Double check to be sure an exhibit has opened before you go - and check the websites for free times and museum hours!
The Loving Story: Photographs by Grey Villet @ ICP (more here)
January 20–May 6, 2012
Forty-five years ago, sixteen states still prohibited interracial marriage. Then, in 1967, the U.S. Supreme Court considered the case of Richard Perry Loving, a white man, and his wife, Mildred Loving, a woman of African American and Native American descent, who had been arrested for miscegenation nine years earlier in Virginia. The Lovings were not active in the Civil Rights movement but their tenacious legal battle to justify their marriage changed history when the Supreme Court unanimously declared Virginia's anti-miscegenation law—and all race-based marriage bans—unconstitutional. Photographer Grey Villet, on assignment for Life magazine, traveled to Virginia, in 1965 to document the Lovings' story. His intimate photographs do not focus on the couple's epic legal battle but instead show the everyday pleasures of two shy and nonpolitical people, their quiet dedication to each other and to their family. The exhibition, organized by Assistant Curator of Collections Erin Barnett, includes some twenty vintage prints loaned by the estate of Grey Villet and by the Loving family.
Weegee: Murder Is My Business @ ICP (more here)
January 20–September 2, 2012
For an intense decade between 1935 and 1946, Weegee (1899–1968) was one of the most relentlessly inventive figures in American photography. His graphically dramatic and often lurid photographs of New York crimes and news events set the standard for what has become known as tabloid journalism. Freelancing for a variety of New York newspapers and photo agencies, and later working as photo editor for the short-lived liberal daily PM (1940–48), Weegee established a way of combining photographs and texts that was distinctly different from that promoted by other picture magazines, such as Life. Utilizing other distribution venues, Weegee also wrote extensively (including his autobiographical Naked City, published in 1946) and organized his own exhibitions at the Photo League.
Police Work: Photographs by Leonard Freed, 1972-1979 @ Museum of the City of NY (more here)Dec 20 through Mar 18
Police Work: Photographs by Leonard Freed, 1972-1979 features a selection of vintage prints by the Brooklyn-born photographer who documented "life on the beat" with NYPD officers during the tumultuous 1970s. During a time when New York City faced near bankruptcy and was internationally notorious for its high crime rates and social disorder, Freed's photographs reveal the complexity, the harshness, and the camaraderie of the city's public safety servants and the people they protected. Highlighting a recent gift to the Museum of the City of New York by his widow Bridgette Freed, the exhibition is a gritty, realistic portrait of ordinary people doing a "sometimes boring, sometimes corrupting, sometimes dangerous and ugly and unhealthy job."
The Radical Camera: New York's Photo League, 1936-1951 @ The Jewish Museum (more here)
November 04, 2011 - March 25, 2012
In 1936 a group of young, idealistic photographers, most of them Jewish, first-generation Americans, formed an organization in Manhattan called the Photo League. Their solidarity centered on a belief in the expressive power of the documentary photograph and on a progressive alliance in the 1930s of socialist ideas and art. The Radical Camera presents the contested path of the documentary photograph during a tumultuous period that spanned the New Deal reforms of the Depression, World War II, and the Cold War.
Cindy Sherman @ Museum of Modern Art - MoMA (more here)
February 26–June 11, 2012
Cindy Sherman (American, b. 1954) is widely recognized as one of the most important and influential artists in contemporary art. Throughout her career, she has presented a sustained, eloquent, and provocative exploration of the construction of contemporary identity and the nature of representation, drawn from the unlimited supply of images from movies, TV, magazines, the Internet, and art history. Working as her own model for more than 30 years, Sherman has captured herself in a range of guises and personas which are at turns amusing and disturbing, distasteful and affecting. To create her photographs, she assumes multiple roles of photographer, model, makeup artist, hairdresser, stylist, and wardrobe mistress. With an arsenal of wigs, costumes, makeup, prosthetics, and props, Sherman has deftly altered her physique and surroundings to create a myriad of intriguing tableaus and characters, from screen siren to clown to aging socialite.
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