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Opening Soon: New Pictures 7 Stan Douglas Then and Now

Posted Sep 25, 2012

For New Pictures at the MIA, Stan Douglas presents six large-scale photographs examining the historical past and present.  Three of Douglas’s prints addressing moments of historic social change will be installed in the Perlman Gallery (368) for the “Then” section.  While the “Now” section will present three recent photographs of accumulated objects juxtaposed with artworks in the MIA’s permanent collection.


Stan Douglas
McLeod’s Books, Vancouver, 2006
Laserchrome print
Courtesy of the artist and David Zwirner Gallery


New Pictures 7:  Stan Douglas, Then and Now will be on view from October 11, 2012 – February 10, 2013.  The Newman Lecture on Contemporary Photography will take place the night of the opening, October 11, 2012, 7-8 p.m., Pillsbury Auditorium.


Support for Newman Lecture is provided by the Arnold Newman Foundation.  Generous support for New Pictures is provided by the W. Duncan and Nivin MacMillan Foundation

Opening soon at MIA: “Strangers in a Strange Land”

Posted Sep 11, 2012

Strangers in a Strange Land:  Photographers’ First Impressions

Thursday, September 20, 2012—Sunday, March 3, 2013
Harrison Photography Gallery (365)
Free Exhibition

Dorothea Lange
Migrant Mother, Nipomo, California, 1936
The Alfred and Ingrid Lenz Harrison Fund

Photographers are avid travelers. Since the late 19th century, they have carried their cameras to unfamiliar neighborhoods and around the world to take pictures of people, places, and cultures. “Strangers in a Strange Land: Photographers’ First Impressions” features photographs that document photographers’ encounters with foreign subjects and lands. These seemingly fleeting first impressions often become lasting records of historical memory. The exhibition looks closely at how photographers translate a sense of culture and place through imagery. It also considers the power of first impressions to shape historical representations of cultures. How do the photographs presented inform our understanding of the global culture, particularly in the early 20th century, before globalism?

Boris Mikhailov
Sots Arts, 1981
The Alfred and Ingrid Lenz Harrison Fund

“Strangers in a Strange Land: Photographers’ First Impressions” will feature a range of classic masterpieces in the MIA’s collection: Dorothea Lange’s Migrant Mother, Nipomo, California; Philip Jones Griffiths’s Wounded Female Civilian, South Vietnam; Francis Frith’s The Pyramids of Dahshoor; selections from Diane Arbus’s A Box of Ten Photographs, 1970; and Paul Stand’s Mexico portfolio. The exhibition will also include recent acquisitions, such as Boris Mikhailov’s Luriki, and Martin Parr’s New Brighton, Merseyside.

Save the Date, October 11th: Stan Douglas Opening & Lecture

Posted Aug 27, 2012

We are pleased to announce that New Pictures 7 and the Newman Lecture on Contemporary Photography will feature Stan Douglas, winner of this year’s International Center of Photography’s Infinity Award.  The Vancouver native works in film, still photography and installation.  His artwork has been exhibited internationally, including in three Venice Biennials and three DOCUMENTAs. Douglas’s photographs examine how images and memory shape our interpretation of history.  To create his photographs, Douglas often assumes the role of a photojournalist who travels back in time to reinterpret key events in social and political history, such as the 1975 revolution in Angola and social riots in Canada during the 1930s and 70s.  After conducting intensive research, he restages these events using actors, costumes, props, and sets. The final pictures are meticulously composed down to the slightest gestures and period styles.

At the MIA, Douglas will present six large-scale photographs examining the historical past and present.  Three of Douglas’s prints addressing moments of historic social change will be installed in the Perlman Gallery (368) for the “Then” section.  While the “Now” section will present three recent photographs of accumulated objects juxtaposed with artworks in the MIA’s permanent collection. 

New Pictures 7:  Stan Douglas, Then and Now will be on view from October 11, 2012 – February 10, 2013.   The Newman Lecture on Contemporary Photography will take place the night of the opening, October 11, 2012, 7-8 p.m., Pillsbury Auditorium.  Please save the date for a big night of activity!  Support for Newman Lecture is provided by the Arnold Newman Foundation.

Remembering photographer Martine Franck (1938-2012)

Posted Aug 21, 2012

Belgian photographer Martine Franck (1938-2012) was a member of Magnum Photos for over three decades, and continued to show her work as recently as a few months ago.  As a freelance photographer, she shot celebrity portraits and documentary images for Time, Fortune and Vogue.  Franck studied art history in her youth before pursuing photography through her own images, and is also remembered for her support for various photographic agencies and humanitarian foundations.

Martine Franck
Col de L’homme Mort, Alpes de Haute Provence
The Ethelyn Bros Photography Purchase Fund

She met Henri Cartier-Bresson at Magnum in 1966, and the two later married.  Franck was a co-founder and president of the Henri Cartier-Bresson Foundation, which she began in 2002, two years prior to Cartier-Bresson’s death.


Henri Cartier-Bresson

Martine’s Legs, 1968
The Alfred and Ingrid Lenz Harrison Fund


Read about Martine Franck from the photo editors at Time and The Guardian, and see more of her images, here.


Jen Dolen, Photography & New Media intern

New Pictures 5 artist Jason Fulford & Olympics pics

Posted Aug 14, 2012

Watch for photographs by former New Pictures artist, Jason Fulford, in the next Harper’s magazine issue.  Jason just returned from shooting the Olympics in London.  His photographs will appear with text by award-winning writer and journalist, Geoff Dyer.  Dyer’s 2005 book, The Ongoing Moment, offers a history of photography via the metaphorical encounters of famous photographers, from the perspective of a writer who admits he doesn’t even own a camera.


In the meantime, here are some great New York Times images from the Olympics this summer.

New Pictures 6: Martin Parr closes soon, but some of his pics won’t leave the MIA…

Posted Jul 17, 2012

Do you remember when it was cooler than 90 degrees every day?  Peer back beyond the humid haze.  Only mere months ago, it did happen–the camera doesn’t lie–and British photographer Martin Parr’s pictures are our evidence.  Summer weekends fill up fast and only a few remain for a viewing of his cold-weather photosNew Pictures 6:  Martin Parr, featuring winter photographs Parr shot in the Twin Cities as an MIA-commissioned project, closes in under three weeks.

If you haven’t stopped by the 2nd floor Linda & Lawrence Perlman Gallery (262) recently, Parr’s January pics of Minneapolis winter sports will be on display through Sunday, August 5th.  After that, the images will take a break in storage for a while, however, the MIA Photography & New Media department are proud to announce the acquisition of six Martin Parr photographs into our collection.

Come in and enjoy the free-flowing air-conditioning while you enjoy the display of twelve of Parr’s visual observations of our local winter activities.


Jen Dolen, Photography & New Media intern

Legacy: Margaret Bourke-White

Posted Jun 19, 2012

American photographer Margaret Bourke-White (1904 – 1971), who would have been 108 last week, approached documentary photography with a zeal that left many of her LIFE contemporaries jealous of her “scoops.”

Initially gaining notice from her pictures of economic crisis in 1930s United States, she was the only American photographer in Russia when the Germans bombed Moscow in 1941, and was given access to photograph Joseph Stalin, who she later stated was her most difficult subject because he stood like a stone.

Bourke-White followed stories around Europe, from Italy into Africa.  Not known for traveling light, the photographer carried up to 600 pounds of equipment on assignment until all her gear was lost when her ship was torpedoed en route to Africa in December of 1942.  After surviving the sinking but unable to save her equipment, she downgraded to only 250 pounds but continued to favor larger format cameras due to the negatives’ detail.

Throughout Germany she followed the Allied advance and captured shocking, iconic images at the Buchenwald concentration camp in April, 1945.  In India, Bourke-White shifted from the aftermath of war to a peaceful 1946 portrait of Mahatma Gandhi, who required her to learn how to use a spinning wheel before she was allowed to photograph him.

The Minneapolis Institute of Arts wishes a happy belated birthday to a photographer whose commitment to capturing the best images affected not only her own life and career, but continues to inspire photographers today.


Jen Dolen, Photography & New Media intern

Werner Bischof’s “dream of purity,” continued

Posted Jun 18, 2012

Like many of us, Werner Bischof wrote letters and journal entries chronicling his thoughts, concerns and expectations.  In retrospect, such correspondence among artists offers valuable depth into the legacy of their work and lives.

In 1953 Bischof wrote to fellow Magnum photographer, Robert Capa, whom Bischof referred to as a father-figure, “I am sick of doing nothing and eager to leave for South America. It is the only place I am interested in – as far as possible from civilization, back to nature”.  Six months later, even less fond of the masses of highways and “assembly line” way of living, he wrote to Henri Cartier-Bresson, “I am soon going on my great trip over Central America [...] to see simple people with more heart and less [...] television sets.”

Unfortunately, all did not go well in Peru, where Bischof died in a car accident.  Despite his short life, he made masterful work, and though he photographed difficult subjects like war and famine, he continued to “seek out beautiful things.”  Filling his compositions with strong visuals, Bischof framed rich design elements around both natural studies and action shots.  His lighter scenes of children playing and people at rest are as effective as his heavier pictures of active soldiers and emaciated figures.

Werner’s eldest son, Marco, manages his father’s estate and frequently communicated with former MIA curator Ted Hartwell. After a 1996 visit from Zurich, Marco wrote of the Boundary Waters, “we spent a wonderful week exploring more of the beauty of your country. Full with memories [...].  Physically we are here now – I guess our souls need some time till they arrive.”

Marco continued collaborating with the MIA, which presented Werner Bischof Photographs 1932-1954 in 2003-04, along with a CD biography by Marco Bischof, Carl Philabaum and Gary Brandenberg, Werner Bischof: Life and Work of a Photographer 1916-1954.  The CD, which Marco initially referred to as Werner Bischof: Dream of Purity, housed an archive of 1,000+ images and included notes, sketches, interviews, and letters such as the following excerpt written by Werner from Calcutta in 1952, to his wife, Rosellina:

Of course, my dearest – there is beauty too, temple dances of dreamlike beauty in the south …     I am an observer in the abattoir of beauty.


On display at the MIA again soon, view Bischof’s gelatin silver print “In the Court of the Meiji Temple, Tokyo, Japan” from 1951.  Related post: Werner Bischof’s “dream of purity”

Jen Dolen, Photography & New Media intern

Shout Out: Tom Arndt at Haggerty Museum of Art

Posted Jun 12, 2012

Recently opened and on view through August 5th, Marquette University’s Haggerty Museum of Art presents NYC July 4, 1981: Photographs by Tom Arndt.

Documentary images picture a place at a moment; the best work of the genre give life to the event with a critical perspective.  Minnesota-based photographer Tom Arndt described the experience of approaching New York’s Little Italy and Chinatown 1981 Independence Day celebrations as entering a “wall of sound.”  In the dark evening rain, without icons of the national anniversary, Arndt’s images picture the balance of trouble and triumph. Are we viewing the aftermath of protests, raids or war, rather than the revelry of independence?  With dark silhouettes framed by smoke and crowds cowering from explosive shooting sparks, this is gritty freedom.


Dates  June 6 – August 5, 2012

Time  Gallery hours

  • Monday to Saturday:  10am – 4:30pm
  • Thursday:  10am – 8pm
  • Sunday:  Noon – 5pm
  • Admission is free.

Location  Haggerty Museum of Art at Marquette University
13th and Clybourn
Milwaukee, WI  53201


Jen Dolen, Photography & New Media intern

Shout Out: Gordon Parks at Weinstein Gallery

Posted Jun 7, 2012

Opening Thursday, June 7th, The Weinstein Gallery joins the Gordon Parks foundation and New York’s Museum of Modern Art to present Gordon Parks: At 100, an exhibition of over 40 photographs organized to “reflect the photographer’s cross-cultural, poetic, and humanistic vision.”

A productive artist and humanitarian who worked in poetry, writing, composing and film-making as well as photography, Parks (1912-2006) was deeply committed to social justice and worked on diverse conceptual ideas with photos ranging from civil commentary to high fashion and celebrity portraiture.


 Opening Reception:  Thursday, June 7th, 6:00-8:30pm


Dates  June 7th – July 28th, 2012

Time  Tuesday-Saturday 12-5, or by appointment

Location  Weinstein Gallery
908 West 46th Street
Minneapolis, MN 55419


Jen Dolen, Photography & New Media Intern

Congratulations 2012-2013 McKnight Artist Photography Fellowship Recipients

Posted Jun 6, 2012

The McKnight Artist Photography Fellowship annually awards $25,00 to four mid-career Minnesota artists, enabling the research, exploration and creation of new projects.

The MIA wishes congratulations to this year’s fellows:  Jenn Ackerman, Teri Fullerton, Jason Pearson and Katherine Turczan!  To view more of Turczan’s images, visit The Sports Show: Minnesota at the MIA, featuring her commissioned large diptychs of local sports figures.



Jen Dolen, Photography & New Media Intern

Werner Bischof’s “dream of purity”

Posted Jun 4, 2012

By virtue of the medium, photographers share their insight more directly than other artists through various platforms.  Many work for newspapers to share images across a wide viewer base, conveying concern for human conditions in representations of crises – war, famine, poverty, natural devastation or human-made suffering – as well as with relatable moments during more peaceful times.  Yet, the role of a photojournalist can vary from a photographer not shooting for an employer, requiring a balance of internal and external pressures to produce certain images.

Werner Bischof struggled with the sensationalist expectation often pushed on photojournalists.  In one letter to his wife, Rosellina, he confessed, “This story-chasing has become hard to take – not physically, but mentally.”  However, he attempted to produce a sincere vision of events during his few years of work, prior to his accidental death in 1954 while on assignment in Lima, Peru.

Bischof wrote,  “The artist is a person whom nature has endowed with an exceptional sensitivity, who conveys the impressions his environment makes on him in terms of his own world. The requirements for this are a solid technical training, the study of the different means of expression and, not least, enormous willpower to prevail over all doubts; it is a hard road, and fortune smiles upon few.”


 Werner Bischof
In The Court of The Meiji Temple, Japan, 1951
Gift of Frederick B. Scheel

View Bischof’s  gelatin silver print “In the Court of the Meiji Temple, Tokyo, Japan” from 1951 on display at the MIA again, soon.


This image is presented as a “thumbnail” because it is protected by copyright. The Minneapolis Institute of Arts respects the rights of artists who retain the copyright to their work

Jen Dolen, Photography & New Media intern

Shout Out: Richard Avedon at Gagosian Gallery

Posted May 29, 2012

Gagosian Gallery in New York presents Richard Avedon: Murals & Portraits through July 12th.  Avedon’s twenty to thirty-five foot wide murals and related portraits, from the 1960s and ’70s, picture high profile individuals like Andy Warhol and Allen Ginsberg, and political radicals The Chicago Seven.

A press release and checklist are available on the Gagosian website, along with 11 images from the show and 10 installation views.


Dates  Friday, May 4th, 2012 – Thursday, July 12th, 2012

Time  Gallery hours

  • Monday through Saturday:  10a.m.–6p.m.
  • The gallery will be closed Saturday, May 26 & Monday, May 28 for a national holiday


Location  Gagosian Gallery West 21st Street
522 West 21st Street
New York, NY 10011
T. 212.741.1717
F. 212.741.0006


Jason Fulford’s mushrooms sprout on Aperture Magazine cover

Posted May 22, 2012

The Photography & New Media department and the Minneapolis Institute of Arts wishes congratulations to New Pictures 5 artist Jason Fulford for his recognition in Aperture’s summer issue.  A non-profit dedicated to promoting the development and appreciation of photography, Aperture was founded in 1952 by Ansel Adams, Minor White, Dorothea Lange and Barbara Morgan, and it continues to advance great work in imagery.


Jason’s Mushroom Project is featured on the cover of the upcoming Issue 207, along with a six-page spread of photographs from his New Pictures installation, shots of his mushrooms in multiple galleries throughout the MIA, and an interview with the artist, “Jason Fulford:  Mushroom Collector.”



If you missed Jason’s exhibition at the MIA, watch a synopsis here.  The issue also includes New Pictures 6 artist Martin Parr on location in Atlanta, in Up and Down Peachtree.


Avedon: Portrait & Dialogue

Posted May 15, 2012

What is a portrait?  Richard Avedon, who would have been 89 years old today, worked with his sitters to engage their persona.  He said people often came to him to be photographed “as they would go to a doctor or fortune teller”:  to learn about themselves.  When he photographed his father, then age 83, portraying him as “still fantastically vibrant and hungry and angry and alive” rather than wise,  Avedon didn’t want to show the pictures to his dad, fairly certain he wouldn’t like them.  “My photographs show his impatience—I love that quality in him—but seeing it would frighten him. [...] He’s much more interested in looking sage, so my sense of what’s beautiful is very different from his.’”

Beyond that familial exchange, Avedon was cognizant that a sitter and photographer may have different visions of the final product. Varied perspectives on portraiture originate, perhaps, from a different understanding of the role of the person behind the lens.  Former MIA curator Ted Hartwell mused, “The tradition of the portrait as a kind of monument or idealization is an attempt to portray that person in the way they would like to be seen, whereas [Avedon] is very forthright. [...looking] honestly and directly at things that make us typically uncomfortable.”


 Richard Avedon
Marilyn Monroe, Actress, May 6th, 1957
The Christina N. and Swan J. Turnblad Memorial Fund


Avedon was certainly aware of the position of the photographer as a subjective intermediary with judgment and biases. He believed a “portrait is not a likeness. The moment a motion or fact is transformed into a photograph, it is no longer a fact, but opinion. There is no such thing as inaccuracy in a photograph. All photographs are accurate, but none of them are true.”


This image is presented as a “thumbnail” because it is protected by copyright. The Minneapolis Institute of Arts respects the rights of artists who retain the copyright to their work

Jen Dolen, Photography & New Media intern

Did you see The Sports Show?

Posted May 14, 2012

The Sports Show closed yesterday.  In case you missed it, here is a quick tour in one last piece of press coverage from Pat Evans on Kare 11.

Edwin Land, instant images, & Ansel Adams

Posted May 7, 2012

Today, if a parent snaps a picture and a toddler asks to see it right away, no one bats an eye.  When Edwin Land’s child made the request seven decades ago, she inspired the discovery of instant imagery.

Born over a hundred years ago on May 7th (1909-1991), Land pioneered what became known as Polaroids in the 1940s.  He invented immediate picture technology on vacation in Santa Fe after his three-year-old daughter asked why she couldn’t see the picture he had just taken of her.  Well, why not?  He took a walk and, within an hour, visualized an idea to produce a finished print in the field:  placing darkroom chemistry between two sheets of film.

Ansel Adams, always enthusiastic about photographic technique and developments, embraced Land’s innovations.  Beginning in 1948, Adams worked with his Land camera and offered feedback as a consultant for 35 years.  Adams was a strong advocate for the film, writing, ” It is unfortunate that so many photographers have thought of the Land camera as a ‘toy,’ a casual device for ‘fun’ pictures [...] The process has revolutionized the art and craft of photography”

A writer of many books and manuals on photography, Adams first published Polaroid Land Photography in 1963 and revised an edition in 1978, dedicated to “Edwin H. Land, creator of new horizons for the mind and spirit.”

Happy birthday Edwin Land, and thank you for laying the foundation for instant imagery!


Jen Dolen, Photography & New Media intern

Shout Out: MCAD spring commencement exhibition & CVA graduation exhibitions

Posted May 3, 2012


Free and open to the public, all Minneapolis College of Art & Design (MCAD) galleries will display work from graduating seniors for the Spring Commencement Exhibition.

A closing Exhibition Reception will be held on Saturday, May 12th at 5pm, also free and open to the public.

Dates  Wednesday, May 2nd, 2012 – Saturday, May 12th, 2012

Time  Gallery hours

  • Monday to Friday:  9a.m.–8p.m.
  • Saturday:  9a.m.–5p.m.
  • Sunday:  Noon–5p.m.
  • Admission is always free.

Location  MCAD
2501 Stevens Avenue
Minneapolis, MN 55404



Closing soon!  Free and open to the public, the College of Visual Arts (CVA) is showing senior thesis work in a Graduation Exhibition

A closing Graduation Exhibition Reception will be held Friday, May 4th, 2012 5pm – 7pm

Dates  Thursday, April 26th, 2012 – Saturday, May 5th, 2012

Time  Gallery hours

  • Thursday:  Noon–8p.m.
  • Wednesday & Friday:  Noon–6p.m.
  • Saturday:  Noon–4p.m.

Location  CVA
CVA Gallery
173 Western Avenue North  (on the corner of Western & Selby)
Minneapolis, MN 55102


Concurrent Exhibition:   It’s Polite to Point

A group exhibition of work from the 2012 College of Visual Arts ~ emerging fine art and photography graduates.

An opening reception will be held Friday, May 4th from 6-9 pm

Dates  Friday May 4th, 2012 – Sunday, May 27th, 2012

Location  AZ Gallery
308 Prince Street
St. Paul, MN  55101

Time  Gallery hours

  • Friday:  5p.m.–8p.m.
  • Saturday & Sunday:  9a.m.–1p.m.

Martin Parr on making pictures in Minnesota & winter sports

Posted May 1, 2012

Martin Parr relished the challenge of shooting “something half decent” over his three day visit to the Twin Cities in January, where “people are addicted to this cold weather” for outdoor winter activities.  In regards to making pictures in America, Parr noted, “virtually no one objects to being photographed. [...] No wonder there’s so much good American photography.”

View Parr at work, describing his experience of photographing Minnesota winter sports on the artsmia YouTube page.


New Pictures 6: Martin Parr, on view Friday April 20th – Sunday, August 5, 2012
Linda and Lawrence Perlman Gallery (262)
Free Exhibition

MPR covers the Sports Show

Posted May 1, 2012

Yesterday, Chris Roberts of Minnesota Public Radio discussed MIA exhibition, The Sports Show, and its examination of  sports and media.  These intermingling spheres reach into wider culture, as shown by the range of new museum visitors, many of whom “know more about some of the pieces” than curator David Little, an odd combination of an art historian and avid sports fan.


The Sports Show runs through Sunday, May 13th