[1]#CMAbeyondtruth
Beyond Truth explores figurative scenes and portraits in which artists have altered the “truth” through postproduction techniques. Want to be a part of the exhibition? Take a selfie and use the photo-editing tools at your disposal—filters, face-altering apps, or effects—to manipulate your image and create an alternate truth. Post your photo to social media using #CMAbeyondtruth. It may be added to photos on a video screen in the gallery, becoming part of the exhibition.
http://www.clevelandart.org/exhibitions/beyond-truth-photography-after-shutter [2]
Explore how artists from 1885 to the present have used postproduction techniques to manipulate the “truth” in figurative studies and portraits. Free; no registration required.
Join museum educator Stephanie Foster for a close look at photographs in Beyond Truth: Photography after the Shutter and discover the ways in which a photo may have been manipulated to present an alternate truth.
Christopher Pekoc, whose work is on view in Beyond Truth: Photography after the Shutter, discusses the means and meaning of altering photographic “truths” in his distinctive photo-based assemblages and in the works of other artists in the exhibition.
A curator-led series of gallery talks, each focusing on a different section of Gordon Parks: The New Tide, Early Work 1940–1950.
Gordon Parks: The New Tide, Early Work 1940–1950
The pioneering African American photographer Gordon Parks (1912–2006) considered his work during the 1940s and ’50s to be the benchmark for his 60-year career. Focusing on extensive new research, Gordon Parks: The New Tide, Early Work 1940–1950 documents the importance of Parks’s early experiences—from his immersion in the Chicago Black Renaissance to his friendships with Roy Stryker, Richard Wright, and Ralph Ellison—in shaping his groundbreaking, passionate vision. The exhibition traces his rapid evolution from an accomplished, self-taught practitioner to an independent artistic and journalistic voice widely communicating a meaningful and coherent understanding of critical social and cultural issues.
Produced at a time when images began to proliferate in picture magazines and on television, Parks’s early commissions—ranging from commercial, government, and industrial to fashion and journalism—provide an engaging study of the competing purposes and meanings of his photographs. In addition, the exhibition and accompanying catalogue examine the role of government and corporate archives in encouraging creativity and innovation in photography, the importance of World War II in establishing a role for photography in the civil rights movement, and the expanding function of mass media in creating and distributing a new visual culture.
Organized by the National Gallery of Art, Washington, in collaboration with The Gordon Parks Foundation
Bank of America is proud to be the national sponsor of Gordon Parks: The New Tide, Early Work 1940–1950.
Supporting Sponsor
William S. and Margaret F. Lipscomb