MUSÉE 29 – EVOLUTION

Evolution explores the concepts of progress, transformation, growth, and advancement in an age when images are taking a dramatic shift in the role they play in our lives.

Art Out: Gordon Parks, Mona Kuhn, Barbara Kasten, Anthony Lepore

Art Out: Gordon Parks, Mona Kuhn, Barbara Kasten, Anthony Lepore

Gordon Parks, "Workmen in the powerhouse.", March 1944, gelatin silver print, H: 10 x W: 8 in. (25.40 x 20.32 cm), Courtesy of The Gordon Parks Foundation, ⒸGordon Parks, Courtesy and copyright the Gordon Parks Foundation

Carnegie Museum of Art | April 30 - August 7, 2022

Carnegie Museum of Art presents Gordon Parks in Pittsburgh, 1944/1946, an in-depth presentation into Parks’s photographs of the Penola, Inc. grease plant in Pittsburgh and its workers who supplied essential goods to U.S. troops during World War II. This examination of an important chapter in Parks’s landmark career explores a narrative that is seldom told and still resonates today. The exhibition, which features more than 50 photographs that have not yet been seen by the public, will be paired with special programming, community events, and a publication featuring essays by artist LaToya Ruby Frazier and writer Mark Whitaker, among others.

To view more information about this exhibit, visit the museum’s website here.

© Mona Kuhn

AD&A Museum | January 19, 2022 - May 1, 2022 (Closing)

This exhibition tells a story about an unrequited love unfolding on different time and space layers as captured by the sensitive lens of photographer Mona Kuhn. The story's protagonist is a mysterious woman, purportedly a past lover of the architect Rudolph Schindler, who longs for his presence as she sneaks into his vacant and shadowy house. By adopting techniques employed by the surrealists at the time the house was built, Kuhn explores the power of photography to play with one's temporal and spatial senses. Additionally, the photographer emphasizes the fiction's psychic and emotional drive investing the portrait of the house with a phenomenological dimension. Corresponding to the story's elusiveness, the exhibition takes the form of large projections, which, choreographed with original music, underscore the fiction's spatial and temporal qualities. Archival materials from the Schindler collection—the genesis of this innovative audiovisual project—complement the installation.

To view more information about this exhibit, visit the museum’s website here.

ⒸAnthony Lepore, I Yield My Time, 2022, Archival pigment prints, acrylic paint, and wood, 50 x 40

x 3 1/2 inches. Courtesy the artist and Moskowitz Bayse, Los Angeles.

Moskowitz Bayse Gallery | March 26 - May 7, 2022 (Closing)

Moskowitz Bayse is pleased to present Time’s a Taker, an exhibition of new photographic works by Los Angeles based artist Anthony Lepore. This exhibition is the artist’s second solo presentation with the gallery, and will be on view from March 26 - May 7, 2022.

Time is a patient revealer, separating the finished from the uncharted. Clocks remind us of the future, and the camera, a sly thief, collects everything behind us. In Anthony Lepore’s Time’s a Taker, artworks become accounts of their own making in elegiac stirrings of memory, objecthood, and decay. Lepore’s works hang like stopped clocks on the wall, object and memory fused. Constructed from wood and photographs, the structures create space for these not-so-still lives to celebrate and mourn transformation. Illusion, one of photography’s oldest and most fraught traditions, is subverted, with trickery quickly ceding to generosity. Lepore’s objects unfold in moments of uneasy laughter and knowing precarity, a product of combining the temporality inherent to photography with sculpture’s timeless aspirations.

To view more information about this exhibit, visit the gallery’s website here.

ⒸBarbara Kasten, SHIFT, Installation view, Bortolami Gallery, New York, 2022, Courtesy Bortolami Gallery

Bortolami Gallery | March 4 - April 30, 2022 (Closing)

Bortolami is pleased to present SHIFT, Barbara Kasten’s sixth exhibition with the gallery. Featuring four bodies of work, the show connects her little-known sculptures from the 1970s to her most recent output. Each artwork is tied to her experimentation with fiberglass window screening, a material she began using in the early 1970s and throughout her forty-year career.

To view more information about this exhibit, visit the gallery’s website here.

Weekend Portfolio: Katayoun Javan

Weekend Portfolio: Katayoun Javan

Exhibition Review: Annette Messager: Comme Si (As If)

Exhibition Review: Annette Messager: Comme Si (As If)