Salt Ponds #4, Near Naglou Sam Sam, Senegal
© Edward Burtynsky

Tailings Pond #2, Wesselton Diamond Mine, Kimberley, Northern Cape, South Africa
© Edward Burtynsky

Robert Koch Gallery | Jan. 5 - Feb. 25, 2023
Artist Reception: Thursday, January 5, 5:30 pm – 7:30 pm

“While evolving my use of aerial perspective, in these recent photographs I am surveying two very distinct aspects of the landscape; that of the earth as something intact, undisturbed yet implicitly vulnerable… and that of the earth as opened up by the systematic extraction of resources… The vastness and beauty of the wilderness in these countries was something of a revelation and also provided a contrapuntal balance to a lengthy exposition of heavily industrialized landscapes, agriculture and urban development.” – Edward Burtynsky.

The Robert Koch Gallery is pleased to offer works from Edward Burtynsky’s latest African Studies series. Between 2015 – 2019 Burtynsky focused on Sub-Sahara Africa’s complex and ever-changing landscape. A new monograph of the same title published by Steidl accompanies the exhibition.

Edward Burtynsky’s works are held in the collections of over 60 major museums around the world, including The Museum of Modern Art, New York; the Guggenheim Museum in New York; the Whitney Museum of American Art in New York; the Tate Modern London; the Los Angeles County Museum of Art; the San Francisco Museum of Modern Art; the Art Gallery of Ontario; and the National Gallery of Canada. Burtynsky is a recipient of the 2004 TED Prize honoring individuals who have shown they can positively impact life in a global context, as well as the ICP Infinity Award for Art (2008), the Rogers Best Documentary Film Award (2006), The Outreach Award at the Rencontres d’Arles (2004), and the Roloff Beny Book Award (2003). The National Gallery of Canada organized and toured in 2003 the first retrospective of Burtynsky’s work, Manufactured Landscapes, which subsequently travelled to the The Brooklyn Museum of Art, New York; the Museum of Photographic Arts, San Diego; and the Cantor Center for Visual Arts, at Stanford University.

To view more of this exhibition, please visit here.

David H. Gibson (b. 1939), Morning Along
Cypress Creek, Wimberley, Texas, January 30
2010, 7:49 AM, inkjet print, Courtesy of the artist,
© David H. Gibson

Amon Carter Museum of American Art | Jan. 14 - May 21, 2023

Morning Light: Photographs of David H. Gibson presents a selection of 20 photographs captured by Gibson at two of his favorite sites, Cypress Creek in Wimberley, Texas, and Eagle Nest Lake nestled in the mountains east of Taos, New Mexico. This exhibition draws attention to the artist’s repeated return to these two locations and his fascination with dawn’s break into day. In mystical early mornings, Gibson finds the beauty and essence of each location.

This exhibition features photographs by Gibson captured with a panoramic camera, revealing an expanded view of night’s transition into day. In addition to his photographs, four of Gibson’s limited-edition books will be on view in the Library throughout the run of the exhibition.

Morning Light is Gibson’s first monographic exhibition at the Carter. This exhibition helps the Carter tell a more complete story of American photography by presenting key works by a local photographer.

Morning Light is a celebration of the mystical light and beauty of dawn. Like the light that falls across the stage of a theater, the light of dawn drastically illuminates the space and allows nature to become a stage for shifting light. Through the selection of Gibson’s photographs on view, Morning Light encourages viewers to wake up before dawn, step outside into the natural world, and slow down to encounter the shifting beauty of day awakening.

To view more of this exhibition, please visit here.

Changeling
2020
Oil, encaustic, photographs and collage on linen
80 1/4 x 96 1/8 inches (203.8 x 244.2 cm) EHu 578
**© Elliott Hundley, Courtesy Regen Projects**

Regen Projects | Jan. 14 - Feb. 19, 2023

Regen Projects is pleased to present Echo, a survey of works by Elliott Hundley that showcase the breadth and depth of the artist’s practice over the last 20 years. Inspired by the activity and environment of Hundley’s Chinatown studio, the densely organized structure of the show creates a total installation that collapses the boundaries between the artwork and its process of becoming. This is the artist’s sixth solo exhibition at the gallery.

Hundley’s liberal embrace of media and materials is on full display in Echo, which presents a concentrated, at times overlapping array of works including large-scale collages, freestanding and hanging sculptures, assemblages, paintings, photographs, ceramics, and works on paper. Into this dense field of symbols, icons, and forms, Hundley inserts items of personal significance he has collected over the years. Taken together, the overwhelming accumulation of objects and artworks teems with all manner of cultural debris, acting like thought clouds that give shape to the feverish affinities, attachments, and excesses of contemporary experience.

The exhibition is structured around a series of foam-covered walls that delineate the space and act as supports for hanging works. The foam serves, too, as fertile ground for intricate groupings of free-form collages which burst forth between and around the adjacent compositions. These interstitial arrangements encroach on the autonomous art object, subsuming it into the logic of the whole. In muddying the boundaries between studio and gallery, Hundley recasts the exhibition—and his practice—as an immense, life-size collage that is in a perpetual state of becoming.

To view more of this exhibition, please visit here.