Exhibitions


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Gohar Dashti, Untitled #5, from the series "Today's Life and War," 2008, Chromogenic print, 27 5/8 x 41 3/8 in.; 
Courtesy of the artist, Azita Bina, and Robert Klein Gallery, Boston; © Gohar Dashti

She Who Tells a Story: Women Photographers from Iran and the Arab World opens at the National Museum of Women in the Arts (NMWA) in Washington, DC, on April 8, 2016, with an opening reception on the 7th, and runs through July 31, 2016.  The exhibition "challenges stereotypes surrounding the people, landscapes, and cultures of the region, and provides insight into political and social issues. The exhibition presents more than 80 photographs and a video installation. These provocative works - most created within the last decade - range in genre from portraiture, to documentary, to staged narratives." 

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Gohar Dashti, Untitled #1, from the series "Today's Life and War," 2008, Chromogenic print, 27 5/8 x 41 3/8 in.; 
Courtesy of the artist, Azita Bina, and Robert Klein Gallery, Boston; © Gohar Dashti

"The title of the exhibition is inspired by the Arabic word rawiya, which means "she who tells a story." It is also the name of a collective of women photographers based in the Middle East founded in 2009. Women worldwide have been pioneers in the mediums of photography and video since their inception. This exhibition demonstrates that the work of women photographers continues to resonate on a global scale."

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Rania Matar, Stephanie, Beirut, Lebanon, from the series "A Girl and Her Room," 2010; Pigment print, 36 x 50 in.; 
Courtesy of the artist and Carroll and Sons, Boston; © Rania Matar 

"Each artist in She Who Tells a Story offers a vision of the world she has witnessed. The photographers' images invite viewers to reconsider their own preconceptions about the nature of politics, family, and personal identity in the Middle East." 

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Rania Matar, Reem, Doha, Lebanon, from the series "A Girl and Her Room," 2010; Pigment print, 36 x 50 in.; 
Courtesy of the artist and Carroll and Sons, Boston; © Rania Matar 

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Newsha Tavakolian, Untitled, from the series "Listen," 2010; Pigment print, 39 3/8 x 47 1/4 in.; 
Courtesy of the artist and East Wing Contemporary Gallery

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Nermine Hammam, The Break, from the series "Cairo Year One: Upekkha," 2011; Chromogenic print, 23 5/8 x 23 5/8 in.; 
Courtesy of Taymour Grahne

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Shadi Ghadirian, Untitled, from the series "Qajar," 1998, Gelatin silver print, 15 3/4 x 11 7/8 in.; Museum of Fine Arts, Boston; Museum purchase with the Horace W. Goldsmith Fund for Photography and Abbott Lawrence Fund, 2013.571;
© Shadi Ghadirian; Photo © 2015 Museum of Fine Arts, Boston

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Boushra Almutawakel, Untitled, from the series "The Hijab," 2001; 
Chromogenic print, 47 1/4 x 39 3/8 in.; Courtesy of the artist and the Howard Greenberg Gallery

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Lalla Essaydi, Bullets Revisited #3, 2012; Triptych, chromogenic prints on aluminum, 150 x 66 in.; 
Courtesy of the artist, Miller Yezerski Gallery, Boston, and Edwynn Houk Gallery, NYC

Our friends at the MFA Boston organized this exhibition in 2013, and Mrs. Karsh gave the introduction for Her Majesty Queen Noor of Jordan.

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Robert Mapplethorpe, American, 1946-1989
Identical self-portraits of Robert Mapplethorpe with trip cable in hand, 1974
Gelatin silver print. Sheet (each): 9.3 x 11.6 cm (3 11/16 x 4 9/16 in.)
Gift of The Robert Mapplethorpe Foundation to the J. Paul Getty Trust and the Los Angeles County Museum of Art. Held at the Getty Research Institute, 2011.M.20.24
© Robert Mapplethorpe Foundation

The first photography exhibition I ever saw was Robert Mapplethorpe, in London, and I have always said it ruined me for life. In my memory the exhibition was at the Festival Hall, but the web won't support this and insists it was the National Portrait Gallery, 'The Perfect Moment' retrospective, 1988/89. Regardless, I remember staring endlessly at one of his highly sexual portraits and listening to the outrage of the person viewing next to me. I felt happy. 

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Robert Mapplethorpe
Ajitto, 1981
Gelatin silver print. Image: 45.4 x 35.5 cm (17 7/8 x 14 in.)
Jointly acquired by the J. Paul Getty Trust and the Los Angeles County Museum of Art, with funds provided by the J. Paul Getty Trust and the David Geffen Foundation, 2011.7.13
© Robert Mapplethorpe Foundation

That Mapplethorpe-related happiness has carried me through my journey in the world of photography so I was beyond thrilled when a review copy of Robert Mapplethorpe: The Photographs (J. Paul Getty Museum, March 2016) arrived. What a book! 

Mapplethorpe's most recognizable and less-known images, both the graphic and the gorgeous, are drawn from the J. Paul Getty Museum's own collection, the Los Angeles County Museum of Art from The Robert Mapplethorpe Foundation, and Mapplethorpe Archive housed at the Getty Research Institute. 

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Robert Mapplethorpe
Grapes, 1985
Gelatin silver print. Image: 38.5 x 38 cm (15 3/16 x 14 15/16 in.)
Jointly acquired by the J. Paul Getty Trust and the Los Angeles County Museum of Art, with funds provided by the J. Paul Getty Trust and the David Geffen Foundation, 2011.7.20
© Robert Mapplethorpe Foundation

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Robert Mapplethorpe
Thomas, 1987
Gelatin silver print. Image: 48.8 x 48.8 cm (19 3/16 x 19 3/16 in.)
Jointly acquired by the J. Paul Getty Trust and the Los Angeles County Museum of Art, with funds provided by the J. Paul Getty Trust and the David Geffen Foundation, 2011.7.31
© Robert Mapplethorpe Foundation

"This publication is issued on the occasion of the exhibition Robert Mapplethorpe: The Perfect Medium on view at both the  J. Paul Getty Museum and at the Los Angeles County Museum of Art from March 15 and March 20, respectively, through July 31, 2016; at the Musée des Beaux-Arts de Montreal from September 10, 2016, through January 15, 2017; and at the Art Gallery of New South Wales, Sydney, from October 28, 2017, through February 4, 2018."

Let it be known that the young me spent not inconsiderable time wondering if she could scrape together the £1,500 that a print was going for back then. They say one only regrets the things one did not do... But then, how would I have chosen?

Get your copy of Robert Mapplethorpe: The Photographs for under $60. Money well spent for a lifetime of Mapplethorpe mastery.

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Robert Mapplethorpe
Calla Lily, 1988
Gelatin silver print. Image: 49 x 49 cm (19 5/16 x 19 5/16 in.)
Jointly acquired by the J. Paul Getty Trust and the Los Angeles County Museum of Art; partial gift of The Robert Mapplethorpe Foundation; partial purchase with funds provided by the J. Paul Getty Trust and the David Geffen Foundation, 2011.9.26
© Robert Mapplethorpe Foundation

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Robert Mapplethorpe
Derrick Cross, 1983
Gelatin silver print. Image: 48.5 x 38.2 cm (19 1/8 x 15 1/16 in.)
Promised Gift of The Robert Mapplethorpe Foundation to the J. Paul Getty Trust and the Los Angeles County Museum of Art, L.2012.88.910
© Robert Mapplethorpe Foundation

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Robert Mapplethorpe
Flower Arrangement, 1986 
Gelatin silver print. Image: 49 x 49 cm (19 5/16 x 19 5/16 in.)
Promised Gift of The Robert Mapplethorpe Foundation to the J. Paul Getty Trust and the Los Angeles County Museum of Art, L.2012.89.566
© Robert Mapplethorpe Foundation

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Robert Mapplethorpe
Self-Portrait, 1980
Gelatin silver print. Image: 35.6 x 35.6 cm (14 x 14 in.)
Jointly acquired by the J. Paul Getty Trust and the Los Angeles County Museum of Art; partial gift of The Robert Mapplethorpe Foundation; partial purchase with funds provided by the J. Paul Getty Trust and the David Geffen Foundation, 2011.9.21
© Robert Mapplethorpe Foundation

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Robert Mapplethorpe
Self-Portrait, 1985
Gelatin silver print. Image: 38.7 x 38.6 cm (15 1/4 x 15 3/16 in.)
Jointly acquired by the J. Paul Getty Trust and the Los Angeles County Museum of Art, with funds provided by the J. Paul Getty Trust and the David Geffen Foundation, 2011.7.21
© Robert Mapplethorpe Foundation

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Chris Killip
From the series In Flagrante Two
Two girls, Grangetown, Middlesbrough, Teeside, 1975
Gelatin Silver Print
© Chris Killip, Courtesy Yossi Milo Gallery, New York

Last month, I was talking to a photographer I admire enormously and he told me had just seen one the best photographs of his life, at Yossi Milo here in NYC. It turned out to be the above 'Two Girls' by Chris Killip, whose photos I have much admired after embarrassingly only discovering him rather late in life. The exhibition was ending the following day so I bunked off work for the afternoon and headed to Chelsea.

Yossi Milo Gallery's presentation of fifty gelatin silver prints from the photographs that constituted his book 'In Flagrante' (Secker & Warburg, 1988) hand-printed by Killip, is the first time since 1988 that the series has been exhibited in its entirety and the first time ever in the United States. The images are culturally familiar and endearing to me and it was interesting to talk to some of the American viewers about the miners' strike and the Queen's silver jubilee street parties I remember so well. 

The unassuming photographer has been working at Harvard as professor of visual and environmental studies for many years and apparently will soon retire and cease printing his negatives. So if you're thinking about purchasing a print, now is the time to do it. 

Yossi Milo is pleased to announce that the J. Paul Getty Museum now owns a set of all 50 of Killip's prints and will mount an exhibition in the coming months. The book, In Flagrante Two, is out now from Steidl.


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Puerto Rican Day Parade © Arlene Gottfried, courtesy Daniel Cooney Fine Art

"It takes a lifetime to be a new discovery, I guess." So said Ms Arlene Gottfried this week (speaking to David Schonauer over at AI-AP) in the run-up to her second solo show, 'Bacalaitos & Fireworks', at Daniel Cooney Fine Art, in Chelsea, New York, which opened March 3, 2016 and runs till April 16th. 

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The show at Cooney features images originally collected in Arlene's 2011 book Bacalaitos & Fireworks, printed from her rich, orangey Cibachromes.

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From the press release "Growing up, Gottfried was fascinated with the culture around her, learning to Salsa dance and to love the music, food and language. As an adult living in Manhattan she embraced the Puerto Rican community and they embraced her, sharing their lives with her and her camera. Gottfried says, "From my window on the Lower East Side I could look out and see the Puerto Rican culture I encountered over 30 years earlier. "One night I heard a street vendor on the corner of Avenue C and East 3rd Street calling, "bacalaitos and fireworks", bacalaitos, a fried cod fish indigenous to Puerto Rico and fireworks, for the Fourth of July weekend. This juxtaposition became etched in my mind - representative of an immigrant population on the streets of America."

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These are but a small sample of the colour prints on show. Run don't walk! 

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All images © Arlene Gottfried courtesy Daniel Cooney Fine Art

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Grace © Toto Cullen

"'Beauty Undefined" explores the concept of womanhood and societal ideologies regarding beauty. This exhibition curated by Monica Watkins and Magda Love, of Beauty for Freedom, features the works of 20 international artists. Images of female beauty vary greatly across cultures and time as does what qualifies as "beautiful" among everyday women. Beauty Undefined develops a stronger definition of beauty of the female form by introducing issues of culture and identity through the mediums of photography, illustrations, video installations, graffiti art, fine art and sculpture. 

"'Beauty for Freedom' is an innovative, sustainable platform providing the industries of beauty and fashion with a means to raise awareness, accountability, and financial contributions for charitable foundations and non-profits who fight human trafficking globally. Spring 2016, Beauty for Freedom will be producing a series of art, music, photography and writing workshops in SE Asia (Project India) meant to promote self-esteem and self-expression for survivors of sex-trafficking.

The exhibition is on view March 2nd & 3rd, 2016, at 51 Orchard Street NY, NY with an opening reception March 2nd, 7-11pm.

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Confection © Alison Brady

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The White Dress © Tim Okamura


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"New York" 1948, Esther Bubley

The National Museum of Women in the Arts (NMWA) presents Esther Bubley Up Front, opening September 4, 2015 and running through January 17, 2016. Drawn from a recent donation to NMWA's collection, this spotlight exhibition presents 27 prints by Esther Bubley (1921-1998). 

"During America's golden age of photojournalism, Bubley cast her discerning eye over a broad range of subjects including beauty pageants, boarding houses, schools, clinics and kitchens. Her immersive working process and compassion for her subjects yielded deeply insightful images that also subtly critique American culture on the eve of the Cold War and Civil Rights movement."

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"At the well-baby clinic" 1953

Esther Bubley's archive is represented by her niece, Jean Bubley. We are both members of the American Photography Archive Group, an organization that includes many of the greats including Ruth Orkin, Arthur Rothstein, Philippe Halsman, and Fred W. McDarrah.
 
Jean Bubley will discuss the work of her aunt in a gallery talk at the Phillips Collection in Washington, DC, August 27, 2015.

"Born in Phillips, Wisconsin, Bubley developed a passion for photography while serving as her high school's yearbook editor. She set out for New York City in 1940 to become a professional photographer. After a brief stint at Vogue magazine, she moved to Washington, D.C., and worked as a darkroom assistant to Roy Stryker at the Office of War Information (OWI). With Stryker's encouragement, Bubley began photographing neighborhoods and activities around Washington, recording the effects of World War II on the community. One of few OWI photographers who worked primarily with 35 mm and other small handheld cameras, Bubley developed a dynamic point-and-shoot style that enabled her to photograph from unusual angles."

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"High school, in a classroom" 1945

"During the 1930s, images created by Dorothea Lange, Margaret Bourke-White and others made clear to government agencies and commercial clients that women could excel as photographers."

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Untitled

"In 1943, Stryker promoted Bubley to the position of OWI field photographer. She contributed more than 2,000 images to the OWI file over the course of that year. In these early photo-essays, Bubley's ability to capture people in natural, unaffected poses is evident. She immersed herself in her assignments, touring on buses for weeks to document American bus travel and profiling a serviceman's family at home. When Roy Stryker left the OWI in late 1943 to establish a photographic library for the Standard Oil Company, Bubley followed, documenting the impact of the oil industry around the U.S. and beyond. One of her best-known assignments for Standard Oil depicted life in Tomball, Texas. Living in the town for six weeks, Bubley took more than 600 pictures documenting the town's commerce, industry, schools, churches and recreation. In her photographs, Tomball's citizens appear natural and unaffected, often unsmiling or not looking at the camera - a reflection of the artist's ability to work unnoticed."

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"Backstage in Quest to Be Miss America, Atlantic City, New Jersey" 1957

All images by Esther Bubley, courtesy Jean B. Bubley, thanks to Nicole Straus Public Relations and Margery Newman.

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The Long Term Survivor Project exhibition opened at San Francisco Camerawork on June 4th, in celebration of annual Pride month and in honor of National HIV / AIDS Long Term Survivor Day, which was June 5th. 

SF Camerawork brings together works by Hunter Reynolds, Grahame Perry and portraits from our pal Frank Yamrus' series, A Sense of a Beginning, to address the experiences of HIV survivorship. 

Go see if you are SF-based!

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"Frank Yamrus' "A Sense of a Beginning" is a series of solemn and stately portraits of long-term HIV survivors. Through this series Yamrus tells the story of survivorship as manifested not only in the lines and physical attributes of his subjects' faces, which bear subtle testimony to the effects of HIV medications, but also as a factual declaration of presence. Each person depicted in the series is alive today thanks to a complex regimen of medication and years of struggle and determination. Long-term survivorship is a story of countless physician appointments, blood draws, continually shifting drug regimes and constant monitoring of T-cells and viral loads, in the midst of untold grief watching friends and loved ones die. Through the peak years of the struggle against AIDS may have faded into recent memory, survivors live on, bearing the impact of AIDS in their everyday lives."

"By 1991... we were on the front lines of war. We volunteered at various AIDS organizations, joined support groups, and attended fundraisers and many funerals. I became a Shanti Project buddy, helping and witnessing young men die, and worked at the Mt. Zion HIV Clinical Research Center with young men who sacrificed their bodies to help find a cure. As I recall our first decade in San Francisco, I cannot remember much that did not gravitate around AIDS. The words and acronyms that were so foreign to me not long before became embedded in my vernacular. Around this time, my photography transitioned to work about loss as it became the language I knew best. Like others, I analogized the pandemic to war and the early images I made romanticized death as a coping mechanism to deal with overwhelming grief.... 

"After countless physician appointments, blood draws, continually shifting drug regimes and constant monitoring of T-cells and viral loads, after untold days protesting and untold nights watching friends die, these courageous men and women allow us to examine the aftermath. Gone is the romanticized idea of battle and loss. In its place: the stark reality of years of struggle and fight. This series does not attempt to capture the tenor of those times or the great strides that have been made since. It simply documents survivorship - the physical, psychological and emotional turmoil AIDS has caused over the last 30-plus years." Frank Yamrus.

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All portraits © Frank Yamrus

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© Bear Kirkpatrick

Our hero of the fantastical, Bear Kirkpatrick, has kindly rolled out a new set of eye-popping images in his Wall Portraits series, with a new solo exhibition of the prints opening next week at Daniel Cooney Fine Art in New York City.

"In his studio, Kirkpatrick applies feathers, dead bugs and other assorted materials on his subject's skin and hair as he listens to their stories. They reveal their experiences and he uses his imagination to see what lies below the surface. He imagines a history and another level of consciousness that might exist beyond our own."

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All images © Bear Kirkpatrick

It is barely 18 months since I first saw this project and it has been wonderful to watch it develop, and yes, now the be-all and end-all: a solo show in NYC. Props to Daniel Cooney for knowing great stuff when he sees it. Breasts or no breasts, right Bear?

Opens at Daniel Cooney Fine Art, 508 - 526 West 26th Street, #9C, NYC, and runs May 21 - July 17, 2015.

Check out Bear's feature in aCurator magazine from last year. 

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Tabitha Soren has spent a dozen years delving into the realm of American baseball, exploring tradition, success, and failure. Using the tin type process to photograph some of the live action, she gives a nod to the history of both that process and baseball itself - coming to popularity at around the same time in US history. Embedding herself in the drafts, she uncovered the truth behind the glamour - that a small percentage ever make it to the Big League.

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"FANTASY LIFE is a series that explores the fantasies that define America: Manifest destiny, the romantic idea of the restless wanderer, the hopeful idea that failure is just a step on the road to success, the notion that the pursuit of fame and fortune is also the pursuit of happiness, the belief that to secure one's identity, one must seek to stand apart from the community."

"Out of the thousands of players that are drafted into Major League Baseball each year, only a tiny percentage - about 6% - go on to play in 'The Show,' the big-pay, high-stakes galaxy of thirty teams that we all know, love and hate."

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"Some of my subjects became well known, respected players at the highest level of the game. Some left baseball to pursue less glamorous work, such as selling insurance and coal mining. Some have struggled with poverty - even homelessness. But the common thread among them all is that they had a shot, and they literally put their bodies on the line for the sake of the game."

It is very hard to do this deep project justice online, so you can go see it now at Kopeikin Gallery in LA, through June 6, 2015. The live exhibition includes:

A mixture of C prints and Selenium toned Gelatin Silver prints;
A wall of memorabilia from the 23 players I followed for 11 years (everything from kindergarten age baseball cards to arthroscopic x rays from knee surgeries);
A wall of comparison portraits showing that only 5 of the 21 subjects made it to the major leagues;
Tintypes of action shots from games;
Two sculptural elements: a vitrine of 40 bone spurs (many taken out of the players during surgery to improve their game) and an acrylic 4 foot high tower of shelled peanuts, with 6% of the peanuts at the top painted gold.

Amazing!

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All images © Tabitha Soren

Check out Tabitha's previous entry about her series "Running."

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New York, New York (Brooklyn Bridge), 1979. © Tseng Kwong Chi, Courtesy Muna Tseng Dance Projects, Inc., New York

Coming soon to a very fortunate New York City, at the Grey Art Gallery, New York University, 100 Washington Square East, to be precise, is an exhibition by Tseng Kwong Chi. Known for his self-portraits and photographs of New York's wild 70s and 80s scene, this promises to be a fabulous trip into New York's recent but so-different past.

"Combining photography with performance, personal identity with global politics, and satire with farce, Tseng Kwong Chi (1950-1990) created a compelling body of work whose complexity is belied by its humor and grace. Born in Hong Kong, raised in Vancouver, and educated in Paris, Tseng moved to New York in 1978, where he quickly became a key documentarian of Manhattan's vibrant downtown scene. He also began crafting the performative self-portraits - "selfies" avant la lettre - that form the backbone of his artistic practice, exploring the questions of personal and political identity that preoccupied many artists of his generation. Remarkably, Tseng made virtually all the works on view here in the course of just ten years, before his untimely death from AIDS-related complications at the age of 39."

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Andy Warhol, New York, c. 1986

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Keith Haring, New York, 1988
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Bill T. Jones, body painted by Keith Haring, London, 1983

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East Meets West Manifesto, 1983

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Art After Midnight, New York, 1985

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New York, New York (World Trade Center), 1979. All images © Tseng Kwong Chi, Courtesy Muna Tseng Dance Projects, Inc., New York

This exhibition will travel but for now, it's running from April 21st - July 11th, 2015, with an opening on April 20th. See you there! 

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