Anne Brigman: A Visionary in Modern Photography rediscovers and celebrates the work of a pioneering and radical American artist. Anne Brigman (1869–1950)—a photographer, poet, and mountaineer—is best known for her iconic landscape images from the early 1900s, which depict herself and other female nudes outdoors in the Sierra Nevada.
Exploring the impact of the Lesbian, Gay, Bisexual, and Transgender (LGBTQ) civil-rights movement on the art world, Art after Stonewall, 1969–1989 will open during the 50th anniversary year of the Stonewall Riots of 1969, a crucial victory in the gay liberation movement.
NeoRealismo: The New Image in Italy, 1932–1960 poignantly portrays life in Italy through the lens of photography before, during, and after World War II. As both a formal approach and a mindset, neorealism reached the height of its popularity in the 1950s. While the movement is primarily associated with cinematic and literary depictions of dire […]
Ernest Cole (1940–1990)—one of South Africa’s first black photo-journalists—created powerful photographs that revealed to the world what it meant to be black under apartheid.
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.
In the wake of World War II, Japan experienced sweeping trans-formations. Rapid industrialization and the economic surge that began in the mid-1950s were soon overshadowed by deep anxiety, sparked by the US–Japan Security Treaty (Anpo), which sustained American military presence within Japan’s borders. This tension reached a fever pitch in the late 1960s, when political […]
In the early 1930s, Shahn abandoned his interest in European modern art, creating instead incisive realist images, depicting what he called the "social view," that addressed the issues dominating public debate.
Shifting Tides: Cuban Photography after the Revolution focuses on the work of photographers in Cuba since 1959.
Priceless Children offers two different views of the American child at the turn of the twentieth century, juxtaposing Lewis Hine’s indignant photographs of working-class children with idealized images of middle- and upper-class children by Pictorialist photographers.