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I wanted to catch the moment when the negative first came out of its envelope and was shown with pride.

Examining Weston’s earliest sharp- and soft-focus photographs reveals that the young artist had already formed a perfect sense of composition that was to be the hallmark of his later work.Presenting Weston’s earliest work from a recently discovered family album, compares the artist’s naïve first artistic efforts with his later masterworks to show the persistence and evolution of his singular vision to find essential form in the vernacular with an ever-increasing intensity.introduces an artist whose work opens a window to historical events, issues, and ideas far greater than the individual.Economic inequality, children’s rights, and how we are defined by our possessions and formed by our circumstances are some of the complex social, typological, and cultural issues that resonate in Mollison’s work.explores the contested ways in which African and African American beauty have been represented in historical and contemporary contexts through a diverse range of media including photography, film, video, fashion, advertising, and other forms of popular culture such as music and the Internet.Throughout the Western history of art and image-making, the relationship between beauty and art has become increasingly complex within contemporary art and popular culture.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.Founded to help change the way the media covers conflict – and to educate the public about the true cost of war and the real price of peace – The Aftermath Project has discovered some of the most groundbreaking photographers in the world working on post-conflict themes.Over the course of his fifty-year career American photographer Edward Weston (1886 – 1958) blazed a path into Photo-Modernism rendering portraits, landscapes, still-lifes, and nudes.Through the loving observation of the original matrixes of some of the most iconic images, Loengard demonstrates to us that the photographic negative is an object of great beauty.I photographed the negatives in this exhibition as quickly and simply as possible. Any light box, window or even a sunny wall would do as a background.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.