Oregon Public Broadcasting presents a slideshow presentation of "The Fall of Spring Hill" - on view at Robert Mann Gallery beginning Thursday, January 26th. For more information please click here. Robert Mann Gallery is pleased to announce the representation of Jörn Vanhöfen. In his disquieting landscapes, Jörn Vanhöfen's work is characterized by elements whose sublime renderings betray their sometimes disturbing reality. Stunning in their visual appeal and the artfulness of the photographer's craft, the images which comprise the series Aftermath depict a world unsettled. Traveling the globe over, Vanhöfen arrives at pictures that capture the remnants of civilizations transformed by the pursuit of growth and wealth. While his subject matter is often marked by human intervention (often destructive) in the landscape, stylistic nuances provoke sensations of delight as well as anxiety, and in some instances - even hope. Vanhöfen's images extend beyond more familiar conceptions of post-New Topographics landscape photography. Not simply documents, these grand images function as visual metaphors, allegories of architecture and the complex dynamic between nature and culture. The final prints are infused with a delicate appreciation for the subtleties achieved by chemical (as opposed to digital) printing. An accomplished artist, curator, writer and professor, Jörn Vanhöfen was born in Dinslaken, Germany. He studied photography at the University of Essen and at the Academy of Visual Arts in Leipzig, where he earned his Master of Arts degree. Vanhöfen's work has been exhibited Internationally, including in Berlin, Lisbon, Madrid, Mexico City, Rome, Tokyo and Zurich. He lives in Berlin, Germany and Cape Town, South Africa. For more information, please visit Jörn Vanhöfen's profile. Julie Blackmon at The Art Museum at the University of Kentucky Through January 15 The Art Museum at the University of Kentucky Singletary Center for the Arts 405 Rose Street Lexington, KY 40506 For more information, click here. THE MONTPARNASSE MUSEUM PRESENTS "PORTRAITS OF EXILE: THE PHOTOGRAPHS OF FRED STEIN" November 4 - November 26, 2011 Musée du Montparnasse 21 avenue du Maine 75015 Paris The Montparnasse Museum presents 100 of Fred Stein's portraits of exile taken in Paris and New York. Stein, who fled fascist Germany as early as 1933, went on to work with, befriend and photograph some of the greatest intellectuals, artists, poets, musicians and writers of the 20th century. The subjects of his portraits include: Arnold Schoenberg, Marc Chagall, Alexander Calder, Robert Capa, Max Ernst, Walter Gropius, Marlene Dietrich, Pablo Neruda and Albert Einstein. For more information, visit Le Musée du Montparnasse. Gail Albert Halaban is featured on the cover of The New York Times Magazine. To pay tribute to The Radical Camera: New York's Photo League, 1936-1951 (opening November 4th) at the Jewish Museum, New York, Robert Mann Gallery will be showing a tightly curated selection of work drawn from our inventory of artists who were either directly or indirectly involved with the New York Photo League. Berenice Abbott, Lisette Model, Aaron Siskind and Weegee are among the noted members of this cooperative of amateur and professional photographers who were equally concerned with documenting social issues of the time as well as promoting photography as a true artistic medium. Works by these artists along with their colleagues will be on view in the gallery's back viewing area starting October 27th. For more information on the Photo League and the exhibition at the Jewish Museum, click here. American Landscape: Contemporary Photographs of the West featuring work by Joe Deal Joslyn Art Museum Omaha, NE September 17, 2011 - January 8, 2012 This exhibition features work by a dozen photographers who have sought to create a direct and clear-eyed appraisal of the American landscape incorporating the lessons of New Topographics as well as the influence of the earliest photographers who surveyed the West in the 1860s and 1870s. Their work is not without the lyricism and affection that has always characterized American landscape photography, but they are more likely to engage local terrain — the suburbs and exurbs; the footprint of industry and development; the confines of a single river basin or valley; or the human history and cultural history within the landscape — that stands between us and the mythic horizon. For more information, click here. Pacific Standard Time is an unprecedented collaboration of more than sixty cultural institutions across Southern California, coming together to tell the story of the birth of the L.A. art scene. Initiated through grants from the Getty Foundation, Pacific Standard Time will take place for six months beginning October 2011. Joe Deal's work is part of several exhibitions including: Seismic Shift - Lewis Baltz, Joe Deal and California Landscape Photography, 1944-1984 California Museum of Photography, Riverside, CA October 1 - December 21, 2011 In the 1970s and early 1980s, Joe Deal and Lewis Baltz crossed paths at the University of California, Riverside (UCR), and the UCR/ California Museum of Photography. This was the period when the exhibition New Topographics: Photographs of a Man-Altered Landscape, which included both photographers, announced the arrival of a radical new aesthetic in landscape. Though the show originated in Rochester, NY, its origins lay significantly in Southern California, and its effect was to shift the epicenter of landscape photography from Northern California to the SoCal region. Seismic Shift will illuminate the far-reaching consequences of this revolution in landscape photography by tracing its regional history. Beginning with Ansel Adams and Edward Weston — and with the 1946 arrival in San Francisco of Minor White, who would extend the Weston-Adams tradition by transforming it — the exhibition will follow the history in the 1950s and 1960s through the careers of Wynn Bullock, Brett Weston and many others. Then it will examine how the 1970s work of Baltz, Deal, Robert Adams and Henry Wessel — the Western contingent of the New Topographics — created a shock of recognition, an awakening to mutual ideas different from those of their predecessors, that a younger generation of photographers shared. Portfolios of the period, one done by a class Baltz taught at UCR, will demonstrate the immediacy that these ideas had. For more information, click here. Under the Big Black Sun: California Art 1974-1981 Museum of Contemporary Art, Los Angeles, CA October 1, 2011 - February 13, 2012 The years covered by the exhibition bracket a tumultuous, transitional period in United States history, beginning with Richard Nixon's resignation and ending with Ronald Reagan's inauguration. The exhibition borrows its title from the album by the Los Angeles-based punk band X to suggest that the California Dream and the hippie optimism of the late 1960s had been eclipsed by a sense of disillusionment during this post-Watergate, post-Vietnam era. Under the Big Black Sun seeks to demonstrate how this collective loss of faith in government and institutions yielded a spirit of artistic freedom and experimentation that reached its apex in California through the pluralistic art practices that flourished here. Across the state, competing social and political ideologies and clashing cultural perspectives resulted in heterodox approaches to art-making. A DIY attitude was embraced by California artists, particularly young, recent art school graduates, resulting in the hybridization of media and the breaking apart of traditional forms and genres. The dystopian atmosphere of the 1970s created an artistic milieu that seemed to include everything under the sun. For more information, click here. In Focus: Los Angeles, 1945-1980 J. Paul Getty Museum, Getty Center, Los Angeles, CA December 20, 2011 - May 6, 2012 "This exhibition features both iconic and relatively unknown work by artists whose careers are defined by their association with Los Angeles, who may have lived in the city for a few influential years, or who might have visited only briefly," said Virginia Heckert, curator, Department of Photographs, the J. Paul Getty Museum, and curator of the exhibition. The photographs are loosely grouped around the themes of experimentation, street photography, architectural depictions, and the film and entertainment industry. Works featured in the exhibition are from artists such as Jo Ann Callis, Robert Cumming, Joe Deal, Judy Fiskin, Anthony Friedkin, Robert Heinecken, Anthony Hernandez, Man Ray, Edmund Teske, William Wegman, Garry Winogrand, and Max Yavno. Two of the works in the exhibition by Anthony Hernandez and Henry Wessel Jr. were acquired with funds from the Getty Museum Photographs Council. For more information, click here. Temporary Structures, an exhibition featuring work by MARY MATTINGLY September 18 - December 31, 2011 deCordova Sculpture Park and Museum Lincoln, MA Temporary Structures: Performing Architecture in Contemporary Art will be on view at deCordova Sculpture Park and Museum from September 18 - December 31, 2011. The exhibition will highlight work that seeks to underscore the malleable and active nature of our built environment by merging two dominant strains of art practice today: performance and architectural subject matter. By doing so, the artists in this exhibition infuse performative strategies — all of which are time-based and thus, temporal (or temporary) — to destabilize our notion of the fixed architectural space. This follows an understanding of performance in which the ability to perform gender or an identity intonates that it is a social construction that can then be destabilized and is not, as assumed, a fixed entity. Applying such notions of flexibility and destabilization to our built environment, the featured artists in this exhibition present a collective notion of the changing, almost living, nature of architecture. Accordingly, buildings are viewed as active agents within our social lives, informing and performing human behavior, changing states, and telling histories. For more information click here. The New Yorker previews the exhibition Elijah Gowin: Into The Sun in the September 12, 2011 issue: After two previous series of photographs based on appropriated and manipulated material, Gowin picks up his camera and points it at the sun. As usual, his results are low-tech and grainy, as if blown up from antique negatives; they're visionary, abstracted, and a little mad. Whether obscured by clouds, seen through branches, or giving off an aura of glittering flares, Gowin's sun has a lambent glow. And even at its brightest, it rarely feels hot, because the colors are so muted: pale greens, blush pinks, storm-cloud slates. Subtlety is rarely this compelling. To read the original article, click here. In the September 2011 issue of ARTnews, Barbara Pollack reviews the gallery's recent exhibition John Mack: Revealing Mexico. The full article is included below: In anticipation of the bicentennial of Mexico's independence from Spain and the centennial of its revolution, the Mexican government commissioned photographer John Mack to create a body of work that would go beyond stereotypes and attempt to capture the complexity of the country. Mack, who has been photographing there since 2002, published the results in Revealing Mexico, a book with essays by Susanne Steines and Teresa del Conde (powerHouse Books, 2010). This exhibition revealed what Mack discovered as he traversed the country with classic black-and-white film and a Leica camera. To appreciate his achievement, we must look back to a period when Walker Evans and Robert Frank defined documentary photography. Mack's is a view of Mexico devoid of 21st-century cities and headline-stealing drug lords. Instead, he offers intimate views of pueblos and rural towns. His airy and poetic image Cholula, Puebla (2008) captures flickering white banners decorating the town square, and in Villa de Etla, Oaxaca (2005) there is the haunting site of a lone basketball hoop - almost a found sculpture - in front of a church. Mack's portraits are heartfelt and sensitive, as in his photograph of a pair of Indians, Lacandon Community of Naha, Chiapas (2002), and the one of a team of aging ranchers, titled Torreón, Coahuila, Mexico (2009). Mack relishes the perfect moment, as seen in Downtown Durango, Durango (2008), where two passengers - a boy resting his elbow out the window and a man in a cowboy hat - are framed by the window of a bus. Arguably theses photographs do not advance a view of Mexico beyond Paul Strand's moving prints of the 1930s, but they do demonstrate what Mexico has retained of its roots, despite globalization and political turmoil. Remembering 9/11 Yale University Art Gallery August 26 - November 27, 2011 To commemorate the tenth anniversary of September 11, 2001, the Gallery presents Remembering 9/11, a rumination on the tragic events of that day. Included are works by Yvonne Jacquette, Nathan Lyons, and Judith Shea, as well as a special installation of Wounded Cities, Leo Rubinfien's acclaimed series of photographs. In conjunction with the installation Remembering 9/11, artists Nathan Lyons, Leo Rubinfien, Judith Shea, and Robbin Ami Silverberg will join Joshua Chuang, Assistant Curator of Photographs at the Gallery, and Jae Rossman, Assistant Director for Special Collections at the Robert B. Haas Family Arts Library, for a conversation on the impact of September 11 on their lives and work. For more information, click here. This selection of pool and seaside photographs doesn't entirely avoid cliché, but the mix is still shrewd and invigorating. And if the artists are familiar - many are from the gallery's roster - the best works are not. Alfred Stieglitz, Harry Callahan, Fred Stein, and Aaron Siskind provide solid historical grounding, the last with his found abstractions of seaweed and gull tracks on wet sand. In contrasting approaches, Robbert Flick suggests the relentlessness of surf with his grid of seventy-two images of surging waves, while Elijah Gowin sees the sunlight sparkling on the water between two bathers as a scattering of jewels. To read the original article, click here. Paddle8, the new online community for artists, gallerists and collectors presents it's second exhibition, STUFF: Still Life Photography, curated by Vince Aletti. Laurent Millet's Ne Faites Pas l'Enfant Mr. Kant is included among works by other acclaimed contemporary artists and masters of photography. For more information, click here. "THE LIFE AND DEATH OF BUILDINGS" AT PRINCETON ART MUSEUM FEATURING WORK BY JEFF BROUWS July 23 - November 6 Princeton University Art Museum Princeton New Jersey On the tenth anniversary of the 9/11 attacks, this exhibition looks beyond those events to address the long-term flux of built environments — their birth and evolution, disappearance and excavation, re-use and re-invention — as a mode of continuity that defines history and civilization. The exhibition will serve as the capstone event in a yearlong collaborative exploration entitled "Memory and the Work of Art," organized by arts and cultural organizations at Princeton University and in the Princeton community. For more information, click here. Please join Robert Mann Gallery on Thursday, July 28, 2011 from 5 to 8 p.m. for the second annual Chelsea Art Walk, a cooperative event organized by the neighborhood's galleries and art institutions. Last year the free, self-guided, public event attracted hundreds of residents and visitors to explore the dynamic arts community offered by internationally acclaimed galleries. Our summer show, At the Water's Edge will be on view for these extended hours and wine will be served. More than 125 galleries and institutions participating in Chelsea Art Walk 2011 will be open for extended hours, artist talks, live performances, and other special events to showcase the vibrancy of the summer arts scene in Chelsea. Visitors will also be able to enjoy the newly opened second section of the High Line, which extends through Chelsea from 14th Street to 30th Street. A venue map will be provided by the M Chelsea art map, published by the M magazine, online at intheartworld.com. The Exhibitionist iPhone/iPad app, available for free download through iTunes, will map out participating locations, display photos of the exhibitions, and highlight special events. Please visit artwalkchelsea.com for more information. The Lower Manhattan Cultural Council Presents The Investigation, Constitution, and Formation of Flock House An Exhibition by Mary Mattingly July 15 - August 14, Friday - Sunday, 12-5pm LMCC Arts Center at Governors Island Opening reception: July 16, 3-5pm The Story of Flock House as told by Mary Mattingly: August 6, 3:30-4:30pm As a self-sufficient, inhabitable, and micronational space, Flock House explores a city in which structures combine, separate, and recombine, reflecting the daily movements and relationships of metropolitan life. By augmenting community resources through workshops and organized events, Flock House embellishes the etiology of civic folkways, offering opportunities for collaboration, celebration, and invention. Through a combination of slides, videos, diagrams and plans, Mary Mattingly tells the story of Flock House, from its creation, history, to the Flock House as a living space. For more information please click here. The New York Center of Photography and the Moving Image presents New York Temporary: The City Through Photography, Film and Video featuring work by Gail Albert Halaban. The exhibition opens June 21 and runs through August 12, 2011. Robert Mann Gallery is pleased to announce the representation of the Fred Stein Estate. With this, the Gallery acquires a rich portfolio of vintage photographs from the 1930's and 40's. Born in Dresden, Germany in 1909, Stein was a bright aspiring lawyer denied admission to the bar by the Nazi government for "racial and political reasons." As the situation became increasingly dangerous in Germany, Stein left for Paris in 1933 with his wife, Liselotte Salzburg. Unable to work as a lawyer, Stein began photographing the streets of Paris with a Leica camera he and his wife had bought each other as a wedding present. It quickly developed into a passion, shooting every day and studying whatever photo books he could find at night. He brought an extremely sophisticated eye and a quick intelligence to his work, and was soon pushing the limits of the camera. In Stein's words: "The Leica taught me photography." Once France declared war on Germany in 1939, Stein was put in an internment camp for enemy aliens near Paris from which he escaped and made his way south, surviving by hiding in isolated farmhouses. He sent word through underground channels to his wife, alone in now-occupied Paris with their one-year-old daughter, to meet him. Posing as a French national, she maneuvered her way through German controls and was reunited with Stein in a secret location. They made their way to Marseilles by hiding in the bathrooms of trains; once in Marseilles they obtained visas through the Emergency Rescue Committee and on May 7, 1941, the three boarded the SS Winnipeg, one of the last boats to leave France. They carried only the Leica, some prints, and the negatives when they arrived in New York. In the freedom of New York, the energy of the city infused Stein's work with its rich cultural mix, cultivating his talent. He took to the streets and worked from Harlem to Fifth Avenue, invigorated by the bustle and variety of the New World. He loved the American spirit and as an outsider he came to the various ethnic areas without preconceived ideas. He was able to see in the residents a style, humor and dignity that seems perfectly fresh, even today. At this time, Stein added the medium-format Rolliflex to his repertoire, which takes pictures in square format. As Stein's mobility decreased in the 1950s, he took that time to pursue his growing interest in portraiture. While he had taken portraits for many years, some of them remarkable, he had primarily been a street photographer. But now he turned to the more intellectual aspect of his artistic exploration. Always gregarious and captivating, he had befriended important writers, artists, scientists, and philosophers through the years. This wide circle of contacts enabled him to meet people he wished to photograph, among them Albert Einstein, Georgia O'Keeffe, Marc Chagall and Norman Mailer. Fred Stein died in New York City on September 27, 1967 at the age of 58. His photographs can be found in public collections including The Smithsonian American Art Museum, Washington, D.C., The International Center of Photography, New York, The National Portrait Gallery, Washington, D.C., The Center for Creative Photography, Tucson, Arizona, The Musee Carnavalet, Paris, and The Jewish Museum, New York. For more information about Fred Stein's photographs, please contact Robert Mann Gallery at (212)-989-7600 or mail@robertmann.com. A selection of works from the series can be seen by clicking here. Leo Rubinfien's series Wounded Cities will be exhibited at the National Museum of Modern Art in Tokyo from August 12 through October 23, 2011. Having experienced the 9/11 terrorist attacks in 2001 at his home near the World Trade Center, photographer Leo Rubinfien (b. 1953) visited cities around the world that were attacked by terrorists, and photographed faces of people out in the street for six years. This show looks for messages for us living in the same age among the psychological nuances surfacing on his photographs. Congratulations to John Mack on receiving an award at the 25th Annual New York Book Show for his monograph Revealing Mexico. Mack's project, Revealing Mexico is the subject of his solo exhibition at the gallery on view through July 1, 2011. Click here to view the exhibition. Richard Steinheimer, the acknowledged "Dean" of western railroad photography, passed away quietly on May 4, 2011, in Sacramento, California, after a long illness. Born in Chicago, Illinois, on August 23, 1929, he migrated to Southern California at the age of six with his mother and sister, where an early love of the desert and wide western geographies bloomed — landscapes that would later become integral to his photography. Steinheimer broke new aesthetic and technical ground within the field of railroad photography starting in 1946 by moving away from the favored "3/4 wedgie" school pioneered by predecessors like Lucius Beebe. Instead he instigated an interpretive style that encompassed the entire railroad scene and environment in novel fashion, with human interest a major focus. Utilizing a range of cameras from 4 x 5 Speed Graphics to 2 1/4 Rolleicords to 35mm Nikons over the course of his career, he also pioneered the use of synchronized and open-flash when shooting railroad subjects years prior to such better-known contemporaries as O.Winston Link. Not content to merely make the pictures, he also became a master darkroom craftsman with a print quality often rivaling the tonalities of those made by Ansel Adams. Beyond the photography, "Stein's" humble demeanor, sense of fellowship, stamina in the field, and generosity in sharing his knowledge of railroading, history and photography — not to mention his talent and creativity — enamored him to, and inspired a younger generation of railroad photographers, who rightfully have conferred upon him heroic status. The passion with which he photographed trains and railroading was infectious. He will be deeply missed as he and his work touched many. — written by Jeff Brouws Art for the Expo Line: First Art Panels Installed! by Zipporah Lax Yamamoto April 29, 2011 The first art panels by Robbert Flick are installed at Expo Park/USC Station. The first art panels were installed today at Expo Park/USC Station, marking a major milestone for the Expo Line. Installation of the 24 art panels will continue over the weekend. If you're at the Los Angeles Times Festival of Books at USC this weekend you might be able to get a sneak peak! Click here to view additional images. The Wall Street Journal reviewed the recent exhibition Food For Thought: A Group Exhibition in the April 9, 2011 issue. The full review by William Meyers is included below: Here's a smorgasbord of 37 photographs that treat a variety of foods in many ways. The pictures at Robert Mann date from pictorialist Edwin Hale Lincoln's platinum print "Untitled (Still Life with Grapes)" (1912) to Kevin Kay's three Polaroid images of two naked women and some oranges, all titled "Citrine" (2011). Several pictures are by well-known artists, such as Man Ray's photogravure of a surreal turkey, "Cuisine (Kitchen): From the Portfolio Electricité" (1931); Harry Callahan's "Chicago" (c. 1951), a red, blue and black dye-transfer print that is almost painfully austere; and Josef Sudek's "My Window" (1952), one apple on a plate in front of a fogged window, somehow both enigmatic and wise. From the signs in Berenice Abbott's "Jacob Heymann Butcher Shop, 345 Sixth Avenue, New York" (1938) we learn prime rib roast was selling for 24 cents a pound and the "Very Best Geese" could be had for 20 cents a pound. Several pictures are by underappreciated photographers like Leslie Gill (1908-1958), whose photogram "Rest for the Stomach" (1935) shows a fish, a fork and a sophisticated imagination, and Fred Stein (1909-1967), whose modernist "Fish Platter, Brittany, France" (1935) has the silvery morsels radiating like petals on a daisy. Midcareer artists Gail Albert Halaban and Holly Andres both have domestic tableaux vivants: In Ms. Halaban's "Untitled (Valentine's kitchen)" (1990-2003), a 30-ish woman prepares a meal; in Ms. Andres's "Abby" (2006), a dutiful young girl brings food to the table. Note the Betty Crocker Cookbook on the windowsill. The New York Times An Exhibit Focuses on Food Loved by the Camera By Florence Fabricant March 30, 2011 An exhibition of food photography from the last 80 years or so, including names like Irving Penn and Ansel Adams, shows the artistry and range of the genre. It includes a panorama of food signs by Berenice Abbott, silvery fish in a 1930s French market, and arresting still-life arrangements by Paulette Tavormina and Julie Blackmon inspired by Flemish and Dutch masters. nytimes.com → The New Yorker reviewed our recent exhibition O. Winston Link: The Last Steam Railroad in America in the March 28, 2011 issue. The full review is included below: Long before Gregory Crewdson, Link was staging odd, cinematic scenarios in the suburbs. His photographs, made in the late nineteen-fifties, were shot in high-contrast black-and-white and revolved around the trains of the Norfolk & Western line — the last American steam engines still in use. Trains chug through all of Link's photographs, which were meticulously, cast and lighted and timed — on a bridge above children swimming in a creek or or right outside the window of a busy general store. The results are vintage Americana as nostalgic as Normal Rockwell, as obsessive as Henry Darger. We hope you can visit us at booth 410 at the AIPAD Photography Show from March 17 - March 20 at the Park Avenue Armory at Park Avenue and 67th Street. The gallery will present new works by gallery artists along with a selection of vintage masterpieces. Our presentation will also introduce the work of three new artists: Kevin Kay, John Mack and Fred Stein. Kevin Kay uses a Polaroid camera with nearly antiquated film to create provocative and challenging nudes and still lives. John Mack has created an extraordinarily passionate and comprehensive body of work capturing the essence of Mexico through it's people and places. Mack's "Revealing Mexico" series will be the subject of a solo show at the gallery later this spring. Having been recently rediscovered Fred Stein's images depict an atmospheric and romantic portrait of both Paris and New York in the 1930s. Stein passed away early leaving a very limited body of work but each image is an extraordinary testament to the innate ability this artist had in capturing the perfect moment on film, whether joyful or melancholy. Following the success of her recent exhibition Line: Up, the gallery will debut new, somewhat edgier work by Julie Blackmon. Selections from Michael Kenna's latest body of work created in China, Huangshan, will be on view, as well as recent additions to Chip Hooper's series California's Pacific. Rounding out the gallery's presentation of contemporary work are images by Holly Andres and Jeff Brouws. And no fair would be complete without the gallery drawing from our significant holdings of classical photography. Our installation will feature an array of vintage work by 20th century masters including, but not limited to, Ansel Adams, Joe Deal, Mario Giacomelli, Aaron Siskind, and David Vestal. AIPAD Photography Show Hours Thursday, March 17 11:00 a.m. to 7:00 p.m. Friday, March 18 11:00 a.m. to 7:00 p.m. Saturday, March 19 11:00 a.m. to 7:00 p.m. Sunday, March 20 11:00 a.m. to 6:00 p.m. The New Yorker's Caroline Hirsch wrote about our recent exhibition O. Winston Link: The Last Steam Railroad in America on the Photo Booth blog: The other day I took the subway to see some trains: steam-powered ones, as meticulously styled, lit, and captured by O. Winston Link, in a series of photographs now on view at the Robert Mann Gallery. I was lucky enough to work with Link at my first assistant-photo-editor job, but this was the first exhibition of Link's work I've attended; it was a pleasure to see so many of his carefully crafted, cinematic images of a very particular moment in American time all in one place. View the slideshow online. Leo Rubinfien is currently the subject of two solo exhibitions in Tokyo, Japan, and has an upcoming solo exhibition at Stanford University. A selection of 34 photographs is on view at Taka Ishii Gallery in Tokyo through January 29th. Surveying Rubinfien's rich 30-year career as a traveler exploring the vulnerable and melancholic disposition shared throughout the world, the 34 images exhibited are selected from Rubinfien's upcoming publication In the World City. Also in Tokyo, Rubinfien's exhibition The Ardbeg is currently on view at Kurenboh Chohouin Buddhist Temple Gallery through February 25. The exhibition is accompanied by a 16-page catalogue co-published by Kurenboh and Taka Ishii Gallery, printed in a limited edition of 1,000 copies, signed and numbered by Leo Rubinfien. Paths through the Global City will be on view at Stanford University's Cantor Arts Center from February 2 through May 1, 2011. The exhibition will present both color and black-and-white photographs from his previous series A Map of the East and Wounded Cities as well as two others still in progress. ARTINFO's Modern Art Notes listed Joe Deal: West and West: Reimagining the Great Plains as one of their top 10 shows of 2010: "West and West: Reimagining the Great Plains," by Joe Deal, in book form and at Robert Mann Gallery. One of America's most underrated synthesizers of landscape, Deal made important work up until his death this year. He was 63. You can read the entire article here.