When looking at the photographs of Imogen Cunningham, we encounter images that reflect vital developments in 20th century art and photography — as well as the voice and eye of an undersung master of the camera. Cunningham was a female member of the male-dominated f/64 group of photographers and, despite the art-world’s tendency to overlook women artists, left her indelible stamp on the history and development of modern photography. In Seen & Unseen: Photographs by Imogen Cunningham, featuring work from across Cunningham’s expansive seven-decade career, we invite you to see why this American artist is heralded as one of the most important pioneers of photography — regardless of her gender.

When looking at the photographs of Imogen Cunningham, we encounter images that reflect vital developments in 20th century art and photography — as well as the voice and eye of an undersung master of the camera. Cunningham was a female member of the male-dominated f/64 group of photographers and, despite the art-world’s tendency to overlook women artists, left her indelible stamp on the history and development of modern photography. In Seen & Unseen: Photographs by Imogen Cunningham, featuring work from across Cunningham’s expansive seven-decade career, we invite you to see why this American artist is heralded as one of the most important pioneers of photography — regardless of her gender.

An original Polk Museum of Art exhibition, Edward Hopper and Guy Pène du Bois: Painting the Real comprises approximately sixty works and focuses on Hopper and Pène du Bois, two very thematically different but stylistically-overlapping artists who became lifelong friends from the time of their earliest studies at the New York School of Art.