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Tommy Kha’s mother is a recurring subject in his photography, but he didn’t realize until five years into their collaboration that she was an imagemaker herself. In 2016, she gifted Kha a photo album of pictures she made when she first arrived in Canada from Vietnam in the 1980s, before she eventually settled in Memphis, where Kha was born. In his debut monograph, Half, Full, Quarter (Aperture), and accompanying solo exhibition—“Ghost Bites,” at Baxter St at the Camera Club of New York through March 22—Kha’s layered portraits, still lifes, and landscapes exist alongside his mother’s own photographs.
Art historian Robert Storr has bequeathed the majority of his massive personal archive to the Center for Curatorial Studies, Bard College. The gift, described by CCS Bard executive director Tom Eccles as “gamechanging,” encompasses more than 25,000 volumes. Among them are books on twentieth-century art history, criticism, theory, and literature as well as artist monographs, rare periodicals, and out-of-print exhibition catalogues from major international museums and galleries. Also included are Storr’s personal papers, works by major artists from his own collection, and a number of studies that
Art historian Robert Storr has bequeathed the majority of his massive personal archive to the Center for Curatorial Studies, Bard College. The gift, described by CCS Bard executive director Tom Eccles as “gamechanging,” encompasses more than 25,000 volumes. Among them are books on twentieth-century art history, criticism, theory, and literature as well as artist monographs, rare periodicals, and out-of-print exhibition catalogues from major international museums and galleries. Also included are Storr’s personal papers, works by major artists from his own collection, and a number of studies that
One noticed the vibrant colors through the windows of the ground-floor gallery before even entering it: light pink, dark blue, ocher, emerald, violet. Andreas Duscha approaches photography conceptually, through the use of historical techniques, and he characteristically limits himself to the use of black, white, silver, and—when making cyanotypes—blue. And he is fond of murals. For this exhibition, “Geplante Obsoleszenz I” (Planned Obsolescence I), Duscha tinted the rooms to match the pages of the monograph that accompanied the show as well as a space very different from the white-cube gallery: