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| PHOTOGRAPHY INTERNATIONAL | | 26 April - 3 May 2017 | |
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| | | | | In recognition of the 150th anniversary of confederation, the Festival’s artistic vision focuses on Canada through a series of exhibitions, public installations and events. CONTACT 2017 presents in May 2017 outstanding projects by established and emerging Canadian artists like Robert Burley » Petra Collins » Max Dean » Suzy Lake » Mark Lewis » Michael Snow » ... . CONTACT is the largest photography event in the world. Throughout the month of May, CONTACT takes over the city with more than 200 exhibitions and events. |
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| | | Barbara Klemm, Madonna, Haute Couture, Paris, 1993 © Barbara Klemm | | | | | | | | | | | | until 9 June, 2017 | | | | Special opening hours during Gallery Weekend Berlin: Sat 29 Apr + Sun 30 Apr: 12am - 5pm | | | | | | | | | | | | | Love loves small things. Love doesn't seek big pathos or emphasis. Love hides in the profane; in the shiny shoes in which one has journeyed or in the perfect fold of a beautiful dress. The really big things often lurk in the smallest of details. "I believe," the American poet Walt Whitman once wrote, "a leaf of grass is no less than the journey-work of the stars." It is a poetry of dignity and nuance. This is a credo about the interplay of all things and the reverberation of the mighty cosmos in the allegedly banal everyday life.
These unique "leaves of grass" are exactly what Johanna Breede has selected for her exhibit Favorite Images: the red painted mouth held dreamily in the summer sun, taken by the French photographer Isa Marcelli. or the deep insight caught by the Stuttgart photographer, Hannes Killian, in 1955 at an afternoon tea dance ceremony. These gestures, ornamentations and signs don't reveal for certain the profound secret of life, but together they show life's preciousness, its small fortunes and its grace present in the simplest of things.
Favorite Images is a selection of over 50 black and white photographs from the 1930s to the present. It is perhaps the most personal exhibition that Johanna Breede has ever mounted in her gallery on Berlin's Fasanenstraße. The show combines images from the great photographers with whom she has had the honor to collaborate over the past ten years in her profession as an gallerist: works by the photographers Sheila Rock and Thomas Hoepker and from the estates of Herbert List, Max Scheler and Liselotte Strelow; treasures from the oeuvre of a total of 26 artists. These are not the iconic images. These are the images that represent what Johanna Breed… | | |
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| | | | | | | | Derek Kreckler: Many a slip... Accident & Process, 2012, Digital C-Type, 119,43 cm x 117 cm, Edition of 10+2 |
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| | | | | | | | Francesco Jodice: Miss Atomic Bomb #009, 2014, aus der Serie: Sunset Boulevard |
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28 Apr – 1 Jul 2017 | | | | | |
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| | | | | | | | | | Ausstellung von UdK Berlin und Kunstbibliothek der SMB | | Thu 27 Apr 19:00
28 Apr – 2 Jul 2017 | | | | | |
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| | Sibylle Bergemann, Dakar, 2001/2017, archival pigment print (Hans Ruh), 31,8cm x 43,6cm; Edition of 8 + 2AP
© Nachlass Sibylle Bergemann; Ostkreuz / Courtesy Kicken Berlin and Loock Galerie | | | | | | | | 28 April – 29 July 2017 | | | | Opening reception: Thursday 27 April 6:00pm | | | | | | | | | | | | | Loock Galerie and the Estate of Sibylle Bergemann, in cooperation with Reinbeckhallen and Kicken Berlin, will be showing an extensive selection from the oeuvre of the photographer Sibylle Bergemann (1941-2010) at three venues in the city. From 1967 onwards, Bergemann worked as a freelance photographer und created numerous reportages, fashion spreads and portraits for art and culture magazines in the GDR, such as Sonntag and Sibylle. After German unification, she worked for magazines like GEO, Die Zeit, Spiegel, Stern, and The New York Times Magazine. For her, photography was a means of artistic expression, and to this day her work fascinates us with its sober sensuality. Loock Galerie will show for the first time the color photographs that Sibylle Bergemann started taking in 1990, in dialogue with icons from the series of women portraits. The focus at Kicken Berlin will be on photographs from Berlin–Mitte, while the Reinbeckhallen Oberschöneweide will present an overview of her work, chosen from works in German private collections and the Estate of Sibylle Bergemann. | | |
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| | SIBYLLE BERGEMANN (1941-2010)
Berlin, Palast der Repubiik, 1987
gelatin silver print
© Nachlass Sibylle Bergemann; Ostkreuz / Courtesy Kicken Berlin and Loock Galerie | | | | | | | Sibylle Bergemann in Dialogue | | | | | | 29 April – 1 September, 2017
Opening: Friday, 28 April, 6-9pm | | | | | | | | | | | | | During Gallery Weekend 2017, Kicken Berlin will show the work of Sibylle Bergemann in dialogue with her Eastern German contemporaries, friends and colleagues, including Ursula Arnold, Arno Fischer, Harald Hauswald, Ute and Werner Mahler, Roger Melis, Helga Paris, Sabine Peuckert, Evelyn Richter and Gundula Schulze Eldowy. The protagonists of this show share an ability to depict people and places with empathy, transcending stereotypical paradigms. Their pictures bear witness to the status quo of the 1970s and 80s in East Germany, and the changes brought on by the post-Wall era. Sibylle Bergemann is one of the most well-known photographers of the former GDR. Her sensitive approach to the realities of Eastern German life and her unmistakable, subjective point of view, which continuously drew new, poetically surreal images from reality, are distinctive in her work. Bergemann learned photography in the mid-60s from Arno Fischer, later to become her husband. She was a consummate master of various genres, from portrait to landscape, fashion shoot to photo reportage. From the 1970s onward, she worked for cultural journals, such as Sonntag, Das Magazin or Sibylle. The urban landscape of Berlin is a central subject in Bergemann’s oeuvre. She took incomparable photographs of both the prestigious objects and central sites of Eastern German urban planning, the plattenbaus and the Palace of the Republic, as well as the Mitte district of Berlin, scarred by the traces of history. Her interest lay in the "Rand der Welt" ("edge of the world"), as she said; in that which is unique, enigmatic and scorns conformity. | | |
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| | Sibylle Bergemann: Mauerpark, Berlin, 1996
© Nachlass Sibylle Bergemann; Ostkreuz / Courtesy Kicken Berlin and Loock Galerie | | | | | | | | 29 April – 30 July 2017 | | | | Opening reception: Friday 28 April 7:00pm | | | | | | | | | | | | | Loock Galerie and the Estate of Sibylle Bergemann, in cooperation with Reinbeckhallen and Kicken Berlin, will be showing an extensive selection from the oeuvre of the photographer Sibylle Bergemann (1941-2010) at three venues in the city. From 1967 onwards, Bergemann worked as a freelance photographer und created numerous reportages, fashion spreads and portraits for art and culture magazines in the GDR, such as Sonntag and Sibylle. After German unification, she worked for magazines like GEO, Die Zeit, Spiegel, Stern, and The New York Times Magazine. For her, photography was a means of artistic expression, and to this day her work fascinates us with its sober sensuality.
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| | Barbara Probst
Exposure #117.11: Münsing, 47°51'57.4"N 11°20'41.8"E, 12.20.15, 2:10 p.m., 2015
Ultrachrome ink on cotton paper
2 parts: 92 x 74 cm/ 36 x 29 inches
Edition of 5 | | | | | | | | 28 April – 10 June 2017 | | | | Opening reception: Friday 28 April 6:00pm | | | | | | | | | | | | | Kuckei + Kuckei is pleased to announce an exhibition of recent works by New York based German artist Barbara Probst.
Barbara Probst studied sculpture at the Academy of Fine Arts, Munich, and photography with Bernd Becher at the Düsseldorf Art Academy. She began her career with sculptural works, then moved on to three-dimensional installations that included photography, and finally, since the year 2000, to the multi-part photographic works, the "Exposures", which brought her international renown. Her "Exposures" are always composed by a group of photographs. At first glance they appear mysteriously connected, yet without revealing their secret. Closer observation reveals that they all portray the same scene and have been taken in the same second, but from very different angles. For Probst this fragmentation of the instant into a series of images is the tool for exploring the many ambiguities inherent to the photographic image. In her work the relationship of the photographic instant to reality is intensified in two distinct ways, whereby the captured moment acquires an almost unsettling quality: on the one hand, Probst abandons the single-eyed gaze of the camera and divides it into various points of view. On the other hand, she multiplies and diversifies the short moment of the shot. Thanks to a radio-controlled release system she can simultaneously trigger the shutters of several cameras pointed at the same event or subject from different angles and various distances. From each angle the gaze of the camera gives us a different view of the same reality, thus revealing all its subjectivity. | | |
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| | | | | | | | Gun 1, Amsterdam Avenue, New York 1954, painted contact 2001 © William Klein |
| | | | | | | | | | | Fri 28 Apr 19:00
29 Apr – 2 Jul 2017 | | | | | |
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| | | | | | | | Frau Schulz mit drei ihrer 14 Kinder, Weihnachten 1986 © Harf Zimmermann |
| | | | | | | | | | | Fri 28 Apr 19:00
29 Apr – 2 Jul 2017 | | | | | |
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| | | | | | | | aus der Serie "shut up and play", 2016 © Karolin Back |
| | | | | | | | mit Svenja Paulsen | | Fri 28 Apr 19:00
29 Apr – 2 Jul 2017 | | | | | |
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| | | | | | | | | | | | | Fri 28 Apr 19:00
29 Apr – 28 May 2017 | | | | | |
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© Matan Mittwoch, Blind [VI]
160 x 213.5cm, Inkjet print on Rag paper |
© Matan Mittwoch, Blind [IV]
160 x 213.5cm, Inkjet print on Rag paper |
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| | | | Free of Immediacy | | | | | | | Curated by Ory Dessau. | | | | 29 April - 4 June 2017 | | | | Opening reception: Friday, 28 April, 6-9 pm | | | | | | | | | | | | | The exhibition "Free of Immediacy" seeks to undermine the assumption regarding the immediacy of expression and perception recognized with the heritage of abstract art. Instead of tangible, unmediated appearances, the exhibition embraces the notion of the hindered, the distant, the evasive, and the filtered, within the context of contemporary abstraction. It does so in relation to the body of work of two artists, the sculptural work of Royden Rabinowitch (born 1943, Canada), and the photographic work of Matan Mittwoch (born 1982, Israel).
Royden Rabinowitch's floor and wall installations are a sort of sculptural topology whose formations were exclusively determined by an ordinary differential equation and configured in real space based on the rules of a mathematical operation. Rabinowitch’s work incorporates mathematical principles as a metaphor of an impersonal universe which lies beyond and is unconditioned by human experience, confronting the viewer with the limits of human perception, with the experience of the impossibility to experience.
Matan Mittwoch’s Blinds series originates from a set of close-range shots made to a standard iPad screen, taken when the device is turned on but displaying no data. The prints, of uniform dimensions that correspond to a human size or to a wall-opening, were derived from the technical features of all aparati involved when pushed to their limit – from the digital data of the screen to printer specifications, the latter marking the ‘anachronistic’ end unit of the process. | | |
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| | | Herbert Döring-Spengler: Untitled, 2016, C-print on Aludibond, Ed. 3 | | | | | | | | 27 April – 8 July 2017 | | | | Opening reception: Thursday 27 April 7:00pm | | | | | | | | | | | | | For many years and through his work, the photo artist Döring-Spengler has dealt with the topic of the human being and its interaction with the world and society. In his latest work, photography is an artistic tool which is constantly altered through overlapping and editing with different techniques in order to create artistic-picturesque statements. These latest developments are implemented in the so-called "Diazetten". This technique creates collages of pictures through overlapping, which also reflect on certain situations and historic-political events. Those Diazetten are confronted by the artists well-known Polaroid-works, in which Döring-Spengler alters the uniqueness of both the Polaroids themselves and artistic composition. Döring-Spengler creates images of humans in situations which are taken out of the documentation's context and brought into a timeless quality. In those Diazetta-motifs, one witnesses Herbert Döring-Spengler as a politically-thinking artist focused on everyday life who expresses opinions on various events of the late world history in his works. Be it the successful choice of a "loudspeaker" in the United States or the Brexit with its consequences on the stock-market which eventually entails consequences for the people. The Diazetten are created through similar structures in overlapping and editing we know from his Polaroid-works and show a world in the same way as we are confronted by it, in which everything is connected, everything is overlapped by everything and therefore creates a diversity and polychromatism which might exacerbate one's vista. (Dr. Gabriele Uelsberg, director of the LVR-LandesMuseum Bonn.) | | |
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| | Aria Watson
#SignedByTrump, 2016
Digital Pigment Print
24 x 16 inches © Aria Watson | | | | | | | Citizen, Land, Body / Mensch, Land, Körper | | | | | | | 28 April – 24 June 2017 | | | | Opening reception: Thursday 27 April 6:00pm | | | | | | | | | | | | | Galerie Julian Sander will present an exhibition showing different perspectives on the current political situation in the USA. Sean Hemmerles THEM: Iraq shows portraits of 25 citizens of Iraq. Shortly after 9/11 Hemmerle traveled to Iraq and Afghanistan to photograph regular citizens. He reminds us that being Iraqi is not synonymous with being a terrorist. It shows people going about their "regular" lives just as we do. As foreign as they may seem, they are much like us. Jory Hull's Flyover State shows abstract depictions of the central part of the USA. States, loosely defined as the place between the east and west coast. They represent the part of the United States that is most impacted by the changes brought by globalization and technology. Aria Watson's #SignedByTrump series developed out of her frustration with the election of the US Presidency. At this time she could not vote because she was not yet of age. Her response was to take quotes spoken by Donald Trump and write them onto naked bodies. The photographs speak for themselves. #facts is a direct commentary on social and political tensions and our tendency to make premature judgments. The exhibition intends to initiate a discussion about the situations in the USA as well as Europe and the world as a whole. These situations require critical thought, and most importantly self-critical thought and action. | | |
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| | | | | | | | Beat Presser: The Jump, Indischer Ozean, Zanzibar, 2009 |
| | | | | | | | | | | Mon 1 May 11:00
1 May – 31 Jul 2017 | | | | | |
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| | | | | | | | | | Eine Ausstellung mit Texten von Jürg Halter | | Fri 28 Apr 19:00
29 Apr – 2 Jun 2017 | | | | | |
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| | | Mirror 18, 2017 © Murray Fredericks | | | | | | | | 28 April – 2 June 2017 | | | | | | | | | | | | | The Vanity series is a continuation of Fredericks’ renowned Salt series, previously exhibited at Hamiltons in "Salt, 2007", "Salt II, 2009" and "Recent Work, 2014 – 2015". In this next cycle of the project, Fredericks introduces a mirror into the previously undisturbed landscape.
Australian photographer Murray Fredericks’ long relationship with Lake Eyre, where his most recent series "Vanity" has been produced, commenced in 2003, and to date consists of twenty journeys to the centre of the lake where he photographs for weeks at a time in the vast and infinite landscape. Fredericks is not interested in documenting the literal forms of the landscape. He views the landscape as medium in itself which, when represented in a photograph, has the potential to convey the emotional quality of his experience and relationship to the lake.
Fredericks’ relationship to this project stems from his initial visit to a salt lake in 2001 where late one night he wandered away from his campsite and stopped for some time. Standing alone in the darkness he became aware that the boundary between his physical body and the environment he stood within seemed to soften and become less defined.
Fredericks experienced an unfamiliar, powerful sensation of calm and eventually a release from the ever-present anxieties that seem to be inherent to the human condition. In that moment, Fredericks felt a connection to something that seemed to exist beyond his conscious mind. The memory of that experience stayed with Fredericks and defined his pursuit of landscape imagery.
Fredericks employs a serial approach in the Salt project. All photographs are composed with an unbroken horizon placed in the lower third … | | |
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| | | Raoul Ries: Thirty-Six Views of Mount Fuji 28 (Suzukawa-higashichou, Suzukawahigashichou), 2015-2016 | | | Raoul Ries » Thirty-Six Views of Mount Fuji | | | | 27 April – 27 May 2017 | | | | Opening reception: Thursday 27 April 6:00pm | | | | | | | | | | | | | These photographs are inspired by the famous set of woodcuts "Thirty-six Views of Mount Fuji" Katsushika Hokusai produced between 1830 and 1832. Despite the wide variety of shown scenes, most of Hokusai’s colour prints share a common structure. In the foreground people are going about their daily business, the middle ground refers to a different time-scale like seasons or things decaying, and finally a glimpse of mount Fuji hints at changes too slow to be perceived during a human life.
Hokusai’s woodcuts are part of a genre called ukiyo-e, which means "images from a floating world", floating both in time and in space. They are clearly composed in different layers, letting Mount Fuji hover above or next to the world of humans. Often civilisation intrudes graphically into Fuji’s sacred space. Trees or posts cut into the mountain’s silhouette, house roofs and other constructions imitate its triangular profile. | | |
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| | Zawiyah, May 2016 © Narciso Contreras for the Fondation Carmignac
Image selected in TIME’s Top 100 Photos of the Year 2016 | | | | | | 7th Laureate of the Carmignac Photojournalism Award | | | | Libya : A Human Market Place | | | | until 13 May 2017 | | | | | | | | | | | | | Fondation Carmignac is pleased to announce the exhibition of the 7th Laureate of the Carmignac Photojournalism Award, the Mexican photographer Narciso Contreras, at the Palazzo Reale, Milano, from 22 April to 13 May 2017.
Narciso Contreras has put together a unique testimony for the Carmignac Photojournalism Award, revealing that Libya is not simply a transit zone for migrants en route to Europe, but a human trafficking stronghold where refugees and asylum seekers are bought and sold on a daily basis.
In 5 months of reportage, from February to June 2016, Narciso Contreras was able to uncover and demonstrate that detention centres, where migrants are submitted to inhumane living conditions, are in fact the strongholds of this lucrative commerce.
With this report, Narciso Contreras provides us with a glimpse of the complex and horrifying context anonymous migrants face through the complex tribal society of post-Gaddafi Libya. | | |
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| | AVE MARIA 2, 2016
© Sebastiaan Bremer / Courtesy of Edwynn Houk Gallery, New York | | | | | | | | 3 May – 24 June 2017 | | | | Opening reception: Wednesday 3 May 6:00pm | | | | | | | | | | | | | Edwynn Houk Gallery is pleased to announce an exhibition of new works by Sebastiaan Bremer (Dutch, b. 1970). The show opens on Wednesday, 3 May and runs through Saturday, 24 June 2017. The artist will be present at the opening reception on Wednesday, 3 May, from 6-8pm.
In 1998, during a residency at Skowhegan, in Maine, Sebastiaan Bremer both took a risk and made a breathtaking discovery; he upended ingrained methodologies and jettisoned just about everything that had constituted a painting for him so far, including paintbrush, brush strokes, figures and scenes rendered in paint, canvas, stretcher bars and to a certain degree, paint itself. Instead, using Milky Pens and Pentel paint pens, Bremer began to apply white pointillist dotes and small blobs in rippling and swirling patterns to enlarged copies of photographs-either found family photographs or those taken by him-essentially to draw directly on photographs. What resulted was a complex, fluid exchange between made marks and photographic image and between those marks and the photograph as an actual, physical artifact. What really began was an intricately human, searching, deeply personal response to, and transfiguration of, past situations and fleeting moments: the live, crackling, current mind operating on visual traces of the past, with all the sprawling thoughts, memories, and emotions they trigger. (Gregory Volk, “Memory and Metamorphisis: The Work of Sebastiaan Bremer,” To Joy: Sebastiaan Bremer (Frame Publishers, The Netherlands, 2016), p.9.) | | |
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| | | Marc Riboud, World Chess Championship, Moscow, 1960 © Marc Riboud | | | MAGNUM ANALOG RECOVERY | | | | | | | APRIL 29 TO AUGUST 27, 2017 | | | | Opening: Saturday 29 April 12:00pm | | | | | | | | | | | | | LE BAL is presenting a range of the cooperative’s treasures with contemporary prints and designs for books and publications dating from the creation of Magnum Photos (1947) till 1977. This year marks both 70 years of Magnum Photos and the completion of an archive making thousands of contemporary prints at last accessible : Magnum Analog Recovery (M.A.R.).
This collection, stored in the Magnum archives in Paris in boxes and bearing the name of each of the photographers, brings together the “postcard” prints sent out to the European Magnum agents for distribution to the press between 1947 and the end of the 1970s. Yet this archive only contains a tiny fraction of the hundreds of thousands of prints distributed by the Paris office during those 30 years. Only in rare cases do the stored images bear captions and the typed texts and captions accompanying the images have not always been preserved. Great icons of the 20th century are to be found alongside images never previously seen or exhibited : they are part of a dialogue linked to what the photographers had to say regarding the definition or contradictions inherent in their work and what was at stake, at a time when the world’s largest ever collective of photographers was taking shape. Their words call to mind just as many contradictory approaches to photography as the images themselves – the other side of the coin strewn with doubts and tensions which makes this array of “witnesses to the transitory” more resonant than ever.
"The war is over. The four Magnum founding members all lost their job. They decide that they would create a brotherhood, a press agency that demands not to crop the pictures, not to change the captions, not to distort the photographe… | | |
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| | | | | | | | Jutta Benzenberg: aus der Serie: "30 Tage", Albanien 2013 |
| | | | | | | | | | | Thu 27 Apr 19:00
28 Apr – 3 Jun 2017 | | | | | |
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| | | | | | | | | | | | | Free Black North photographs of men, women, and children living in Ontario in the mid-to-late 1800s, descendants of Black refugees | | 29 Apr – 20 Aug 2017 | | | | | | | |
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| | | | | | | | Suzy Lake, Thin Green Line, 2001, chromogenic print. Courtesy of the artist and Georgia Scherman Projects. |
| | | | | | | | | | | Fri 28 Apr 19:00
28 Apr – 13 Aug 2017 | | | | | |
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| | © Todd Walker, 1973
Archival pigment print 23,5 x 17 | | | | | | | | | | | | | until 6 May 2017 | | | | | | | | | | | | | The group exhibition Encounters at the Fabian & Claude Walter Galerie in Zurich brings together a number of photographic positions that explore the issues of lust, intimacy, fantasy und body. Pictured are convergences of intense life styles as well as erotic relationships or staged encounters, ranging from ambiguous to passionate to explicit.
Artists like Nan Goldin (*1953), Larry Clark (*1943) or André Gelpke (*1947) document life on societal peripheries, even if those margins run straight through our hip neighborhoods and well-to-do suburbs, or through our circles of friends and families. Other photographers, like Erwin Olaf (*1959) or Roshan Adhihetty (*1990), confront us with lives and passions outside of what seems commonly accepted.
But the exhibition, curated by Daniel Blochwitz in cooperation with Fabian & Claude Walter Galerie, also includes works that show sensual and calm moments of togetherness and intimacy, as with Imogen Cunningham (1883-1976) or Saul Leiter (1923-2013). In addition, there will be works by John Dugdale (*1960), Sissi Farassat (*1969), Jill Freedman (*1939), Duane Michals (*1932), Herb Ritts (1952-2002), Andres Serrano (*1950), Christian Vogt (*1946) and Todd Walker (1917-1998).
Concurrent with the exhibition "Encounters", the show "Darkroom Surrealist" by Jerry Uelsmann will still be on view in the gallery’s cabinet until April 29. | | |
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| | Robert Frank
„Paris“ (Dächer). 1946
Vintage. Silbergelatineabzug. 17,8 × 27,9 cm (27,6 × 35,2 cm) (7 × 11 in. (10 7/8 × 13 7/8 in.)).
Schätzwert: EUR 10.000–15.000 | | | Modern and Contemporary Photographs | | | Consignments now welcome
Photography Auction / May 31st 2017 in Berlin | | | | | | | | | | | | | | | | |
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| | | Deana Lawson (b. 1979), Ring Bearer, 2016. Inkjet print, 43 x 54 in. (109.2 x 137.2 cm). Collection of the artist; courtesy Rhona Hoffman Gallery, Chicago, and Sikkema Jenkins & Co., New York | | | Whitney Biennial 2017 | | | | | | | – 11 June 2017 | | | | | | | | | | | | | The 2017 Whitney Biennial, the seventy-eighth installment of the longest-running survey of American art, arrives at a time rife with racial tensions, economic inequities, and polarizing politics. Throughout the exhibition, artists challenge us to consider how these realities affect our senses of self and community. The Biennial features sixty-three individuals and collectives whose work takes a wide variety of forms, from painting and installation to activism and video-game design. In a suite of photographs from her new project, The Silent General, An-My Lê examines allusions to the past in modern-day Louisiana. In one image, a monument to a Confederate Army general quietly interrupts a quotidian urban landscape; another captures a moment on the set of a recent film about a Confederate Army deserter. As in so many of Lê’s works, in these images the imagined past and the actual present coexist in the same frame, begging the question: when does history end and the present begin? Taken as a group, the photographs propose that perhaps history never ends, that the raw materials of America’s bloodiest war—issues of race, class, labor, and wealth—are still deeply enmeshed in the landscape of the United States and the fabric of its society. | | |
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© 26 April 2017 photography-now.com
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