This week, nonprofit art space The Hill Street Country Club opened an exhibition of portrait photography of unsheltered individuals plus onsite programming, panels and events dedicated to homelessness.

“Stories from the Street” features work by photographer Jordan Elijah Verdin, and is curated by Oscarin Ortega. The portraits are of unsheltered individuals, each living within a one-mile radius of HSCC in Oceanside.

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Listen to this story by Tania Thorne.

Homelessness in Oceanside is at the center of a debate in recent weeks. On April 7, the Oceanside City Council declared camping in public spaces illegal, and increased spending towards finding alternate housing — namely vouchers for motel rooms. As of Tuesday, the Oceanside Police Department moved the people from a nearby encampment to a motel.

RELATED: Majority Of Oceanside Homeless Encampment Cleared Out

One of the portraits featured is Kathleena Alphonse, known to many as Mama

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“VEIL FLAG” by S.R. STUDIO. LA. CA., 2020. Courtesy of Sterling Ruby Studio. Photography by Melanie Schiff.

Homegrown fashion is the focus of the Costume Institute’s upcoming blockbuster, a two-part exhibition to be presented over the course of 2021 and 2022 in two areas of the Metropolitan Museum of Art. Part one, “In America: A Lexicon of Fashion,” will open in the Anna Wintour Costume Center on September 18, 2021, and will remain on display when “In America: An Anthology of Fashion,” opens on May 5, 2022, in the period rooms of the American Wing. Both shows will run through September 5, 2022.

Andrew Bolton, the Wendy Yu Curator in Charge of the Costume Institute, has an uncanny sense of timing. Despite the advance planning needed to organize an exhibition, he always seems to land on a topical theme, and stateside the subject of American identity is topic number one.

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Memphis, TN, April 06, 2021 (GLOBE NEWSWIRE) — On Saturday, April 10, the National Civil Rights Museum opens the fine art photography exhibition, Outside the Lorraine: A Photographic Journey to a Sacred Place featuring the work of David Katzenstein. The yearlong exhibition highlights the museum as mecca for peacemakers, a place of memory and connection during the museum’s 30th anniversary.

The collection of over 90 photos in Outside the Lorraine helps visitors identify with social issues by using fine art photography to connect to the historic place, Dr. King, movement makers, and one another. Viewers are invited to see the sparkle that lies within each print that shimmers, vibrates, and introduces people to a richer experience with fine art photography by making each piece relatable.

Outside the Lorraine offers the rare opportunity for our visitors to see themselves reflected in the artwork of one of our exhibitions,” said

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“Exquisite Reality” features historical photos from the latter half of the 19th century and explores how photographers’ artistic choices, such as framing or lighting, could affect how viewers perceived the subject. Courtesy Cantor Arts Center

As an art form, photography isn’t that old, at least compared to painting or sculpting, but it’s changed enormously over its relatively brief history, not only due to technological advances but also in how we perceive its role, and that of the photographer.

At its inception in the 1830s and 40s, photography was, due to its scientific origins, considered “apolitical,” according to the website for “Exquisite Reality: Photography and the Invention of Nationhood, 1851–1900” a new online exhibit at Stanford University’s Cantor Arts Center. The exhibit explores how early photography was in fact used extensively as a political tool, looking at how photographers made artistic decisions that reveal their own interpretations of reality.

This exhibition

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