Category Archives: PHOTOGRAPHY


A THOUSAND CROSSINGS—a major survey of the work of Sally Mann, organized by the National Gallery of Art in Washington, D.C., and the Peabody Essex Museum in Salem, Massachussetts—will be at Jeu de Paume for three more weeks.

The exhibition catalog is edited by the show’s curators—Sarah Greenough and Sarah Kennel—and includes essays by Hilton Als, Malcolm Daniel, Drew Gilpin Faust, Greenough, and Kennel.


Through September 22.

Jeu de Paume

1, place de la Concorde, 8th, Paris.

Sally Mann, A Thousand Crossings, Jeu de Paume, June–September 2019, from top: Bean’s Bottom, circa 1991B; Deep South, Untitled (Scarred Tree), 1998, gelatin silver print, National Gallery of Art; Jessie #25, 2004, gelatin silver print, National Gallery of Art; Cherry Tomatoes, 1991, gelatin silver print, National Gallery of Art, Corcoran Collection; Bean’s Bottom, circa 1991; Bloody Nose, 1991, silver dye bleach print; Semaphore, 2003, gelatin silver print, Museum of Fine Arts, Houston; Sally Mann, A Thousand Crossings exhibition catalog, Deep South, Untitled (Stick), 1998, cover image, courtesy of the National Gallery of Art; The Two Virginias #4, 1991, gelatin silver print; Beulah Baptist, 2008–2016, gelatin silver print, collection of the artist. Images courtesy and © Sally Mann.


NOTES ON FUNDAMENTAL JOY—a new book project by Carmen Winant featuring the photographs of Joan E. Biren (JEB), Clytia Fuller, Tee Corinne, Ruth Mountaingrove, Katie Niles, Carol Osmer, Honey Lee Cottrell and more—documents “a community of women/womyn in their collective embrace of the ‘back to the land’ movement. Through the lens of pervasive image-making—women holding cameras, women taking pictures of women—the project considers the radical potential of social and political optimism predicated on the absence of men.”*

Featuring essays by Winant and Ariel Goldberg, NOTES is out now from Printed Matter.


The book’s full title is Notes on Fundamental Joy; seeking the elimination of oppression through the social and political transformation of the patriarchy that otherwise threatens to bury us.

Carmen Winant, Notes on Fundamental Joy, images courtesy and © the photographers, the author, and the publisher. Cover image at top.


REVERIES—an exhibition of work by the highly influential photographer and filmmaker James Bidgood (try imagining Pierre et Gilles or David LaChapelle without him)—will be up for two more weeks at the Museum of Sex in Manhattan. The show was curated by Lissa Rivera and the artistic director was Serge Becker.

Bidgood’s work is so self-contained that it appears to exist outside of time. Historical referents and views of exteriors hardly impinge at all on his visual world; and yet Bidgood was very much a man of his era. He contributed lush color photographs to magazines such as Muscleboy and The Young Physique during their vogue in the early 1960s. He began work on PINK NARCISSUS in 1963. That year, Jack Smith finished Flaming Creatures and shot Normal Love, Andy Warhol began making films, and Kenneth Anger directed Scorpio Rising; the following year Susan Sontag would publish “Notes on ‘Camp.’ ” 

As the ’60s were happening outside his door, Bidgood was shooting mainly inside, in his cramped Hell’s Kitchen apartment, constantly augmenting and revising his elaborate sets and compositions to approximate the baroque ideal he envisioned. — William E. Jones


Through September 8.

Museum of Sex

233 Fifth Avenue (at 27th Street), New York City.

James Bidgood, from top: Lobster (Jay Garvin), from the series Water Colors, circa early 1960s, digital C-print; Pan (Bobby Kendall), circa late 1960s, digital C-print; Double Image (Kendall), from the series Test Shots, circa early 1960s, digital C-print; Willow Tree (Bruce Kirkman, detail), circa 1965, digital C-print; Street Scene from Pink Narcissus (1971), circa late-1960s; backstage during the filming of Pink Narcissus, contact sheet, circa 1960s; ; Cyclist Sprawled on Tiles in Front of Urinals from Pink Narcissus (Trate Farell), circa mid-1960s; Smoking, Sandcastles (Kendall and Garvin), circa 1960s, digital C-print; Bobby Kendall Seated in Chair Holding Phone, circa mid-1960s; Pearl, Water Colors (Garvin), circa early 1960s; Mythical Woodland, Snake Silhouetted by Moon (Blue Moon), circa late-1960s. Images courtesy and © the artist, ClampArt, New York, and Kelly McKaig.


This week in the Fairfax District, celebrate the first anniversary of the pop-up gallery Superposition with founder Storm Ascher.

A new group exhibition BOILING POINT, curated by Ascher, will go up on August 23—with an opening party the following evening—and the work will be on view through August 28, when the gallery will host an artist talk.

BOILING POINT artists include Razan Al Sarraf, Lorenzo Baker, Jessica Bellamy, Layo Bright, Alli Conrad, Jake Couri, Martin Alexander Spratlen Etem, Liam Fox, David Grainger, Melanie Keay, Myles Loftin, Mel Luna, Ed Maximus, Jheyda McGarrell, Eilen Itzel Mena, Eden Miller, Nelson Munares, Haleigh Nickerson, Ugochukwu Onyewuchi, Kasia Ozga, Sebastian Perinotti, RFX1, John Rivas, Jaklin Romine, Reva Santo, Marcus Leslie Singleton, and Sinjun Strom.


Saturday, August 24, from 7 pm to 10 pm.


Wednesday, August 28, from 11:30 am to 12:30 pm.


1056 South Fairfax Avenue, Los Angeles.

Boiling Point, Superposition, August 2019, from top: Melanie Keay, Birth of Boredom, 2019; Razan Al Sarraf, 12/100 Portrait Series, 2018 (left) and Martin Alexander Spratlen Etem, From prejudice rules, to King’s jewels, our nation’s reflecting pool, turned profound swimming pools, to good kids m.a.a.d cities, 2019; John Rivas, Untitled (Monstu), 2019; Sebastian Perinotti, Untitled (Three Polaroids), 2013, detail; Nelson Munares, Glassworks series, 2018; Jessica Bellamy, Kind of Hardcore, 2019; Marcus Leslie SingletonGetting Ready, 2018. Images courtesy and © the artists and Superposition Gallery.


This is the closing week of AVENGERS—SOMEONE LEFT THE CAKE OUT IN THE RAIN, a group show at Gaga & Reena Spaulings Fine Art, Los Angeles.

The exhibition features photographs by Julie Becker and Reynaldo Rivera—including several from the Cha Cha Girls ’87 series—prints by Juliana Huxtable, Stephen Willats, and Felix Bernstein & Gabe Rubin, paintings by Jill Mulleady, Mayo Thompson, and Bedros Yeretzian & Nicole-Antonia Spagnola, multimedia works by Harry Dodge, Megan Plunkett, Matthew Langan-Peck, and Larry Johnson, and videos by Ken Okiishi and Gary Indiana.

In addition, Hedi El Kholti’s Collage sketchbook #10 is here, as well as ABC Pong, Bernadette Corporation’s table piece, featuring audio by Sylvère Lotringer.

On closing night the gallery will host a video program, with work by Alexander Kluge, Alex Hubbard, and exhibition artists Dodge, Huxtable, Indiana, and Spagnola.


Through Saturday, August 10.

Video program:

Saturday, August 10, at 8 pm.

Gaga & Reena Spaulings Fine Art

2228 W. 7th Street, 2nd Floor (entrance on South Grand View Street), Los Angeles.

Avengers—Someone Left the Cake Out in the Rain, 2019, from top: Matthew Langan-Peck, Untitled, 2019, digital C-print, wood, acrylic, oil paint; Mayo Thompson, Alligator & Turtle, 2019, gouache on canvas; installation view with Juliana Huxtable’s prints The Feminist Scam, 2017 (left) and The War on Proof, 2017, on wall and Bernadette Corporation’s ABC Pong in foreground; Megan Plunkett, The Encounter 01/The Prime Mover, 2019; installation view; Jill Mulleady, A Place in the Sun (Larry), 2019, oil on linen; Larry Johnson, Untitled (Century Schoolbook, Annotated), 1991, foamcore, photo mechanical transfer, rubber cement, ink, paint; installation view with Hedi El Kholti’s Collage sketchbook #10, 2015–2019, on stand; Mayo Thompson (2), Column and Bather, both 2019, gouache on canvas; Felix Bernstein & Gabe Rubin, Free Dissociation II, 2019, inkjet print; Reynaldo Rivera, Untitled (Fausto), inkjet print; installation view with four C-prints by Julie Becker from her The Same Room series; Felix Bernstein & Gabe Rubin, Free Dissociation I, 2019, inkjet print; Harry Dodge, The Gross Part (Stencil Series), 2015, plexiglass, primer, paint, UV-proof varnish, polished aluminum frame; Ken Okiishi, Being and/or Time, 2013–2016, HD video, 17 minutes, 15 seconds; Matthew Langan-Peck, J-U-, 2019, silkscreen on aluminum, wood,acrylic, oil paint, LED; installation view with Gary Indiana’s 2014 digital video Stanley Park on left. Images courtesy and © the artists and Gaga & Reena Spaulings Fine Art, Los Angeles. Special thanks to Jacob Eisenmann.