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The article reviews the exhibition "Fall Reveal" featuring artists like Gerhard Richter, Frank Stella, and Anni Albers at the Museum of Modern Art (MoMA) in New York as of November 2020.

The article talks about the problems brought about by the unsigned prints of deceased fashion and portrait photographer Richard Avedon which served as payments for the services rendered by his master printers Ruedi Hoffman and Gideon Lewin. It also emphasizes the role of printers in art photography which shows that the Avedon prints were not solely produced by Avedon but with the help of outsourcing services.

Looks at the work of artist John Currin. Painting of outrageous pictures of women and portrait of art history; Currin as an American artist who cares little for American art; Opening of a retrospective of Currin's work at the Whitney Museum of American Art.

The article reports that art museums have created rules that stop visitors from using so-called selfie-sticks, which are sticks that allow individuals to take self-photographs. Topics discussed include fears that art work will be damaged by selfie-sticks, the benefits to museums of individuals taking self-photographs with art works, and the various kinds of rules that art museum visitors must follow.

The article discusses photographer D. James Dee's attempts to give away his archive of photographs of modern art exhibited in New York City as of June 4, 2013. Topics addressed include a lack of labels for the photographs; Dee's approach to photographing sculptures; and his career as a photographer working in SoHo, New York City.

The article discusses the release of high resolution digital images of the collection of the Rijksmuseum museum in Amsterdam, Netherlands on the museum's website as of May 28, 2013. Topics addressed include changes in museums' attitudes towards digitizing their collections, museums' policies on downloading digital images of works, and the Rijksmuseum's decision to allow users to manipulate images online.

The article focuses on Ernie Button's photography series of patterned images, which were formed in a glass of whisky, entitled "Vanishing Spirits: The Dried Remains of Single Malt Scotch."

The article reports on the new location and expansion of the New York art-photography gallery owned by New Yorker Steven Kasher at the 515 West 26th Street.

The article reviews the exhibitions "The Photographic Object, 1970" at the Hauser & Wirth gallery in Manhattan through July 25, 2014, and "Back Grounds: Impressions Photographiques (2)" at the Andrea Rosen Gallery in Chelsea, New York City through August 15, 2014.

The article reviews the exhibition "Sacrifice Your Body" at the Andrew Kreps Gallery in Chelsea, New York City through March 29, 2014, which features the works by art photographer Roe Ethridge.

The article focuses on Camilo José Vergara's photographs of murals featuring Reverend Martin Luther King Jr. in the U.S., which will be showcased at the New-York Society until May 5, 2013.

The article reports on the release of more than 40 albums by ECM Records in 2012. It says that the covers of these albums featured art photography, abstract painting, and graphic design. According to Manfred Eicher, founder of ECM in 1969, the cover of albums is a metaphoric translation of the contents.

IT is an intriguing and sad coincidence that a survey of FRANCESCA WOODMAN'S brief, tantalizing career in photography will be on view in New York at the Guggenheim Museum at the same time as Cindy Sherman has hers at the Museum of Modern Art. Born four years apart -- Ms. Sherman in 1954, Ms. Woodman in 1958 -- both women used their own shape-shifting, intensely charismatic and photogenic selves and bodies as subjects for staged, psychologically charged photographs. But Ms. Woodman committed suicide at the age of 22 in 1981, as Ms. Sherman was beginning her now long run as the most celebrated art photographer of the postmodern era. While Ms. Sherman mainly has played with cliches of popular culture, Ms. Woodman constructed gothic and surrealistic tableaus in which her body, often partly nude, appeared in decayed rooms obscured and fragmented by pieces of old furniture, mirrors and wallpaper. Had she lived, might Ms. Woodman have produced an oeuvre to rival Ms. Sherman's? There is no way to know, of course, but it is likely that the differences would have been as striking as the similarities. Through June 13, 1071 Fifth Avenue, at 89th Street, (800) 329-6109, guggenheim.org. [ABSTRACT FROM PUBLISHER]

Bridgehampton, N.Y. AS a photographer, Laurie Lambrecht often travels to exotic or glamorous places, like Marrakesh or Beijing or Portofino, Italy. But a few years ago, she also began a different kind of journey, revisiting a cache of photographs of the Pop artist Roy Lichtenstein that she had taken in the early 1990s and, for the most part, had not looked at since. [ABSTRACT FROM PUBLISHER]

If outsider status were the sole prerequisite for artistic success, Anna Shteynshleyger would be the most important artist of her time. As it is, she is not doing too badly: she is a rising star in the elite world of contemporary art photography. Ms. Shteynshleyger's life has been largely defined by her separateness: as an immigrant in America, a religious Jew in the art world, a single parent in the Orthodox Jewish community. She has adapted by becoming a keen observer -- the quintessential voyeur, whose photographs, some of which are on display at the Renaissance Society at the University of Chicago, reflect both a cool detachment and a quiet yearning. [ABSTRACT FROM PUBLISHER]