Curatorial Catalogue 2024-25

Assistance. Advisory. Exhibitions.

2024–2025 PROSPECTUS

Curatorial

113 East Union Street Pasadena, California, 91103 US

4 Cromwell Place London, SW7 2JE, UK

Telephone: +1–626–577–9696

info@curatorial.com curatorial.com

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

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-fve years, Curatorial has provided high quality f ne 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 efciency and economy of having your fne 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 ofers expert artist, estate and collection management for private and institutional clients.

At the heart of the company, our 501(c)(3) nonproft Curatorial Exhibitions provides meaningful, engaging and cost-efective 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.

TOP Curatorial Main Ofce in Pasadena, California, 2021.

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

OUR MISSION

Curatorial is dedicated to creating afordable, 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.

Assistance

Curatorial provides professional fne 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.

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.

SERVICES OFFERED BY CURATORIAL :

Crating and Packing

Display Fabrication

Fine Art Shipping

Fine Art Storage

Installation and Handling

Framing, Mounting and Matting

Digital Photo Lab

CONTACT

assistance@curatorial.com

+1–626–577–9696

ArtCrates

and other economical packing solutions

Our innovative crate design experts have developed a full range of fne 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 specifcally for the secure, safe and economical transport of all types of fne art objects.

CUSTOM ARTCRATES™

With their unique hardshell exteriors, ArtCrates™ are highly versatile enclosures that can be built to virtually any size and confgured 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 ARTCRATES™

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

TRADITIONAL WOODEN CRATES

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.

Custom fabrication for your art display

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

We produce your bespoke pedestals and plinths, vitrines, foor and wall cabinets and more, with capabilities that include lathe machining and fberglass 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.

DISPLAY PEDESTALS & VITRINES

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

Move your art anywhere

SERVICES :

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

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

You beneft from decades of art-moving experience, including the movement of all types of fne 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 fne art shipments between any locations worldwide. Transportation can be arranged through our own feet of trucks, assuring the most responsive and reliable service.

White glove fne art handlers and commercial carriers

US Customs import/export documentation and fling

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

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

Low-profle, high-security fne art storage

Protect your artwork with Curatorial’s museum-quality concierge fne 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 staf of experts provides secure professional storage spaces and care for canvas paintings, vertical and horizontal art, fat fle art prints, photographs, sculptures, archival documents, collectibles, musical instruments and more. Combining a low-profle presence with high-level security, our two fne 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 STORAGE FACILITIES :

Climate-controlled environment monitored 24 hours a day

Inspection and approval by major fne 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 fre suppression systems

Vertical storage racks and fat fle 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 confdentiality

Clients have access to our full complement of art services and our museum-trained staf and creative departments

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 sta f of experts assure that art of any type, size or medium is handled with exquisite skill and care.

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

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 ofers 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.

STANDARD ARTFRAMES™

Available for same-day shipment in most cases, these classic museum frames are made of fne wood moldings and are spline-joined and crafted to enhance your art-viewing experience. All frames are available in black or white satinpainted fnish, and in a cofee-walnut fnish. ArtFrames™ come standard with glass, backing board, and a rear-ftting bevel strainer sealed against of-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.

CUSTOM FRAMES

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 fnishes, featuring American woods from sustainably managed sources, so the frame provides the optimal visual presentation of the artwork while afording archival protection. Choose from a wide variety of archival boards, moldings and fnishes, or be expertly guided by one of our framing specialists.

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.

DIGITAL CAPTURE

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.

PRINTING

A selection of diferent 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.

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 signifcance and investment value of your valuable assets.

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.

SELECTED COLLECTIONS MANAGED BY CURATORIAL :

Solander Collection

E.O. Hoppé Estate Collection

Vaslav Nijinsky Estate Collection

Paul Outerbridge Estate Collection

Hans Burkhardt Estate Collection

Greg Gorman Archive

Roger Stefens Reggae Collection

Ernst Haas Estate Collection

Robert Heinecken Collection

The Beard/Sankofa Collection

Graham Nash Collection

assistance@curatorial.com

+1–626–577–9696

Publications

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

SELECTED PUBLICATIONS :

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 Stefens’ Reggae Archives

TITANIC: The Exhibition, City of Memphis

BOOKS FROM THE E.O. HOPPÉ ESTATE COLLECTION:

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

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 fexible 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 efective system.

Clients have access to Curatorial’s full complement of art services, as well as to our highly trained staf 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, fne art printing, and conservation services. Keep your assets preserved, documented and organized to enhance their value and accessibility for future generations.

DIGITAL MANAGEMENT

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 defne 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.

DOCUMENTATION

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 feld 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.

CATALOGUING & 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.

Exhibitions

Curatorial Exhibitions provides art museums, cultural and educational institutions with access to afordable, 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.

363 exhibitions. 21,016,203 visitors. 36 years.

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

Herb Alpert: Totems ACE Gallery, Beverly Hills, California

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

JERRY UELSMANN COUNTERCULTURE

Photographs 1960s–70s

TODD WEBB: PARIS 1948–52

MURRAY FREDERICKS: TIME’S PASSAGE

16

PARRWORLD

17

by

MANGA DREAMS Fantastical Portraits by Anderson & Low 19

GHOSTS OF SEGREGATION

Photographs by Rich Frishman

20

22 PALETTES Robert

23

21

THIS EMPTY WORLD Photographs by Nick Brandt

SIGHT UNSEEN International Photography by Blind Artists

Weingarten

CHILDREN OF GRASS A Portrait of American Poetry

POSING BEAUTY IN AFRICAN AMERICAN CULTURE

LUMINOUS Early Color Photographs by Paul Outerbridge

DUANE MICHALS

The Portraitist 27

WHERE CHILDREN SLEEP

Photographs by James Mollison

Small, afordable and impactful: One Gallery

Introducing economically sized and priced One Gallery exhibitions.

With participation fees as low as $8,000, we currently have fve exhibitions specifcally 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

ONE GALLERY EXHIBITIONS : 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

DIANE ARBUS: 10 YEARS

DAIDO MORIYAMA: BLACK SHADOW

CIRCLE OF TRUTH 49 Paintings Ending with Ed Ruscha

MICHEL KAMENI Portraits of an Independent Africa

PAT O'NEILL: CARS AND OTHER PROBLEMS

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 diferent backgrounds whose art has historically been underappreciated, overlooked, or forgotten, yet is deserving of museum-quality care, management and attention

B.A. Van Sise

Joan Naviyuk Kane, 2017

From Children of Grass: A Portrait of American Poetry

AN ALTERNATIVE HISTORY OF PHOTOGRAPHY

CURATED BY

Director

EXHIBITION OVERVIEW

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 fne art, scientifc, 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.

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 “frsts” and spans photography’s early decades with linchpin works by Hippolyte Bayard, Julia Margaret Cameron, Sir John Herschel and William Henry Fox Talbot.

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.

Phillip Prodger, Executive

of Curatorial Exhibitions and former Head of Photographs at the National Portrait Gallery, London

All works courtesy of the Solander Collection

ABOVE James Barnor

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

TOP Emilio Amero

A Bride Dances, 1937

vintage gelatin silver print

BELOW LEFT

Malick Sidibé

Untitled (Two men), 1974

vintage gelatin silver print

BELOW RIGHT

Roy Decarava

Lonely Women, 1960

vintage gelatin silver print

LOWER LEFT

Stefan Korwin

Botanical Studies of Medicinal Plants, c. 1920s from folio of vintage gelatin silver prints

LOWER RIGHT

Madame Gelot-Sandoz

Philosophy, after Raphael, c. 1843 daguerreotype, half plate

WORKS 100-150 photographs

DIMENSIONS

Various

SPACE REQUIREMENTS 330 to 500 linear feet (100 to 150 linear meters)

EDUCATIONAL PROGRAMMING Curator available for lectures and panel discussions

INQUIRIES

exhibitions@curatorial.org

+1–626–577–0044

FEE

Please inquire

Virginia Oldoïni

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

SCREEN TIME Photography and Video Art in the Internet Age

Rinehart,

All works are generously loaned by THE EKARD COLLECTION

EXHIBITION OVERVIEW

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-frst 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 infuenced by the internet age that are in turn selfobsessed, skeptical, nostalgic and funny.

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 infuence, inseparable from contemporary social conditions. They ask what it means to be a photographer when everyone is an Instagram infuencer; 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 ofers many diferent 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.

CURATED BY Richard

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

ABOVE Christian Marclay Telephones, 1995 single-channel video

WORKS

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

DIMENSIONS

Various

SPACE REQUIREMENTS

250 linear feet (76 linear meters)

EXHIBITOR RESOURCES

Exhibition catalogue available

EDUCATIONAL PROGRAMMING

Curators available for lectures

INQUIRIES

exhibitions@curatorial.org +1–626–577–0044

FEE

Please inquire

TOP Puck Verkade Plague, 2019 single-channel video

BELOW

William Kentridge Anti Mercator, 2010/2011 high-defnition flm transferred to video

Screen Time: Photography and Video Art in the Internet Age Princeton University Art Museum Princeton, New Jersey

MR. PRUITT’S POSSUM TOWN: Trouble and Resilience in the American South

CURATED BY

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

EXHIBITION OVERVIEW

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 prolifcally 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

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, fres, 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, flm, 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.

“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

WORKS

100 photographic prints

Archival flm footage and contemporary video

DIME NSIONS

Frames 11 × 14 ins (28 × 36 cm) to 30 × 40 ins (76 × 100 cm)

SPACE REQUIREMENTS

Approximately 330 linear feet (100 linear meters)

EDUCATIONAL PROGRAMMING

Curator available for lectures and panel discussions

INQUIRIES

exhibitions@curatorial.org +1–626–577–0044

FEE

Please inquire

Grocery store interior, 1940s archival pigment print

TOP Studio portrait of a woman archival pigment print

“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

OPPOSITE Marie's Dancing Beauties archival pigment print

MARILYN | ELVIS Mirror Image

CURATED BY Phillip Prodger, Executive Director

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, defning male and female for generations...

This major, groundbreaking exhibition, drawn from the defnitive 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 frst 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 briefy engaged). As a result, the photographs they made share an insider’s view of who Marilyn and Elvis were, not just as public fgures, but also as individuals. They have a genuine, personal quality unparalleled in any other portrayals.

The exhibition is organized into sections, allowing visitors to see Marilyn and Elvis with fresh eyes. It begins with some of the very frst 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 fgures 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.

of Curatorial Exhibitions and former Head of Photographs at the National Portrait Gallery, London

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

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

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

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

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

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

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

WORKS

Approx. 120 photographs

DIMENSIONS

Various

SPACE REQUIREMENTS

500 linear feet (150 linear meters)

EDUCATIONAL PROGRAMMING

Curator available for lectures and panel discussions

INQUIRIES

exhibitions@curatorial.org +1–626–577–0044

FEE

Please inquire

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

ABOVE Alfred Wertheimer Untitled (Elvis Presley), Warwick Hotel, New York City March 17, 1956 gelatin silver print

QUEER: Portraits of Boundary-breaking Individuals by E.O. Hoppé

CURATED BY

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

EXHIBITION OVERVIEW

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 fgures 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.

Other remarkable personalities, like the androgynous artist Alan Odle, scandalous Salome dancer Maud Allan, Russian/British royal Lady Nadejda Mountbatten and the irrepressible, famboyant “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 fnd inspiration and representation in their historical predecessors.

Shown together in this exhibition for the frst 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-fuidity 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.

WORKS

57 platinum prints from the original negatives

DIME NSIONS

20 × 16 ins (50 × 40 cm)

SPACE REQUIREMENTS

150 linear feet (46 linear meters)

EXHIBITOR RESOURCES

Prospectus

EDUCATIONAL PROGRAMMING

Curator available for lectures

INQUIRIES

exhibitions@curatorial.org

+1–626–577–0044

FEE Please inquire

OPPOSITE TOP

Stephen Tennant, 1922 platinum palladium print

TOP Marion Morgan Dancers, 1923 platinum palladium print

ABOVE Willy Clarkson, c. 1913 platinum palladium print

ABOVE RIGHT Vita Sackville-West, 1916 platinum palladium print

RIGHT Gluck, 1924 platinum palladium print

SEARCH & CREATE: Vale, RE/Search, and the Rise of the DIY Movement, 1977-1984

CURATED BY Graham Larkin, Guest Curator

EXHIBITION OVERVIEW

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 afeld 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 afordable avant-garde publication.

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

Search & Create charts this cultural ferment by displaying the fnished publications alongside the ravishing layout pages— variously called fats, paste-ups and mechanicals—that were used to produce published pages. The "fats" 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 fgures in late twentieth-century music and literature, collage, publication, zine culture, and the DIY movement. It also profles an important, but underappreciated JapaneseAmerican artist, musician, and publisher.

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

WORKS

+/- 100 works on paper and objects

DIMENS IONS Various

SPACE REQUIREMENTS

Up to 525 linear feet (175 linear meters)

EXHIBITOR RESOURCES

Illustrated catalogue is planned

EDUCATIONAL PROGRAMMING

Publisher V. Vale and the curator are available for lectures and panel discussions

INQUIRIES exhibitions@curatorial.org

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OPPOSITE TOP Collage advertisement for Devo at Rather Ripped Records. Published in RE/Search #10, 1978 collage on paper

OPPOSITE BOTTOM Boyd Rice of Non, 1980 collage on paper Photo by Ruby Ray BELOW German Electronic Music Chart by Mary Svirsky, published in RE/Search #2, 1979 collage on paper

FREE AS THEY WANT TO BE Artists Committed to Memory

Finley, PhD, Director

EXHIBITION OVERVIEW

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 flm 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 ofers a view of a people who expressed their desire to be free in early photographic portraits.

This exhibition acknowledges artists’ ongoing eforts 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.

Free as they want to be addresses the making and uses of photographic archives, the narratives they tell and the parameters that defne them as objects of study. Social and economic histories as well as experiences of race, class, gender and sexuality afect the construction, acquisition and maintenance of archives and their ability to infuence 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 ferce engagement with archival research. The exhibition creates a framework in which to reimagine and refect on historical events, as well as public and personal memory.

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.

CURATED BY Cheryl

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

OPPOSITE 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

BOTTOM

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

WORKS

Approx. 70 objects; 3 videos

DIMENSI ONS

Various

SPACE REQUIREMENTS

220 linear feet (68 linear meters)

PUBLICATION

Free as they want to be: Artists Committed to Memory (Damiani, June 2022)

EDUCATIONAL PROGRAMMING

Curators available for lectures and panel discussions

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Hank Willis Thomas Exodus, 2019

lenticular

Image courtesy of The Gordon Parks Foundation

THE DAY MAY BREAK: Photographs by Nick Brandt

EXHIBITION OVERVIEW

One of two exhibitions ofered 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 afected by climate change—some displaced by cyclones that destroyed their homes and others, displaced and impoverished by years-long severe droughts. Shot at fve sanctuaries/ conservancies, the animals are almost all long-term rescues as a result of everything from habitat destruction to wildlife trafcking. 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 of 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.

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.

WORKS +/- 60 framed photographs

D IMENSIONS Various

SPACE REQUIREMENTS

Up to 500 linear feet (152 linear meters)

THEMATIC SECTIONS

Chapter One - Zimbabwe and Kenya

Chapter Two - Bolivia

Chapter Three - Fiji

EDUCATIONAL PROGRAMMING

Artist available for lectures and panel discussions

INQUIRIES

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ABOVE LEFT Serafna Holding her Brother Keanan, Fiji, 2023 archival pigment print

ABOVE RIGHT Petero by Clif, Fiji, 2023 archival pigment print

LEFT

Serafna at Table, Fiji, 2023 archival pigment print

UNDER A SOUTHERN STAR: Identity and Environment

in Australian Photography

CURATED 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

EXHIBITION OVERVIEW

As one of the most diverse, multicultural countries in the world today, Australia is a place where artists examine their past to fnd 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.

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.

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 Mofatt 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.

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-afrming 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.

OPPOSITE

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

LEFT Tobias Titz

Edie Ulrich, 2018 inkjet print from Polaroid 665

BELOW Tracey Mofatt The Bunker, 2019 chromogenic print

Comprised of a diverse array of visually striking techniques— solarization, digitally altered photo tableaux, daguerreotypes, inscribed Polaroids and street portraits taken on grainy 35mm flm, 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.

WORKS

82 framed works, 2 digital videos

DIMENS IONS

20 × 16 ins (50 × 40 cm) to 94 × 50 ins (240 × 130 cm)

SPACE REQUIREMENTS

Up to 525 linear feet (175 linear meters)

EXHIBITOR RESOURCES

Prospectus

EDUCATIONAL PROGRAMMING

Curators available for lectures and panel discussions

INQUIRIES exhibitions@curatorial.org

+1–626–577–0044

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BOTERO: The Passion of Christ

PRODUCED IN ASSOCIATION WITH

GLOCAL Project Consulting, Rome

EXHIBITION OVERVIEW

For two years, between 2010 and 2011, famed Colombian artist Fernando Botero produced one of his most signifcant 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 fgures in Western art history, including Paul Cézanne, Pablo Picasso, Peter Paul Rubens, Paolo Uccello and Diego Velázquez.

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.

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 frst 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.

All works courtesy of the Museum of Antioquia, Medellín

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

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

WORKS

61 total; 27 paintings & 34 drawings

DIMENSI ONS

Various

SPACE REQUIREMENTS 142 linear feet (43 linear meters)

INQUIRIES exhibitions@curatorial.org +1–626–577–0044

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LEFT

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

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

BOTERO: The Passion of Christ Palazzo delle Esposizioni Rome, Italy

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

CURATED BY Anne Morin, Director of DiChroma Photography, Madrid

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 fction 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

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-fve 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 fction and representation.

OPPOSITE TOP Andy Warhol/ Green Marilyn (1962), 2014 silkscreen

ABOVE Man Ray/ Tears (1932), 2017 pigment print

WORKS

61 photographs

DIMENSIONS

Various

SPACE REQUIREMENTS

150 linear feet (46 linear meters)

EXHIBITOR RESOURCES

Illustrated catalogue is planned

INQUIRIES exhibitions@curatorial.org

+1–626–577–0044

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

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

JERRY UELSMANN COUNTERCULTURE

Photographs

1960s–70s

CURATED BY

EXHIBITION OVERVIEW

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 frst 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. Refecting 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.

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.

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

WORKS

100 framed photographs

DIM ENSIONS

20 × 16 ins (50 × 40 cm)

SPACE REQUIREMENTS

350 linear feet (100 linear meters)

INQUIRIES

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OPPOSITE Untitled, 1971 gelatin silver print

LEFT Untitled, 1969 gelatin silver print

BELOW In search of a cause, 1966 gelatin silver print

LEFT

Untitled, 1964

gelatin silver print

OPPOSITE TOP Myth of the Tree, 1963 gelatin silver print

OPPOSITE BOTTOM

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

TODD WEBB: PARIS 1948–52

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.

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 Moufetard 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 flm posters to Communist cries for opposition to German rearmament.

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.

WORKS

+/- 95 framed photographs

DIMENSI ONS

16 × 20 ins (40 × 50 cm) to 20 × 24 ins (50 × 60 cm)

SPACE REQUIREMENTS

280 linear feet (24 linear meters)

EXHIBITOR RESOURCES

Prospectus

EDUCATIONAL PROGRAMMING

Curator available for lectures and panel discussions

INQUIRIES

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

RIGHT Café on Champs Elysées, Paris, 1949 archival pigment print

BELOW LEFT Rue Alesia, Paris, 1949 archival pigment print

BELOW RIGHT Rue des Plantes, Paris, 1950 archival pigment print

MURRAY FREDERICKS: TIME’S PASSAGE

EXHIBITION OVERVIEW

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 transfxed by the miasmal northern lights in his Borealis, seeing how we are fxed on Earth and how life becomes a space-time continuum. Australia’s remote Lake Eyre with its featureless, salt-encrusted surface stretches outward to infnity. 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 mufed. We become disoriented, aware that without gravity holding us, we might simply foat of into space. It is these sensations that Fredericks articulates so clearly in his transformative landscapes: antidotes for urban self-absorption.

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

WORKS

4 videos for in-gallery projection

15 large-scale photographs

2 “Behind the scenes” videos available, showing Fredericks producing the work

DIMENSI ONS

Photographs each approx. 60 x 40 ins

For monitor and projection specifcations, please inquire

SPACE REQUIREMENTS

280 linear feet (24 linear meters)

EXHIBITOR RESOURCES

Prospectus

EDUCATIONAL PROGRAMMING

Artist available for lectures and panel discussions

INQUIRIES

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CURATED BY Graham Howe, CEO, Curatorial

Murray Fredericks Array #11, 2018 digital pigment print

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

CURATED BY Lady Marina Vaizey, CBE

EXHIBITION OVERVIEW

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 suf rage 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 fgures 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 fatter his subjects, he aimed to be true to their character. His portraits feature fgures recognized for their pathfnding and frequently difcult 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.

Educational themes include recognition of pioneering women in various felds, and exploration of the changing roles of women in the suf rage era.

WORKS

40 platinum palladium prints

DIMENSI ONS 14 × 11 ins (35 × 28 cm) to 20 × 16 ins (50 × 40 cm)

SPACE REQUIREMENTS

Approximately 135 linear feet (12 linear meters)

INQUIRIES exhibitions@curatorial.org

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ABOVE

Dame Margot Fonteyn, ballet dancer, 1935

platinum palladium print

OPPOSITE TOP LEFT

Tilly Losch, Countess of Carnarvon, dancer and actor 1928 platinum palladium print

OPPOSITE TOP RIGHT

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

OPPOSITE BOTTOM LEFT

Dame Mary Bailey, aviator, 1929 platinum palladium print

OPPOSITE BOTTOM RIGHT

Käthe Kollwitz, artist, 1927 platinum palladium print

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

PARRWORLD Martin Parr

CURATED BY Phillip Prodger, Executive Director

EXHIBITION OVERVIEW

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-frst) 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.

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

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

WORKS

Approx. 150 photographs

DIMENSIONS Various

SPACE REQUIREMENTS 600 linear feet (180 linear meters)

EDUCATIONAL PROGRAMMING Artist available for lectures and panel discussions

EXHIBITOR RESOURCES Illustrated catalogue

INQUIRIES exhibitions@curatorial.org +1–626–577–0044

FEE

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of Curatorial Exhibitions and former Head of Photographs at the National Portrait Gallery, London

OPPOSITE Leaning Tower of Pisa, Italy (Small World), 1990 archival pigment print

ABOVE LEFT

O’Connell Bridge, Dublin, Ireland, 1981 archival pigment print

ABOVE RIGHT

Benidorm, Spain (Autoportrait), 1997 archival pigment print

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

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

Martin Parr

MANGA DREAMS: Fantastical Portraits by Anderson & Low

EXHIBITION OVERVIEW

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.

WORKS

35 photographs

DIMENSIONS

38 × 25 ins (96 × 63 cm) to 78 × 52 ins (200 × 132 cm)

SPACE REQUIREMENTS

300 linear feet (90 linear meters)

INQUIRIES

exhibitions@curatorial.org

+1–626–577–0044

FEE

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ABOVE Untitled (The Five Heroes), 2005 pigment print

BELOW Untitled (Ming with Sword), 2009 pigment print

“…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?”

LEFT Untitled (Steam Punks), 2009 pigment print

Manga Dreams: Fantastical Portraits by Anderson & Low Musée de la Civilization Montreal, Quebec, Canada

ESPRESSIONISMO: Masterworks of Italian Painting, 1919–42

EXHIBITION OVERVIEW

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 defnitive 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 confict, the loss of humanity, the power of color and the dramas of the time are addressed.

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

ORGANIZED BY

GLOCAL Project Consulting, Rome

All works courtesy of the Giuseppe Iannaccone Collection

ABOVE

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

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

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

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

GHOSTS OF SEGREGATION

Photographs by Rich Frishman

EXHIBITION OVERVIEW

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?”

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.

Implicit in this uniquely powerful project is the belief that together we have the capacity to rise above the deep-rooted ramifcations of slavery, “America’s original sin.” Frishman’s photographs speak to the complex and difcult 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.

Ghosts of Segregation is rich in educational content. Extended labels are provided for each work, explaining the signifcance 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.

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

WORKS

35 framed photographs

DIMENSI ONS

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

SPACE REQUIREMENTS

220 linear feet (68 linear meters)

EXHIBITOR RESOURCES

Prospectus

EDUCATIONAL PROGRAMMING

Artist available for lectures and panel discussions

INQUIRIES

exhibitions@curatorial.org

+1–626–577–0044

FEE

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

Rich Frishman

Colored Entrance, Seattle, Washington, 2020 archival pigment print

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

THIS EMPTY WORLD: Photographs by Nick

Brandt

EXHIBITION OVERVIEW

In the last century an enormous percentage of the world’s fora 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-of 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 sufering as victims of environmental devastation in the aftermath of progress. It is the emotional efectiveness of exhibitions such as This Empty World, hopefully, that will encourage humankind to place the natural world at the center of its global consciousness.

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

WORKS

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

DIMENSIONS

Frame sizes up to 60 × 130 ins (140 × 300 cm)

SPACE REQUIREMENTS

Up to 500 linear feet (150 linear meters)

EDUCATIONAL PROGRAMMING

Artist available for lectures and panel discussions

INQUIRIES exhibitions@curatorial.org

+1–626–577–0044

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“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

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

ABOVE Bus Station with Elephant in Dust, 2019 archival pigment print

This Empty World: Photographs by Nick Brandt Museum of Photographic Arts San Diego, California

SIGHT UNSEEN: International Photography by Blind Artists

CURATED BY

EXHIBITION OVERVIEW

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.

WORKS

121 photographs, 8 tactile illustrations

DIMENSIONS

8 × 10 ins (20 × 25 cm) to 48 × 57 ins (121 × 144 cm)

SPACE REQUIREMENTS

500 linear feet (153 linear meters)

INQUIRIES exhibitions@curatorial.org +1–626–577–0044

EXHIBITOR RESOURCES

Prospectus

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

EDUCATIONAL PROGRAMMING

Curator available for lectures

FEE

Please inquire

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

“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

BELOW

Seeing With Photography Collective Portrait of Alan chromogenic color prints

PALETTES Robert Weingarten

EXHIBITION OVERVIEW

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), foor 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.

WORKS

90 photographs

DIMENSIONS

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

SPACE REQUIREMENTS

700 linear feet (200 linear meters)

EDUCATIONAL PROGRAMMING

Artist is available for lectures and panel discussions

INQUIRIES

exhibitions@curatorial.org

+1–626–577–0044

FEE

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ABOVE LEFT Chuck Close #1, 2004 archival pigment print

LEFT Laura Owens #1, 2004 archival pigment print

OPPOSITE TOP Wayne Thiebaud (Paint Plates) #1, n.d. archival pigment print

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

CHILDREN OF GRASS A Portrait of American Poetry

EXHIBITION OVERVIEW

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 ofers 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 rifs 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 diferent forms of communication and art.

WORKS

50 photographs, 1 digital video

DIMENSIONS

16 × 24 ins (41 × 61 cm)

SPACE REQUIREMENTS

150 linear feet (46 linear meters)

EDUCATIONAL PROGRAMMING

Curator available for lectures and panel discussions

EXHIBITOR RESOURCES

Illustrated catalogue is planned

INQUIRIES exhibitions@curatorial.org

+1–626–577–0044

FEE

Please inquire

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, fowers 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 ofshoots 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 of 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-fesh, 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

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 frst time I see clearly the trail you planted, what ground opened to waste, though you dreamed a wealth of fowers.

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.

and trowel, sweet turned-down gas fame 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.

JOSEPH O. LEGASPI Imago

POSING BEAUTY IN AFRICAN AMERICAN CULTURE

EXHIBITION OVERVIEW

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, flm, 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 frst 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 refect upon the ambiguities of beauty, its impact on mass culture and individuals, and how the display of beauty afects 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.

WORKS

103 photographs, 2 videos

DI MENSIONS

Various

SPACE REQUIREMENTS

Up to 350 linear feet (108 linear meters)

BOOKING

Available until December 31, 2024

EXHIBITOR RESOURCES

Prospectus

EDUCATIONAL PROGRAMMING

Curator available for lectures

INQUIRIES

exhibitions@curatorial.org +1–626–577–0044

FEE

Please inquire

CURATED 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

TOP Lauren Kelley Pickin’, 2007 color-coupler print

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

“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

LUMINOUS Early Color Photographs by Paul Outerbridge

CURATED BY

Graham Howe, CEO, Curatorial

EXHIBITION OVERVIEW

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 infuential artists and thinkers of the day, including Georges Braque, Marcel Duchamp, Igor Stravinsky, Francis Picabia, Pablo Picasso and other fgures 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 infuence, 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.

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 infuence in art, photographic technique and the optics of color, as well as photographic and Modern art history.

WORKS

45 photographs

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

SPACE REQUIREMENTS

225 linear feet (70 linear meters)

EDUCATIONAL PROGRAMMING

Curators available for lectures and panel discussions

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

OPPOSITE

Kandinsky, 1935

tri-color carbon print

ABOVE

Woman with Red Shoes, c. 1936

tri-color carbon print

RIGHT Persephone, 1937

tri-color carbon print

DUANE MICHALS: The Portraitist

EXHIBITION OVERVIEW

Duane Michals: The Portraitist presents the frst comprehensive overview of inventive photographic portraits by one of the medium’s most infuential 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, refections, 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 fgures in late twentieth-century art, music and literature as well as issues of identity, performance, and social critique in media and popular culture.

WORKS

135 framed photographs

DIMENSIONS Various

SPACE REQUIREMENTS

405 linear feet (123 linear meters)

INQUIRIES exhibitions@curatorial.org

+1–626–577–0044

FEE

Please inquire

CURATED BY

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

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

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

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

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

Duane Michals: The Portraitist Finnish Museum of Photography Helsinki, Finland

WHERE CHILDREN SLEEP

Photographs by James Mollison

EXHIBITION OVERVIEW

In this revealing series of photographs, James Mollison invites us into the diverse stories of children in many diferent 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 defned 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 frst- 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.

WORKS

52 photographs (26 portraits, 26 bedrooms)

DIME NSIONS

Portraits: 23 × 29 ins (60 × 73 cm)

Bedrooms: 43 × 53 ins (110 × 136 cm)

SPACE REQUIREMENTS

288 linear feet (88 linear meters)

PUBLICATION

Where Children Sleep (Chris Boot, November 2010)

INQUIRIES

exhibitions@curatorial.org +1–626–577–0044

EXHIBITOR RESOURCES

Prospectus (Available upon request)

FEES

Please inquire

“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

FAR LEFT Risa, 15, Kyoto, Japan archival inkjet print

LEFT Risa, 15, Kyoto, Japan archival inkjet print

FAR LEFT Indira, 7, Kathmandu, Nepal archival inkjet print

LEFT Indira, 7, Kathmandu, Nepal archival inkjet print

FAR LEFT Prena, 14, Kathmandu, Nepal archival inkjet print

LEFT Prena, 14, Kathmandu, Nepal archival inkjet print

One Gallery

DIANE ARBUS: 10 YEARS

EXHIBITION OVERVIEW

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 fve 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 diference.

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

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

Works appear courtesy of the Gary Johns collection

OPPOSITE 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.

WORKS

28 framed photographs

DIM ENSIONS

20 × 16 ins (50 × 40 cm)

SPACE REQUIREMENTS

80 linear feet (25 linear meters)

INQUIRIES

exhibitions@curatorial.org

+1–626–577–0044

FEE

Please inquire

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

Diane Arbus

MICHEL KAMENI Portraits of an Independent Africa

EXHIBITION OVERVIEW

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 ffty-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 afrm 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.

All works courtesy of the Solander Collection

WORKS

42 artworks

DIMENSIONS 18 × 14 ins (45 × 35 cm)

SPACE REQUIREMENTS

Approximately 120 linear feet (36 linear meters)

INQUIRIES

exhibitions@curatorial.org +1–626–577–0044

FEE

Please inquire

ABOVE

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

TOP RIGHT

Untitled (Double Portrait), 1966 vintage gelatin silver print

RIGHT Untitled (Sunglasses), 1970 vintage gelatin silver print

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

One Gallery

CIRCLE OF TRUTH 49 Paintings Ending with Ed Ruscha

EXHIBITION OVERVIEW

Circle of Truth is the visual equivalent of the childhood game where a message is whispered in the ear of a frst 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 fnal 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 Gufogg, 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 fnd and paint their response to the “truth” that they saw in the frst 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 diferently we all see the world. Sequentially hung from the frst painting, Shane Gufogg’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.

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’ afect 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 diferent forms of communication and art.

IMAGE 1 Lisa Adams #2, 2009 oil on linen

Weinstein #8, 2009 mixed media on linen

Ruscha #49, 2016 acrylic on linen

ABOVE Shane Gufogg 1, 2009 oil on linen

CURATED BY

Laura Hipke, American artist, curator and author

Shane Gufogg, Los Angeles-based artist and curator

WORKS

49 framed artworks (oil, acrylic and mixed media)

1 exhibition crate

DIMENSIONS

20 × 20 ins (51 × 51 cm)

SPACE REQUIREMENTS

163 linear feet (50 linear meters)

EXHIBITOR RESOURCES

Prospectus

EDUCATIONAL PROGRAMMING

Select artists available for lectures and panel discussions

INSTALLATION

Works are hung in chronological order with accompanying labels

Labels include artists’ notes. Checklist cannot be modifed

INQUIRIES exhibitions@curatorial.org

+1–626–577–0044

FEE

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“Circle of Truth rede fnes 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.”

Jef rey Edalatpour, Metroactive

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

PAT O’NEILL: Cars and Other Problems

CURATED BY Graham Howe, CEO, Curatorial

EXHIBITION OVERVIEW

Seen with irony and dry wit, Pat O’Neill's photographs of automobiles, billboards, storefronts, torn posters, grafti 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 flm imagery in anticipation of the digital era, and evoking an expanded sense of memory, time and space. Now, for the frst 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 flm 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.

WORKS

30 photographs; 1 video

DIMENSI ONS

20 × 24 ins (50 × 60 cm)

SPACE REQUIREMENTS

120 linear feet (10 linear meters)

INQUIRIES exhibitions@curatorial.org

+1–626–577–0044

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One Gallery

DAIDO MORIYAMA: BLACK SHADOW

EXHIBITION OVERVIEW

Widely recognized as one of the leading photographers of the twentieth and twenty-frst 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.

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 specifcally for museum exhibition.

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.

WORKS

Approx. 40 photographs

DIMENSIONS

Various

SPACE REQUIREMENTS

250 linear feet (75 linear meters)

EDUCATIONAL PROGRAMMING

Curator available for lectures and panel discussions

EXHIBITOR RESOURCES

Illustrated catalogue is planned INQUIRIES exhibitions@curatorial.org

+1–626–577–0044

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363 exhibitions. 21,016,203 visitors. 36 years.

INQUIRIES

113 East Union Street Pasadena, California, 91103 US

4 Cromwell Place London, SW7 2JE, UK

Telephone: +1–626–577–9696 info@curatorial.com curatorial.com

pp. 1, 32, 52–55

© André de Dienes/MUUS Collection

© Alfred Wertheimer/MUUS Collection

SENIOR STAFF

Graham Howe, Founder & CEO

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

Maxfeld Smith, Art Services Sales Manager

Jacob Yanit, Art Services Manager

INTERNSHIP

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.

SPONSORSHIP

Curatorial Assistance Traveling Exhibitions is dedicated to ofering 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.

Assistance. Advisory. Exhibitions.

CONTRIBUTING SCHOLARS

Michael Aird, University of Queensland

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

Julie Crooks, Art Gallery of Ontario

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

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

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

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

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)

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

Richard Rinehart, Samek Art Museum at Bucknell University

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

SELECTED CLIENTELE

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

Frank Lloyd Wright Foundation, Scottsdale

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

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

Library of Congress, Washington, DC

Metropolitan Museum of Art, New York

Mingei International Museum, San Diego

Mississippi Museum of Art, Jackson

Museum of Contemporary Art, Los Angeles

Museum of Fine Arts, Boston

Museum of Modern Art, New York

Photo Elysée, Lausanne

National Gallery of Australia, Canberra, ACT

National Museum of Photography, Copenhagen

Pacifc Design Center, Los Angeles

Princeton University Art Museum

Rencontres d'Arles

Royal Ontario Museum, Toronto

Smithsonian Institution, Washington, DC

San Francisco Museum of Modern Art

Tel Aviv Museum of Art

The Photographers' Gallery, London

UNESCO, Paris

Victoria & Albert Museum, London

Walker Art Center, Minneapolis

Wallis Annenberg Center for the Performing Arts, Los Angeles

Walt Disney Studios, Burbank