| | | |  | | | Lalla Essaydi
Harem #10, 2009
chromogenic print mounted to aluminum and coated in laminate, 48 x 60 in.
Courtesy of the Artist and Edwynn Houk Gallery, New York | | | The Big Picture: Photography’s Moment | | | | | | | ... until 5 March 2023 | | |  | | | | | | | | | |  | | | Bill Cunningham
Untitled, 1966
Gelatin silver print
10 x 8 in.
The Bill Cunningham Foundation
Courtesy of Bruce Silverstein Gallery, New York | | | | | | In a major survey exhibition, Nassau County Museum of Art presents masterpieces from 100 years of photography history. It spans the medium’s historical roots (Ansel Adams and his generation) to the large-scale color works of major contemporary artists. From the documentary to the painterly, the assembled images bear witness to the times and multiple genres through portraiture, landscape, science and photojournalism.
The rise of photography in the art world is an international phenomenon. The many facets of photography as a medium are brought together in this museum presentation of considerable range and diversity. Drawing on major private and public collections as well as gallery holdings, the exhibition covers the medium's historic breakthroughs, from its beginnings in black and white to its explosion onto the contemporary art scene with large-scale color works.
Photography is accessible: anyone with a smartphone has access to its creative and documentary possibilities. "The Big Picture: Photography’s Moment" shows it at its peak, bringing together the iconic works of master photographers from the 20th and 21st centuries , and tracing the technological innovations that have pushed the boundaries of its medium.
The generations of artists from America, Asia, Europe, North Africa, represented in the exhibition are as diverse as their subjects: beginning with a tribute to canonical greats such as Ansel Adams, Alfred Stieglitz, Berenice Abbott and Man Ray, the intimate small-format prints (mostly made by the artists themselves) reveal the technical and compositional skill that puts photography's success on par with painting. | | | | | |  | | | Thomas Struth
The von Aretin Family, Berlin, 2020
Inkjet print, Image: 59 7/8 x 80 1/4 in.; Frame: 63 1/2 x 83 7/8 x 1 7/8 in.
Courtesy of the Artist and Marian Goodman Gallery | | | | | | A stunning gallery of works by Lewis Hine, Dorothea Lange, Walker Evans, Edward Weston and Robert Capa (one of the Magnificent 11 shots from D-Day 1944), many from the finest private collections as well as from the Magnum agency, recalls the Golden Age of photography. Their powerful contributions to bearing witness to history as it unfolded in front of their cameras lay the foundation for the show.
Then the exhibition moves into large-scale color prints by James Casebere, Gregory Crewdson, Ahmet Ertuğ, Candida Höfer, Thomas Ruff and others, that take viewers into impressive scientific and architectural interiors. Or to Thomas Struth's new family portraits, which reveal the artist's special interest in family life with its psychological entanglements.
A gallery of Bernd and Hilla Becher, the famous teachers of Candida Höfer, Ruff and Struth at the Düsseldorf Photo School, offers precise portraits of European industrial plants.
Yongliang Yang works with digital manipulation, referencing scenes from traditional Chinese landscape paintings and literary sources in his vast dream-like panorama. | | | | | |  | | | YANG Yongliang
Peach Blossom Colony No.1, 2011
Inkjet print, 33 3/8 x 92 1/8 in., framed: 42 1/4 x 97 1/4 in.
Courtesy of the artist | | | | | | Sarah Charlesworth and Laurie Simmons are two important representatives of the Pictures Generation group of artists whose photographic realism challenges stereotypes of American culture.
Highlights of the show include a spectacular, large-scale portrait by Lalla Essaydi that explores the way women are portrayed in the Muslim world, and a moving installation by Christian Boltanski in which electric light bulbs cast a seemingly bittersweet light on images of female Holocaust victims.
Beauty and horror are also close companions in the work of Bettina WitteVeen, whose visual poems explore, among other things, the effects of modern warfare. Her photograph of what appears at first glance to be a paradisiacal beach landscape on the Caribbean island of Vieques traces one of the U.S. military’s greatest environmental, judicial, and political scandals.
The exhibition also celebrates the creative life and takes us into the studios of famous artists: Constantin Brâncuși in a rare self-portrait, Roy Lichtenstein at work while Laurie Lambrecht quietly photographs, captivating portraits of Ernest Haas, Bernard Gotfryd, John Jonas Gruen, Hans Namuth of greats such as Lee Krasner, Alexander Calder, Jackson Pollock, Andy Warhol, Barnett Newman, Robert Rauschenberg, Francis Bacon and others. | | | | | |  | | | Bettina WitteVeen
Vieques, Puerto Rico, US Navy Amphibious Training Range
Part of “When We Were Soldiers…once and young”
installation at Brooklyn Navy Yard, 2015
C-Print 27 x 27 in.
Courtesy of the artist | | | | | | unsubscribe here
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