At the heart of Sara VanDerBeek s two-dimensional and installation-based work is a fascination with photography s power as a form of mediation—between past and present, original and reproduction, and perception and thought. Her latest exhibition Lace Interlace at The Approach in London draws on her research into the work of early British photographers Julia Margaret Cameron (1815–79) and Isabel Agnes Cowper (1826–1911) at that city s Victoria and Albert Museum.
Astronomer Henrietta Swan Leavitt lived a short but deeply impactful life, during which her achievements failed to receive sufficient recognition. On the centennial of her death, we reflect on her life and legacy.
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Three new exhibitions are on view at Jule Collins Smith Museum of Fine Art at Auburn University through Jan. 2: and#8220;Anila Quayyum Agha: The Weight of Black,and#8221; and#8220;The Joy.
(Courtesy Catharine Clark Gallery)
In her latest solo exhibition, Oakland artist Stephanie Syjuco powerfully demonstrates how photography is one imperialism’s most effective tools. Made by mining archives for images of Indigenous Filipinos, her show at Catharine Clark Gallery,
Native Resolutions examines photography, anthropology and archiving as overlapping knowledge structures that shape both imagination and American history. The resulting (and absorbing) multimedia installation considers the effect and force of institutional practices that bury racism in historical records.
During a two-week artist residency in 2019 supported in part by the Contemporary Art Museum St. Louis, Syjuco plumbed the city’s archives for pictures of the Philippine Reservation, the 47-acre site within the 1904 St. Louis World’s Fair. The result is