Carmen Winant interviewed me for the Aperture Foundation blog about the book. Check it out!
Andy Adams writes: “Laura’s book was not at all what I expected which made it all the more surprising and wonderful. It’s exciting to see contemporary writing paired with found photography in such a moving fashion and the book is superbly designed. Glad to see Saint Lucy getting into the book game”
January 24 – April 8, 2018
Main Gallery, Ryerson Image Centre
An exhibition and collaborative laboratory at the Ryerson Image Centre
A project by Ariella Azoulay, Wendy Ewald, Susan Meiselas, Leigh Raiford and Laura Wexler
This experimental exhibition reconsiders photography through the lens of collaboration, suggesting that the medium—traditionally understood as one dominated by singular creative adventurers—is in fact defined by collaboration and interaction. For Collaboration, a team of artists, scholars, and curators have come together to create an exhibition, installing a gridded repertoire of approximately ninety photographic projects from different places and moments. These projects exemplify various types of collaboration—whether friendly and cooperative, or antagonistic and coercive—between photographers, photographed persons, and other participants. Designed to be open-ended, Collaboration invites visitors to participate in the reshaping of photographic meanings through an active program of conversations, encounters, and workshops.
Fantastic news! Hidden Mother has been shortlisted for the Aperture/Paris Photo First Photobook Award! The winner will be announced at Paris Photo on Friday, November 10th. All short listed books will be featured in a traveling exhibition and in Aperture’s The Photobook Review.
The shortlist selection was made by Gregory Halpern, whose ZZYZX won the Paris Photo–Aperture Foundation PhotoBook of the Year Award in 2016; Lesley A. Martin, Creative Director, Aperture Foundation and Publisher, The PhotoBook Review; Kathy Ryan, longtime director of photography at the New York Times Magazine; Joel Smith, Richard L. Menschel Curator of Photography at the Morgan Library & Museum in New York; and Christoph Wiesner, artistic director of Paris Photo.
Opens Thursday June 22, 6-8 pm, continues through September 16, 2017
Summer hours: Tuesday-Friday 10-6
This exhibition was conceived by Jill Moser, and was organized in collaboration with Melissa Meyer. Both have long-standing relationships with gallerist Jill Weinberg Adams, and have had numerous solo shows at Lennon, Weinberg. The gallery opened in Soho in 1988, and for nearly three decades has been stalwart in support of an evolving roster of artists that includes many women, working in a wide range of mediums including painting, video, photography, sculpture, installation and printmaking.
Moser and Meyer reached out to the women artists who either are currently or were formerly represented by the gallery, a group who Moser recognized as
A kind of ‘accidental community’ that provided an opportunity to explore a question. What are the lines of influence and affinities among women artists, lines that cross time, place and medium? We posed this project to each of the eleven artists by asking them to choose both a woman artist who was an early influence and another with whom they feel a current affinity.
This self-curated show is the outcome of a sort of natural experiment to explore the shape of these connections. The results convey a virtual community of influence that is reflected in the contour of the show. It documents the distinct ways that individual women artists have informed one another.
Melissa Meyer selected Lee Krasner and Laurie Reid; Jill Moser selected Lynda Benglis and Amy Sillman; Robin Hill chose Eva Hesse and Mary Hambleton; Cindy Workman chose Marilyn Minter; Harriet Korman selected Dona Nelson and Ruth Hardinger; Laura Larson chose Martha Rosler and Sheilah Wilson; Mary Lucier chose Joan Jonas and Cecelia Condit; Denyse Thomasos’s affiliation is with Frances Barth; Catherine Murphy selected Sylvia Plimack Mangold and Judy Linn; Mia Westerlund Roosen chose Louise Bourgeois and Jeanne Silverthorne; and Louise Fishman chose her mother Gertrude Fisher-Fishman and her aunt Razel Kapustin, along with Harriet Korman. The artists also wrote brief statements about the artists they identified as influence and affinity, which appear on a comprehensive stand-alone website documenting the exhibition: www.citingssightings.com