10 THE ART NEWSPAPER SECTION 2 Number 284, November 2016
SPECIAL REPORT
PHOTOGRAPHY
PRESENTED BY AIPAD
March 30–April 2, 2017
March 29: Vernissage
Pier 94
New York City
AIPADShow.com
New York. The International Center
of Photography (ICP) reopened on the
Bowery, New York, in June in a ground-
floor space it bought for $23.5m. The new
venue has roughly the same amount of
exhibition space as the museum’s former
Midtown site, where its photography
school will stay until at least 2018.
The inaugural show, Public, Private,
Secret (until 8 January 2017), tackles sur-
veillance and the issue of privacy in the
digital age, mixing historical and con-
temporary works, and still and moving
images, with the first room devoted to
four video works. “For this new chapterof the organisation’s story it was impor-
tant that it tied its colours to the mast
of the social implications of our visual
world and not be too caught up with
whether its exhibitions will always
concentrate on the already culturally
validated sections of photography,”
says Charlotte Cotton, the ICP’s cura-
tor-in-residence. “The mission of theICP [founded in 1974] has always been
aligned with how photography impacts
on our understanding of the world.
“We brought together and combined
three types of content in the exhibition:
historical precedents, works by post-in-
ternet artists, and the curation of real-
time media streams. They’re animated
by each other and their context. The
central section—I guess the heart of the
exhibition—is bound up with an alter-
nate reading of a climate of surveillance,
and the ways in which social change is
being activated collectively.”
Gareth HarrisNew York’s ICP reopens with survey of surveillance
Curator Charlotte Cotton reveals the ideas behind the radical show
The exhibition includes John Houck’s video Portrait Landscape (2015)FIVE MORE PHOTOGRAPHY SHOWS COMING UP
Breaking News: Turning
the Lens on Mass Media
Getty Center, Los Angeles
(20 DECEMBER–30 APRIL 2017
The exhibition is framed by the me-
dia’s portrayal of military conlicts and
“the manipulation of information that
is presented as news, which everyone
consumes daily”, says its organiser
Arpad Kovacs, the assistant curator in
the Getty’s department of photogra-
phy. Beginning with the Vietnam
War and concluding with the War
on Terror, the show comprises more
than 250 photographs and videos
by 17 artists, such as Alfredo Jaar and
Sarah Charlesworth, including various
multi-part works and selections from
series created over several years.
Gabriella AngeletiOne and One Is Four: the Bauhaus
Photocollages of Josef Albers
Museum of Modern Art, New York
(23 NOVEMBER–2 APRIL 2017
Sixteen photocollages that Josef
Albers created at the Bauhaus are
on display in this focused exhibition,
which aims to demonstrate the art-
ist’s “pictorial restraint throughout his
career, and to encourage visitors to
linger over the nuances of each work”,
according to Sarah Meister, the pho-
tography curator at the Museum of
Modern Art (MoMA). The exhibition
unites three closely related collages
featuring Albers’s fellow artist Paul
Klee—one that has been in MoMA’s
collection since 1988, one acquired
by the museum last year and one lent
by the Albers Foundation.Brassaï—Graiti
Centre Pompidou, Paris
(9 NOVEMBER–30 JANUARY 2017
More than 70 photographs and
documents, dating from the 1930s to
the late 1950s, by the French-Hun-
garian artist and other photographers
interested in graiti, are featured in
this exhibition, which includes around
20 works by Brassaï that were never
published because of their political
nature. “At the time, he or his publish-
ers would have wanted to diminish
his interest in that aspect of graiti,”
says Karolina Ziebinska-Lewandows-
ka, who organised the show. Around
40 works come from the Pompidou’s
collection, with others from the
Brassaï estate, private collectors and
ive other Parisian institutions.Live and Life Will Give You
Pictures: Masterworks of
French Photography 1890-1950
Barnes Foundation, Philadelphia
(UNTIL 9 JANUARY 2017
The show features more than 170
photographs from the collection
of the late New York physicist
Michael Mattis and his wife
Judith Hochberg, including many
never-before-seen works such as a
photogram titled Swan and Starish
(1928) by Man Ray. Another high-
light is the earliest-known print of
Behind the Gare Saint-Lazare, Paris
(1932) by Henri Cartier-Bresson.Feminist Avant-Garde of
the 1970s: Works from the
Sammlung Verbund Collection
Photographers’ Gallery, London
(UNTIL 15 JANUARY 2017
“As new media such as photography
became more available in the 1970s,
the pre-eminence of the male-domi-
nated domain of painting waned, and
female artists seized the opportunity
to create spontaneous, direct work
that was provocative, radical, poetic
and ironic,” says Gabriele Schor, the
director of the Sammlung Verbund
Collection. The exhibition at the Pho-
tographers’ Gallery in London features
more than 250 photographs by 48
female artists, such as Cindy Sherman
and Ewa Partum, that focus on the
revolt against conservative values.Ewa Partum’s Change (1974)
appears in the Photographers’
Gallery show
“It was important that it
tied its colours to the mast
of the social implications”
HOUCK: © JOHN HOUCK; COURTESY OF THE ARTIST. PARTUM: © EWA PARTUM; COURTESY OF GALERIE M+R FRICKE, BERLIN/BILDRECHT, VIENNA, 2015/SAMMLUNG VERBUND, VIENNA