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The Association of International Photography Art Dealers

From idealized dream spaces to images by an artist in exile, from photographs made by the sun to pictures made after the sun has set, AIPAD member galleries are showing a rich variety of photographs in the month of May.
Karen Knorr, The Queen’s Room, Zanana, Udaipur City Palace, 2010.
Courtesy Holden Luntz Gallery

Samuel Taylor Coleridge’s 1797 poem Kubla Khan provided the inspiration for the exhibition Picturing Xanadu: A Vision in a Dream, on view through June 17 at Holden Luntz Gallery in Palm Beach, FL. Photographs by four artists – Karen Knorr, André Lichtenberg, Kimiko Yoshida, and Joyce Tenneson – explore dreamlike states or magical places. Karen Knorr situates animals, including zebras, peacocks, and tigers, in opulent interiors in which their presence is unexpected. André Lichtenberg, who lives in Hove, England, makes long exposures of the English Channel, creating meditative photographs for his series Impossible Utopias. Kimiko Yoshida bridges Eastern and Western traditions; she left her native Japan for France, where she absorbed Renaissance and Baroque portraiture, and her works explore the idea that portraiture allows for multiple identities. Joyce Tenneson grew up on the grounds of a monastery, and her photographs of landscapes, flowers, and trees, taken primarily on the coast of Maine, have a transcendent, contemplative quality.
André Lichtenberg, Sackville Beach (Impossible Utopia), 2019.
Courtesy Holden Luntz Gallery
Kimiko Yoshida, KyotoKimiko (Gold Clouds / Holy Sepulchre), 2018.
Courtesy Holden Luntz Gallery
Joyce Tennyson, Fog and Megunticook, 2014.
Courtesy Holden Luntz Gallery


The Duncan Miller Gallery in Los Angeles first exhibited Chris McCaw’s Sunburned photographs in 2008. Now, and through June 15, the gallery is showing a selection of those smaller, early works by McCaw, many of which are from the private holdings of Daniel Miller and have not been exhibited before. McCaw exposed photo-sensitive paper to the sun using cameras that he had custom-built himself. He set up the camera near the ocean, or in the desert, and each of his prints is unique. Exposures for the prints can last for up to four hours, and during that time, the sun sometimes scorches the paper, leaving a black arc, or a black dot. “The work feels more reverential than defiant,” wrote Leah Ollman in a 2008 Los Angeles Times review, “a homage to the creative/destructive powers of nature and the wholly explicable mysteries of the photographic process.” To whet viewers’ appetites, the gallery has created a video of the show.

©Chris McCaw, GSP #243, 2007. Courtesy Duncan Miller Gallery
©Chris McCaw, GSP #244, 2008. Courtesy Duncan Miller Gallery
©Chris McCaw, GSP #311, 2009. Courtesy Duncan Miller Gallery

Wayne Sorce’s black-and-white photographs of his native city of Chicago at night were exhibited at the Art Institute of Chicago in 1972 and at the Museum of Modern Art in 1978 as part of John Szarkowski’s landmark show Mirrors and Windows: American Photography since 1960. The exhibition Wayne Sorce: At Night, 1966-1971, at Joseph Bellows Gallery in La Jolla, CA, is the first time they’ve been shown since then. On view through May 26, the exhibition includes nocturnal views of Chicago’s storefronts, movie theaters, coffee shops and diners, as well as laundromats, empty (or nearly empty) streets, and the glow of neon signs. Sorce, who died in 2015, is known for his large-scale color photographs of New York and Chicago, but this exhibition is a rare chance to see these melancholy, intimate, black-and-white prints.
Wayne Sorce, Vodville Lounge, Chicago, IL, ca. 1970.
Courtesy Joseph Bellows Gallery
Wayne Sorce, Car Lot, Chicago, IL, ca. 1970s.
Courtesy Joseph Bellows Gallery
Wayne Sorce, Chicago, IL, ca. 1970.
Courtesy Joseph Bellows Gallery
Wayne Sorce, Chicago, IL, ca. 1970s.
Courtesy Joseph Bellows Gallery

The title of Reynier Leyva Novo’s exhibition at Phoenix’s Lisa Sette Gallery, The Flowers of My Exile, refers to a series of color photographs of wildflowers taken by Novo since he left Cuba on July 2, 2021. A conceptual artist and a member of the 27N movement (in which Cuba’s younger artists are demanding greater freedom of expression and identity), he left Cuba because of increasing political retribution. His photographs of wildflowers, each of which is paired with a map showing where he found the wildflower as well as the date and the number of days since he left his homeland, is a way of describing his journey of exile. The works on view through September 30 also include images from his series Blank Check, in which he films mini performances of absurd and everyday actions, named in the titles: To walk backwards in front of a Cuba Libre! Sign, for example, or To read the national newspaper while sitting in the corner of 23rd and 12th streets, which shows him seated in a chair and reading a paper in the middle of the busy street. In addition to the photographic works on view, the gallery is showing the series S.O.U.P. (Survival Objects Under Pressure), of spoons engraved with quotes by political dissidents, which was made in part of honor his friend, the artist Luis Manuel Otero Alacantra, who nearly died while on a hunger strike after being in Cuba. Novo’s digital artwork Methuselah, which virtually reproduces the 6,000-mile flight of a monarch butterfly, is on view at the Phoenix Art Museum through October 10.
Reynier Leyva Novo, Santolina pectinata, Tuesday, July 27, 2021, Albarracín, Teruel, Spain, Day 25,
from The Flowers of My Exile. Courtesy Lisa Sette Gallery
Reynier Leyva Novo, Spathoglottis plicata – Philippine ground orchid, Sunday, April 9, 2023 Houston, Texas, United Dates, Day 646, from The Flowers of My Exile. Courtesy Lisa Sette Gallery
Reynier Leyva Novo, Blank Check, About how to empty the mind (To read the national newspaper while sitting in the corner of 23rd and 12th streets), 2020. Courtesy Lisa Sette Gallery
Reynier Leyva Novo, Blank Check, About how to empty the mind (To lie on the hammock a whole day without touching the floor on the election’s day in Cuba, 2020. Courtesy Lisa Sette Gallery
Photo by Bryan Sargent
A friendly reminder that if you were not able to join AIPAD at The Photography Show 2023, please make sure to visit the Online Viewing Rooms, open until the end of May, to peruse exhibitors’ offerings and explore the first iteration of Monumental Moments, an onsite exhibition of large-scale photography presented throughout the venue, Center415.

You can also check out the first in-person AIPAD Talks series in three years, organized by the AIPAD Education Committee, which can now be viewed in their entirety on the AIPAD YouTube Channel. Watch and subscribe!


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