The Centre National des Arts Plastiques (CNAP) in France presents Número tres: de la casa a la fábrica, a group show of photography and video exploring the interplay of professional and domestic spheres and spaces as well as their representation, featuring work by Robert Adams, Darren Almond, Maria Thereza Alves, and many more.

Número tres, which opens next Thursday, May 31, 2012 at La Virreina Centre de la Imatge in Barcelona (on view through September 30), was inspired in part, and plays off of Jean-Luc Godard’s 1975 film Numéro Duex. Godard’s acclaimed experimental piece explores links between work and home, machines and people, and the power struggles of an ordinary French family. It presents two juxtaposed “observations” shot on video and played back on two side-by-side monitors which were then simultaneously recorded on 35 mm film.

Given the delocalized role of the factory in today’s multinational economy and society, Número tres offers an opportunity for the reconsideration of these links. “Through a selection of contemporary representations of domestic life, urban landscapes, and gestures of love and labor,” according to the press release, “the exhibition traces new paths from house to factory, from home to work, between these two spaces that are so far apart and yet so close.”

In related programing, CNAP presents Número cuatro/Pantallas paralelas, a panel discussion exploring art, texts, and theoretical work that addresses the privatization of public space, and the publicizing of private space, curated by Pascal Beausse, Curator of Photographic Collections, CNAP and Pascale Cassagnau, Curator of cinema, video, new media, CNAP. More info on date and time to be announced here.

Robert Adams, whose classic monographs The New West (2008) and Summer Nights, Walking (2009) were recently reissued by Aperture, also has a traveling retrospective, The Place We Live, currently on view through June 3, 2012 at LACMA, organized by the Yale University Art Gallery, profiled here by Time’s LightBox.

Adams’ work is also featured in Aperture issues 197, 180, 169 and 168.

Número tres: de la casa a la fábrica
Exhibition on view:
May 31 – September 30, 2012

La Virreina Centre de la Imatge
La Rambla 99
Barcelona, Spain

Aperture aggregates the best posts from this past week in the photography blogosphere.

• Time’s Lightbox profiles ‘Act’: Meditations on the Disabled Body by Denis Darzacq, a two-year project of photographing “people who have had trouble finding a place in society from the beginning of their lives,” he says. The Paris-based photographer known for his high-energy images and dynamic subjects will be giving an artist talk at Aperture this Monday, April 16, 2012 at 6:30 pm, FREE.
• Kathy Ryan, editor of The New York Times Magazine Photographs, shares the fascinating backstory of a photograph of Mohammad Ali with his future wife Lonnie that ran in the Sunday Magazine, taken at “the moment Cassius and I met,”  Lonnie wrote in an email to the photographer, Steve Schapiro.
• The New Yorker‘s photo department shares a collection of reader-submitted, “Hand-Picked Instagrams,” (as Wall Street Journal did last week, and more publications probably will in the future) alongside a thought-provoking essay by Ian Crouch, “Instagram’s Instant Nostalgia.” This, in the same week New York Times’ Bits Blog reports Facebook will buy Instagram for $1 billion.
• The British Journal of Photography reports on a controversial ad campaign for photographers’ rights launched by the French organization Union des Photographes Professionnels – Auteurs. In related news this week, the American Society of Media Photographers has filed a class action lawsuit against Google, PetaPixel reports, for “scanning, indexing, and storing copyright work without permission of the copyright holders” for their ambitions Google Books project.
• DIY gallerists take note: Phototuts+ shares “An Expert Guide to Matting and Framing a Photo,” which should be useful after you’ve watched their video lecture on Ansel Adams–delivered by Allan Ross who was Adams’ darkroom assistant for many years–and printed a bunch of restrained, expertly metered black-and-white landscape photographs of your own.
• American Suburb X shares a number of Nan Goldin readings this week, including an essay by Nan on actress and close friend Cookie Mueller who died of AIDS in 1989, as well as a fascinating in-depth paper by Mihaela Precup, “The Wound Which Speaks of Unremembered Time: Nan Goldin’s Cookie Portfolio and the Autobiographics of Mourning.” All great reads; our only quibble is: where did they come from? [UPDATE: ASX has appended the source of one of the pieces, created originally by Dirck Halstead at the once-pioneering web journal digitaljournalist.org]
• The John Simon Guggenheim Memorial Foundation announce their 2012 Fellowships in photography, PDN Pulse reports. Ten photographers, including Doug Dubois of the monograph All the Days and Nights, and John Gossage, whose exhibition The Pond and a Little Romance opens today in Chicago, join the ranks of past recipients Robert Frank, Diane Arbus, Robert Adams, Richard Mosse, Brian Ulrich, and Penelope Umbrico.

Aperture aggregates the best posts from this past week in the photography blogosphere.

• LensBlog explores why Rodrigo Abd‘s photograph of a young Syrian boy expressing grief over the death of his father landed on the front page of three of the most prominent national papers in the United States.

• Time magazine’s photo blog Lightbox celebrated it’s one year anniversary, revisiting their first post and the continuing saga of War is Personal by legendary photojournalist Eugene Richards, of the controversial 1994 Aperture monograph Cocaine True, Cocaine Blue.

• Conscientious, GalleristNY and LVP Magazine weigh in on Cindy Sherman’s retrospective at MOMA and on the “unanimity” among critics in New York reviewing it.

• One year after a devastating tsunami hit the coast of Japan on March 11, 2011, The New York Times does a “Side-by-Side look at Distruction and Renewal.” The Big Picture at Boston.com, Huffington Post, National Geographic, and The New Yorker ran similar posts, as did Time’s Lightbox, featuring a slideshow of photos by James Nachtwey, whose work is in The New York Times Magazine Photographs (Aperture 2011) edited by Kathy Ryan.

• NPR prompts the question: “You know Ansel, But Who is Robert Adams (And Why Should You Care)?” Bob Adams, of the recently reissued Aperture monographs The New West and Summer Nights, Walking, has a traveling retrospective The Place We Live now on view at the Los Angeles County Museum of Art.

• Sarah Palmer was just announced winner of the Aperture 2011 Portfolio Prize for her series As a Real House. Read her 2009 review of Eirik Johnson’s Sawdust Mountain, Robert Adam’s Summer Nights and Joel Meyerowitz’s Legacy, from when she was editor at Metropolis Magazine.

• Finally, Jonathan Blaustein‘s intensely personal column on APhotoEditor.com reviewing Donald Weber‘s beautifully put together photobook Interrogations is one of the best-written posts we’ve read all week. Interrogations will also be reviewed in the upcoming second issue of The Photobook Review.

A1-29 (A1-The Great North Road), 1982, © Paul Graham

Photographer Paul Graham has been named the 2012 recipient of the Hasselblad Award, the first British photographer to win the prominent international prize.

Graham, hailing from Buckinghamshire, is a pioneer of color documentary photography in 1980’s Britain, influencing successive generations of young photographers. Self-taught, he grew up studying the works of American pioneers, Walker Evans, Robert Frank, and Paul Strand. A-1 The Great Road North, a color series shot along the British motorway and Beyond Caring, a string of photographs shot in unemployment offices, were projects that brought Graham to critical and international acclaim in the early 80’s.

More recently, Graham’s work has become purposely abstruse as he challenges preconceived notions of the ‘style’ of documentary photography. The most exaggerated example is American Night. The series, shot in 2003, explores social and racial issues of the United States through over-exposed images that appear almost invisible. “The photography I most respect pulls something out of the ether of nothingness,” Graham states. American Night is featured in Graham’s body of work that is a part of the exhibition trilogy, The Present, now being exhibited at the Pace/MacGill gallery in New York City.

With the acceptance of this award, Graham joins the ranks of noted past winners and Aperture published photographers, Robert Adams, William Eggleston, and Nan Goldin.

Graham discusses his career and fresh photography in Aperture issue 199.

Paris Street View #7, 2009. © Michael Wolf

Hail Traveler! The Photographer as Tourist, and the Tourist as Subject

Exhibition on View:
July 7–August 12, 2011

Rick Wester Fine Art:
511 W 25th Street, Suite 205
New York, NY
(212) 255-5560

The new exhibit at RWFA, Hail Traveler! The Photographer as Tourist, and the Tourist as Subject, focuses on the wandering spirit of photography. The exhibit features an eclectic group of photographers, including artists published by Aperture: Robert Adams has been featured in several issues of Aperture (most recently 180) and his Aperture books include Along Some Rivers, Summer Nights, and The New West; the work of Richard Avedon was featured in issue 188 and the upcoming book The Unseen Eye; Hiroshi Sugimoto’s was featured in issue 178 and he contributed an essay to the book Setting Sun; and Aperture offers Michael Wolf’s book The Transparent City and three of his limited-edition prints A039, TC Composite #1, and Nine Rooms.

© Joel Sternfeld, A Railroad Artifact, 30th St, May 2000
Section 2 of New York City’s High Line is now open and there’s an entrance on West 28th Street, just around the corner from Aperture Gallery and Bookstore on 27th St. Wednesday, June 8th was the first full day that the new section was open to the public with summer hours from 7:00 am to 11:00 pm.

At West 18th Street check out Joel Sternfeld’s A Railroad Artifact, 30th St, May 2000 the first work in Sternfeld’s project Landscape with Path, which documented the High Line before it was converted. This image, which celebrates the transformation of the High Line into an urban walkway, can be seen on a large 25-by-75 foot billboard. Sternfeld has invited two other artists, Robert Adams and Darren Almond, to pick up where he left off and create new work . Adams and Almond’s work will be exhibited on the same billboard in August and October respectively.

Another Joel Sternfeld project, Oxbow Archive, that meditates on seasonality in the age of climate change, was featured in Aperture magazine 192.

Robert Frank
Rodeo, New York City, 1954, printed c. 1954

Great Photographs of the 20th Century: From the Street will feature work by Robert Adams, Richard Avedon, Bernd and Hilla Becher, Robert Frank, Lee Friedlander, Abbas Kiarostami, Lisette Model and Gary Winogrand.

Exhibition on view
May 19 – July 1, 2011

Reception and Panel Discussion:
Wednesday, May 25, 2011
Reception at 5:30 pm
Panel discussion at 6:30 pm

Hasted Kraeutler
537 West 24th Street
New York, NY

LaToya Ruby Frazier (Save Our Community Hospital) Campaign for UPMC Braddock Hospital 2011

Always The Young Strangers

Higher Pictures presents Always the Young Strangers, an exhibition of 17 young artists. The exhibition is modeled after and takes its name from a show curated by Edward Steichen at the Museum of Modern Art in 1953. The work in our show is cohesive, chaotic and expansive. The artists are highly tuned-in, producing work that vaporizes the traditional 20th century approach to medium and style. For the artist today, these have entered the hyper-real – they leave us only with references to medium and style. Aided by technologies beyond the camera, their art discloses a hybridized world made by hand. Collectively this work feels and speaks of individuality and possibility.

Erica Allen, Cortney Andrews, Talia Chetrit, Jessica Eaton, LaToya Ruby Frazier, Anna Krachey, Jessica Labatte, Andrea Longacre-White, Aspen Mays, MPA + Katherine Hubbard, Yamini Nayar, Emily Roysdon, Carrie Schneider, Kate Steciw, Letha Wilson, Ann Woo.

Higher Pictures
764 Madison Avenue
New York

Opening reception: Thursday May 19, 6 – 9 pm
Exhibition on view: May 19 through July 9, 2011

Arthur Ou, untitled (Screen Test 1) 2007, courtesy the artist

The exhibition Undressing the World presented by Conveyor will feature Aaron Gustafson, Arthur Ou, Christine Shank, David Horvitz, Elizabeth Bick, George Pitts, Haley Bueschlen, Hrvoje Slovenc, Laura Bell, Leif Huron, Nicholas Alan Cope, Penelope Umbrico, Simone Douglas, Claudia Sohrens, Sophie Barbasch, Stephen Cardinal, and Sylvia Hardy.

The launch party will kick off with a performance by Hypercolor.

Conveyor will be hosting a series of artist talks, live music and perhaps even performance art throughout the weekend at 25CPW.

Stay tuned to our website for more details: www.conveyorarts.org

Conveyor is an organization dedicated to supporting photographic-based artists, through the production and circulation of new works in the medium. In partnership with Conveyor Print Space, we provide artists with opportunities for printing, exhibition and publication.

The Conveyor Magazine Issue One {Curiosities} includes Review on the Photographic Universe Conference: Images and Writing from Arthur Ou, Penelope Umbrico, Andrea Geyer, Wafaa Bilal, Lorne Blythe, Daniel Small, Luca Antonucci and Simone Douglas.

Click here to purchase the Penelope Umbrico Photographs book.

Primary Photographic Gallery is pleased to present “2001″ an exhibition of photographs by New York photographer Tim Barber.

Opening reception: Thursday, May 19th, 6-10pm

Exhibition on view: May 19th – June 15th

Tim Barber grew up in Amherst Massachusetts, lived for a few years in the mountains of Northern Vermont, studied photography in Vancouver B.C. and now lives in New York City. A photographer, curator and designer, Barber runs the online gallery and image archive tinyvices.com, where visitors are encouraged to submit their photographs and artwork. He is represented in the US and UK by Webber Represents.

Following this show Barber will be curating a series of solo exhibitions for Primary Photographic Gallery featuring the artists Asger Carlsen, Brooke Smith, Greg Halpern and Kate Steciw. Stay tuned for schedule information.

Primary Photographic Gallery
195 Chrystie St.
New York, NY 10002

Zen Photography workshop at Apeiron, ca. 1979. Front row, 3rd from left: workshop leader John Daido Loori; 5th from left (hand above eyes): Apeiron founder Peter Schlessinger, who later helped Loori found the Zen Mountain Center in Woodstock, New York. Both were students of Minor White. (Photograph courtesy Apeiron archives)

Forty years ago, shortly after working for a year and a half as an editorial assistant at Aperture (and using many of the contacts he’d made there), Peter Schlessinger opened a photography-workshop center called Apeiron Workshops. Located two hours north of New York City in Millerton, N.Y., and based on methods of focusing attention taught by Aperture’s editor, Minor White, Apeiron offered immersive residential programs of various lengths. Its summer programs offered workshops with an A-list of creative photographers of the time, including Berenice Abbott, Robert Adams, Diane Arbus, Paul Caponigro, Linda Connor, Judy Dater, Robert Frank, Lee Friedlander, Ralph Gibson, Emmet Gowin, Robert Heinecken, Elaine Mayes, Lisette Model, Aaron Siskind, Frederick Sommer, and Garry Winogrand, plus Magnum photographers Charles Harbutt, Mary Ellen Mark, Susan Meiselas, Gilles Peress, and Burk Uzzle. Eventually, Apeiron would also run longer (three-month) spring and fall programs, teach in the public schools, offer a selection of traveling exhibitions, run specialized workshops for teachers, and offer theoretical conferences. During its 12-year tenure, Apeiron published Linda Connor’s first book, Solos, and mounted one of the largest NEA-funded photographic surveys, The Long Island Project. Always run on a shoestring and the heroic commitment of its near-volunteer staff, it closed in 1982 as interest rates hit 18 percent and President Reagan slashed the NEA’s funding.

This coming Labor Day weekend, a reunion open to all who ever participated (as staff, students, workshop leaders, artists-in-residence, or special-project staff) is being held at a conference center in the mountains outside Asheville, North Carolina. Anyone who falls into one or more of the aforementioned categories is encouraged to contact Benjamin Porter at apeironreunion@gmail.com or call him at 828-281-1825 for full information.

Copyright Robert Adams

50 photographs from Robert Adam’s exquisite series Summer Nights, Walking will be on view at Matthew Marks Gallery in Chelsea.

This collection of nocturnal landscapes, originally published by Aperture in 1985 as Summer Nights, was recently revisited by the photographer on the occasion of the books second release as Summer Nights, Walking which was co-published by Aperture and Yale University Art Gallery this past fall.

The exhibition at Matthew Marks Gallery of  Summer Nights, Walking updates the work in light of this new edition for which the photographer re-sequenced and re-edited the images, adding thirty-nine previously unpublished photographs.

The exhibit opens this Friday, February 5 and will run through April 17^th.

Robert Adams: Summer Nights, Walking
Opening reception: Friday, February 5th, 6:00PM – 8:00PM

Matthew Marks Gallery
523 West 24th street
New York, New York

Buy Robert Adams Summer Nights, Walking

The winter issue of Aperture magazine, #197, explores the important relationship between photography and the performative. Writer Greil Marcus looks at that relationship as he considers the score for Nan Goldin’s seminal slide show, The Ballad of Sexual Dependency.  Carrie Mae Weems’s projects are just as personal; she uses her films and photographs to express the nuances of her existence as a black woman and explore the undercurrents of power.

Richard Brody, staff writer at the New Yorker, examines the photographs of Raymond Cauchetier, the renowned photographer whose documentation of the French New Wave scene offered behind-the-scenes looks at Jean-Luc Godard, Francois Truffaut, and other groundbreaking directors.

Francine Prose speaks with Maira Kalman about the artist’s use of photography and illustration; Anthony Downey discusses contemporary Iranian photographers; photographer Andrew Moore reports on the decline and decay of the city of Detroit and its surrounding areas; and innovative fashion photographer Nick Knight is interviewed by Diane Smyth on his career and process.  Also, Robert Adams revisits his classic series of nocturnes featured in his newly published edition Summer Nights, Walking, in an interview with Joshua Chuang.

Click to view web-exclusive: Anthony Downey on the June 2009 Green Revolution in Iran.

**  Reader challenge:  In which year did Nan Goldin present her groundbreaking slide show, Ballad of Sexual Dependency? **

Pick up your copy of Aperture magazine at newsstands nationwide, order issue #197,  or subscribe here.

To order a one-year gift subscription to Aperture magazine for a family member or friend at 50% off the regular price, click here!

To help support and educate young photographers by donating a one-year subscription to a school or library at 50% off the regular price, click here!