the creative process.

The particular vision each artist brings to this Circle of Truth shows us just how differently we all see the world.

Sequentially hung from the first painting, Shane Guffogg’s musing on the spatial ratio of the golden mean evolved to painting number 49 by Ed Ruscha who muses on an alternative truth with his work titled In.

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This visual dialogue conducted by some of our leading contemporary artists could not be more relevant in a time when “fake news” has become the currency of the media.

It raises questions of perception, integrity, authenticity and the state of ethical values in contemporary society. Perhaps we come away with the idea that “truth” itself is relative. Or perhaps the Circle of Truth asks us a series of larger questions such as: “What is our responsibility to preserve truth? How does the subtle erosion of our belief in ‘truth’ affect us?” The Circle of Truth asks us to join in the conversation and decide for ourselves where we stand.

The project engages educational themes including color and color theory, painting techniques, and the meaning and importance of different forms of communication and art.

I MAGE 1

I MAGE 2

I MAGE 3

Lisa Adams #2, 2009 oil on linen

Margaret Lazzari #3, 2009 acrylic on linen

Michelle Weinstein #8, 2009 mixed media on linen

I MAGE 4

I MAGE 5

I MAGE 6

Ruth Weisberg #10, 2010 oil on linen

Justin Bower #32, 2011 oil on linen

Lita Albuquerque #33, 2011 oil on linen

I MAGE 7

I MAGE 8

I MAGE 9

Kim Abeles #34, 2011 mixed media on linen

Juan Carlos Munoz Hernandez #25, 2010 mixed media on linen

Ed Ruscha #49, 2016 acrylic on linen

CU R AT O R I A L : A S SIS TA NCE . A DV IS O RY. E X H I BI T IO NS .

“Circle of Truth redefines what ‘immersive’ can mean.

Following the numbers on the walls feels like you’re going on a scavenger hunt or putting together a puzzle that’s challenging, but not impossible, to solve.”

Jeffrey Edalatpour, Metroactive

WO R K S

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49 framed artworks (oil, acrylic and mixed media) 1 exhibition crate D I M E NSIO NS

20 × 20 ins (51 × 51 cm) SPACE R E QU I R E M E N T S

163 linear feet (50 linear meters) E X H I BI T O R R E S OU RCE S

Prospectus E D UCAT IO N A L PRO GR A M M I NG

Select artists available for lectures and panel discussions I NS TA L L AT IO N

Works are hung in chronological order with accompanying labels Labels include artists’ notes.

Checklist cannot be modified I NQU I R I E S

exhibitions@curatorial.org +1–626–577–0 044 FEE

Please inquire

2 0 2 4 –2 0 2 5 PRO SPE C T US

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CU R AT O R I A L : A S SIS TA NCE . A DV IS O RY. E X H I BI T IO NS .

Circle of Truth: 49 Paintings Ending with Ed Ruscha L to R: Justin Bower, #32, 2011, oil on linen; Lita Albuquerque, #33, 2011, oil on linen; and Kim Abeles #34, 2011, mixed media on linen 2 0 2 4 –2 0 2 5 PRO SPE C T US

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31

One Gallery

PAT O’NEILL: Cars and Other Problems CU R AT E D BY

Graham Howe, CEO, Curatorial

E X H I BI T IO N OV E RV I E W

Seen with irony and dry wit, Pat O’Neill's photographs of automobiles, billboards, storefronts, torn posters, graffiti and car junkyards provide a fresh and often humorous window into 1960s car culture.

Best known as a pioneer of experimental cinema in the 1960s and 70s, O’Neill was known for his layered cinematic printing techniques, radically transforming film imagery in anticipation of the digital era, and evoking an expanded sense of memory, time and space. Now, for the first time ever, we see a selection of the still photographs that formed the basis for O’Neill’s cinematic oeuvre.

A native of Los Angeles, the spiritual homeland of the motor vehicle, O'Neill found his enigmatic images across the paved metropolitan wastelands of his own city, and on cross-country road trips. Revealing a palpable discontent beneath the surface of the nation's brave new image, these photographs stand alone as insightful visions of the mid-twentieth century urban landscape, designed for, and scaled to, the automobile.

O’Neill studied painting, sculpture and graphic arts including photography and film at the University of California, Los Angeles, in the late 1950s and early 1960s. Digitally remastered and printed under the artist's supervision, these highly enjoyable photographs address educational issues including the American dream, consumerism, travel and leisure.

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AB OVE

WO R K S

30 photographs; 1 video

Los Angeles, 1960s archival pigment print

D I M E NSIO NS

20 × 24 ins (50 × 60 cm) SPACE R E QU I R E M E N T S

120 linear feet (10 linear meters) I NQU I R I E S

exhibitions@curatorial.org +1– 62 6 – 57 7– 0 0 4 4 FEE

Please inquire

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TOP

Los Angeles, 1960s archival pigment print LEFT

Los Angeles, 1960s archival pigment print AB OV E

Eastern California, 1960s archival pigment print

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New Jersey, 1960s archival pigment print 2 0 2 4 –2 0 2 5 PRO SPE C T US

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32

One Gallery

DAIDO MORIYAMA: BLACK SHADOW

E X H I BI T IO N OV E RV I E W

Widely recognized as one of the leading photographers of the twentieth and twenty-first centuries, Daido Moriyama has had a decisive role in photographic practice, and in shaping the perception of Japan and its people. His grainy, out of focus, and irregularly composed black and white images present fragments of Japanese life in stark contrast to the traditional view of the country, and the meticulously crafted aesthetics of much traditional Japanese art. Nevertheless, they succeed as few others do in capturing the dizzying vitality of the country and its people.

WO R K S

Approx. 40 photographs D I M E NSIO NS

Various SPACE R E QU I R E M E N T S

250 linear feet (75 linear meters) E D UCAT IO N A L PRO GR A M M I NG

Curator available for lectures and panel discussions E X H I BI T O R R E S OU RCE S

Illustrated catalogue is planned I NQU I R I E S

This small exhibition combines masterful works from across Moriyama’s career, including his famous involvement with the experimental magazine Provoke, and later key works.

It includes linchpin images such as Stray Dog, Misawa, (1971) Children Who are Too Grownup, (1968) and Accident, (1969) combined with rarely seen gems, such as Fedora, Tokyo, (1980) and the stunning motorcycle photograph, Black Shadow (1974). It also includes striking, 30 x 40 inch prints made specifically for museum exhibition.

exhibitions@curatorial.org +1– 62 6 – 57 7– 0 0 44 FEE

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Black Shadow engages with educational themes including Japanese life and culture, “Americanization” and consumer culture, and post-war reconstruction. It also explores questions around social-documentary approaches to photography, representation and meaning.

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OP P O SITE

Children Who Are Too Grownup, 1968 gelatin silver print TOP

Black Shadow, 1974 gelatin silver print AB OVE

Tomei Expressway The Road that Divides People, 1969 gelatin silver print

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ACK NOW L E D GE M E N T S

363 exhibitions.

21,016,203 visitors.

36 years.

I NQU I R I ES

SEN IOR S TA F F

I N T ER NSH I P

Assistance. Advisory. Exhibitions.

Graham Howe, Founder & CEO

We host a robust internship program designed to inspire creative communication, and provide working experience and networking opportunities. For more information, please email info@curatorial.com.

113 East Union Street Pasadena, California, 91103 US 4 Cromwell Place London, SW7 2JE, UK Telephone: +1– 62 6 – 57 7– 9 6 9 6 info@curatorial.com curatorial.com

Phillip Prodger, Executive Director, Curatorial Exhibitions Marika Lundeberg, Executive Assistant & Exhibitions Manager Myles Little, Manager, Exhibitions Outreach Natalia Leal Delgado, Art Collections Manager Mark S. Melville, Archivist Maxfield Smith, Art Services Sales Manager Jacob Yanit, Art Services Manager

SP ONSORSH I P Curatorial Assistance Traveling Exhibitions is dedicated to offering the public access to some of the most important art from the past century which is often overlooked. Only a portion of CATE’s budget is met through the participation fees paid by renting venues.

General operating income and exhibitions are supported in part through contributions and grants from individuals, foundations and corporations including the National Endowment for the Arts, the Getty Foundation, JPMorgan Chase, the Ahmanson Foundation and the Thrive Foundation for Youth.

pp. 1, 32, 52–55 © André de Dienes/MUUS Collection © Alfred Wertheimer/MUUS Collection

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CU R AT O R I A L : A S SIS TA NCE . A DV IS O RY. E X H I BI T IO NS .

C ON T R I BU T I NG SCHOL A RS

Julie Crooks, Art Gallery of Ontario

Michael Aird, University of Queensland

Keith F. Davis, Hallmark Collection and Nelson-Atkins Museum (former)

Georgia Atienza, National Portrait Gallery, London Martin Barnes, Victoria & Albert Museum Makeda Best, Oakland Museum of California Susan Bright, Independent Curator, London Mirjam Brusius, German Historical Institute, London Daniell Cornell, Palm Springs Art Museum (former) Sérgio Burgi, Instituto Moreira Salles Jimena Canales, University of Illinois Urbana-Champaign Irina Chmyreva, Museum of Fine Arts, Houston Judith Nangala Crispin, artist and poet

2 0 2 4 –2 0 2 5 PRO SPE C T US

Deepali Dewan, Royal Ontario Museum Judy Ditner, Yale University Art Gallery Martyn Ewoma, artist and critic, Lisa Hostetler, George Eastman Museum (former) Berkley Hudson, University of Missouri, Columbia Barbara Johns, Tacoma Art Museum, Washington (former) Toby Jurovics, Barry Lopez Foundation for Art & Environment Deborah Klochko, The Museum of Photographic Arts, San Diego (former) Stacey Lambrow, Loewentheil Collection

Catlin Langford, Centre for Contemporary Photography, Melbourne/Naarm

Brett Rogers, The Photographers’ Gallery, London (former)

Ekaterina Lavrentieva, Moscow State Stroganov Academy of Design and Applied Arts

Richard Rinehart, Samek Art Museum at Bucknell University

Kenneth R. Lister, Royal Ontario Museum (former) Eric Lutz, Saint Louis Art Museum Sophie Lynch, University of Chicago Lissa Mitchell, The Museum of New Zealand, Te Papa Tongarewa

Alexander Supartono, Edinburgh Napier University Charmaine Toh, National Gallery Singapore Urs Stahel, MAST Bologna Diane Waggoner, National Gallery of Art, Washington Deborah Willis, Tisch School of the Arts, NYU

Douglas McCulloh, Independent Curator Renée Mussai, The Walther Collection Yasufumi Nakamori, Asia Society, New York Gael Newton, National Gallery of Australia (former) Terence Pepper, National Portrait Gallery, London (former)

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SEL EC T ED CL I EN T EL E We have had the privilege of working with thousands of artists, collectors, museums, universities and corporate entities from around the world.

Academy of Motion Picture Arts & Sciences, Los Angeles American Institute for Conservation, Washington, DC Amon Carter Museum, Fort Worth Art Gallery of Ontario, Toronto British Council, London Brooklyn Museum of Art, New York California African American Museum, Los Angeles Center for Creative Photography, Tucson Detroit Institute of Arts DOX Centre for Contemporary Art, Prague Fowler Museum at UCLA, Los Angeles

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Frank Lloyd Wright Foundation, Scottsdale

Mississippi Museum of Art, Jackson

The Photographers' Gallery, London

Huntington Library, Art Museum, and Botanical Gardens, San Marino

Museum of Contemporary Art, Los Angeles

UNESCO, Paris

International Center of Photography, New York Eastman Museum Rochester, New York Finnish Museum of Photography, Helsinki The Getty Conservation Institute, Los Angeles Hasselblad Center for Photography, Göteborg Japanese American National Museum, Los Angeles Kiyosato Museum of Photographic Arts, Yamanashi

Museum of Fine Arts, Boston Museum of Modern Art, New York

Victoria & Albert Museum, London Walker Art Center, Minneapolis Wallis Annenberg Center for the Performing Arts, Los Angeles

Photo Elysée, Lausanne National Gallery of Australia, Canberra, ACT

Walt Disney Studios, Burbank

National Museum of Photography, Copenhagen Pacific Design Center, Los Angeles Princeton University Art Museum Rencontres d'Arles Royal Ontario Museum, Toronto

Library of Congress, Washington, DC

Smithsonian Institution, Washington, DC

Metropolitan Museum of Art, New York

San Francisco Museum of Modern Art

Mingei International Museum, San Diego

Tel Aviv Museum of Art

CU R AT O R I A L : A S SIS TA NCE . A DV IS O RY. E X H I BI T IO NS .

Assistance. Advisory. Exhibitions.

113 East Union Street, Pasadena, California 91103 US 4 Cromwell Place, London, SW7 2JE, UK T. +1-626-577-9696 info@curatorial.com curatorial.com 2 0 2 4 –2 0 2 5 PRO SPE C T US

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