| | | |  | | | | An-My Lê (American, born Vietnam, 1960), High School Students after Black Lives Matter Protest, Lafayette Park, Washington, D.C., 2020, pigmented inkjet print, High Museum of Art, Atlanta, commissioned with funds from the Forward Arts Foundationfor the Picturing the South series, 2021.143. © An-My Lê. | | | | | A Long Arc | | | | Photography and the American South since 1845 | | | | | | | 15 September 2023 – 14 January 2024 | | | |
| |  | | | | | | | | | |  | | | RaMell Ross (American, born 1982), iHome, 2013
pigmented inkjet print, High Museum of Art, Atlanta,
purchase with funds from the Marilyn and Donald Keough Family Foundation, 2022.159.
© RaMell Ross. | | | | | | | The South has occupied an uneasy place in the history of photography as both an example of regional exceptionalism and as the crucible from which American identity has been forged. As the first major survey of Southern photography in twenty-five years, this exhibition will examine that complicated history and reveal the South’s critical impact on the evolution of the medium, posing timely questions about American culture and character. | | | | | |  | | | | Charles Moore (American, 1931–2010), Martin Luther King Jr. Arrested, Montgomery, Alabama, 1958, gelatin silver print, High Museum of Art, Atlanta, purchase with funds from Lucinda W. Bunnen for the Bunnen Collection, 1994.63.© Estate of the artist. | | | | | | | Featuring many works from the High’s extensive collection, A Long Arc will include photographs of the American Civil War, which transformed the practice of photography across the nation and established visual codes for articulating national identity and expressing collective trauma. Photographs from the 1930s to the 1950s, featuring many created for the Farm Security Administration, will demonstrate how that era defined a new kind of documentary aesthetic that dominated American photography for decades and included jarring and unsettling pictures that exposed economic and racial disparities. With works drawn from the High’s unparalleled collection of civil rights–era photography, the exhibition will show how photographs of the movement in the decade that followed galvanized the nation with raw depictions of violence and the struggle for justice. Contemporary photography featured in the exhibition will demonstrate how photographers working today continue to explore Southern history and themes to grasp American identity. | | | | | |  | | | William Henry Jackson (American, 1843–1942)
St. Charles Street, New Orleans, 1900,
chromolithograph, High Museum of Art, Atlanta,
gift of Joshua Mann Pailet in memory of Charlotte Mann Pailet (1924–1999), 1999.176. | | | | | | unsubscribe here
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