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presents the first comprehensive overview of inventive photographic portraits by one of the medium’s most influential artists.Best known as a pioneer who broke away from established traditions of documentary photography in the 1960s, Michals is widely recognized for his ability to navigate between imposing his style and allowing his sitters to express themselves, and for the sequences he assembles to convey personal visual narratives, often adding handwritten messages and poems on the photographic print surface. It is simply the end of war, the end of death and destruction.Every story of war includes a chapter that almost always goes untold – the story of the aftermath, which day by day becomes the prologue of the future.is a ten-year retrospective of the work of the groundbreaking documentary photography program, The Aftermath Project.In 1902 a sixteen-year-old Weston took up photography in Highland Park, Illinois, where he worked as an amateur for five years.In 1907, at the age of twenty-one, Weston moved to Tropico, California, now the city of Glendale in Los Angeles County, where he constructed his first studio and set about with great purpose to become a photographic artist.All of them, with photography as their medium, navigate with their other senses to visualize and represent the space around them.In this revealing series of photographs, James Mollison invites us into the diverse stories of children in many different countries and circumstances.

How people touched the negative played subtly against the image on the film itself. I’m surprised by the widespread disinterest in the negative, because when exposed, it is the plan for what the print will show.This stunning body of work sheds light on events that most Americans did not experience, but whose lessons remain salient today.“In these extraordinary photographs [the Vent Haven Dummies] appear to us as entertainers who have been brought out of retirement for one last show.We imagine their pride and elation as they face a new audience.” –Hunter Drohojowska-Philp, from the essay “Dummies’ Dreams Fulfilled” This exhibition of photographs is a typological study of vintage ventriloquist dummies dating from 1820 to 1980, housed at the Vent Haven Museum in Fort Mitchell, Kentucky.Similarly, the artists of , in bringing their inner visions into the world of the sighted, reveal a rich visual and emotionally complex blending of the physical and conceptual worlds.The artists represented span a wide spectrum of sight impairment: most are completely blind, some are legally blind but nevertheless perceive an attenuated image of the physical world in varying degrees.

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