Urbes Mutantes: Latin American Photography 1944–2013
Urbes Mutantes: Latin American Photography 1944–2013 is a major survey of photographic movements in Argentina, Brazil, Chile, Colombia, Cuba, Mexico, Peru, and Venezuela. Taking the "mutant," morphing, and occasionally chaotic Latin American city as its focus, the exhibition draws particularly on street photography's depictions of the city during decades of political and social upheaval. It is divided into sections that explore public space as a platform for protest, popular street culture, the public face of poverty, and other characteristics of the city as described in photographs. Dispensing with arbitrary distinctions between genres of photography—art photography, photojournalism, documentary—Urbes Mutantes points to the depth and richness of the extensive photographic history of the region.
One of Brazil's leading contemporary photographers, Caio Reisewitz (b. 1967) has produced a remarkable body of work during the past 15 years, concentrating almost exclusively on Brazilian subjects. His large-scale color photographs explore the changing relation of the city and the countryside in a period of feverish economic development. Many of Reisewitz's photographs testify to his fascination with the architectural heritage of Brazil's colonial period, as well as its innovative 20th-century modernist architecture. Other imposing works portray the pristine landscapes and dense forests around his hometown of São Paulo—areas that are now threatened by urban sprawl. His smaller-format photocollages take a very different direction, employing a playful, jazz-like visual approach. In these works, tiny photographic images of urban environments are scattered within scenes presenting the green expanses of Brazil's forests. Reisewitz has frequently exhibited in South America and in Europe, and represented Brazil at the 2005 Venice Biennale. This is his first major solo show in the U.S. It is organized by ICP Curator Christopher Phillips.
Somewhere in France: John G. Morris and the Summer of 1944
As a young photo-editor for Life magazine, John G. Morris (b. 1916) was based in London and assigned to oversee the photographic reportage of World War II. Most notably, he coordinated the dramatic photojournalistic coverage of the D-Day invasion on June 6, 1944, including the iconic photographs of the landing made for Life by Robert Capa. With the Allied troops advancing toward German strongholds in western France, Morris joined the magazine's team of six photographers (in addition to Capa, George Rodger, Robert Landry, Ralph Morse, David E. Scherman, and Frank Scherschel) in covering the fighting in Normandy and Brittany.
Although not a photographer himself, Morris exposed 14 rolls of black-and-white film over the four weeks he spent at the front during the summer of 1944, not for publication but as a personal record. For 69 years, the negatives and contact sheets remained in a file drawer in Morris's office. Recently rediscovered by Robert Pledge of Contact Press Images, these images constitute a moving first-person account of one of the greatest conflicts of the 20th century.
At Governors Island: Capa in Color
This summer at Governors Island, ICP presents a selection of photographs from our popular exhibition Capa in Color, a full assessment of color photographs by famed photojournalist Robert Capa. It presents a fascinating look into the color work of this master of photography.
Looking at Capa's career through his color photographs gives new insight into how tenaciously he operated as a photojournalist in an era dominated by black-and-white. Though there wasn't a market for color war photographs, Capa regularly shot in color, as well as black-and-white. The color images of his postwar career contain little of the political gravity of his war stories, instead reflecting a more peaceful and prosperous vision of the world.
Also on view is a slideshow of images from the forthcoming exhibition Sebastião Salgado: Genesis, opening at ICP on September 19.