Wendy Ewald, Self-portrait reaching for the Red Star sky – Denise Dixon, from the “Portraits and Dreams” series, 1975-1982
TITLE_NAME :
Collaboration: A Potential History of Photography in Dialogue with the MoCP Collection
30/05/2025 - 16/08/2025
Museum of Contemporary Photography (MoCP)
600 S Michigan Ave
IL 60605 Chicago
www.mocp.org/
This exhibition will feature works in the MoCP permanent collection that are included in the recent and groundbreaking publication titled Collaboration: A Potential History of Photography.
The book was created by a group of artists, art historians, activists, and scholars—Ariella Aïsha Azoulay, Wendy Ewald, Susan Meiselas, Leigh Raiford, and Laura Wexler—and published by Thames and Hudson in 2024. It is an extension of a project that these five authors have collaborated on for over ten years, in which they reassess a range of photographs and projects that portray stories of humanity and social movements to decenter the photographer as the only author of the image, and to emphasize the act of photographing as an inherently collaborative process in which many parties are involved.
The works—both historical and contemporary—are presented in clusters focused on topics, to highlight and propose questions about photographed moments of coercion, friendship, exploitation, community, and violence.
30/05/2025 - 16/08/2025
Museum of Contemporary Photography (MoCP)
600 S Michigan Ave
IL 60605 Chicago
www.mocp.org/
This exhibition will feature works in the MoCP permanent collection that are included in the recent and groundbreaking publication titled Collaboration: A Potential History of Photography.
The book was created by a group of artists, art historians, activists, and scholars—Ariella Aïsha Azoulay, Wendy Ewald, Susan Meiselas, Leigh Raiford, and Laura Wexler—and published by Thames and Hudson in 2024. It is an extension of a project that these five authors have collaborated on for over ten years, in which they reassess a range of photographs and projects that portray stories of humanity and social movements to decenter the photographer as the only author of the image, and to emphasize the act of photographing as an inherently collaborative process in which many parties are involved.
The works—both historical and contemporary—are presented in clusters focused on topics, to highlight and propose questions about photographed moments of coercion, friendship, exploitation, community, and violence.