All About Photo has selected the best photo exhibitions on show right now, special events and must-see photography exhibits. To focus your search, you can make your own selection of events by states, cities and venues.
Selections from the Photography Collection features changing presentations of work from the Museum’s holdings, celebrating the diverse perspectives that artists have brought to this medium.
The latest installation of photographs explores imagery of roads, travel, and summer fun. On view March 15 through September 7, these works span seven decades, depicting sightseers and sunbathers as well as highways, eateries, and roadside attractions. Highlights include witty beach scenes by Herb Snitzer, modernist works by Edward Weston and Margaret Bourke White, and Judith Joy Ross’s sensitive portraits.
Etherton Gallery presents a special summer exhibition featuring early works by acclaimed photographer Kate Breakey, on view May 20–September 20, 2025. This selection of hand-colored photographs offers an intimate look at critical moments in her evolution as an artist. The exhibition traces the emergence of Breakey’s distinctive visual language, and showcases work from series such as Los Sombras, Naturagraphia, Clouds and more recent landscapes, offering insight into the shifts in subject matter and technique that have defined her career.
“My own collection of images serves as a record, a kind of a random, disjointed visual diary of the things I’ve seen and loved—a way to possess and preserve what is wild and ineffable, and above all transient... evidence of my life’s journey.”
—Kate Breakey
This exhibition reflects the emergence of Breakey’s distinctive approach: combining photographic methods with traditional artist’s tools—oil, pastel, and colored pencil—to transform paper, canvas, and other materials into richly layered, tactile objects. Each stroke of her pencil conveys a gesture of reverence for the natural world. Breakey’s awe is evident in her work, as she invites the viewer to share in her experience, fostering an appreciation of the natural world’s fragile beauty.
The installation, drawn from Breakey’s archive, will evolve throughout the summer. As work in the exhibition is acquired, new ones will be introduced in the exhibition, maintaining its dynamic nature.
About the Artist
Kate Breakey is internationally acclaimed for her large-scale, hand-colored photographs—luminous portraits of birds, flowers, and animals that blend photographic process with painterly technique. Her work has been featured in more than 150 exhibitions across the United States, the United Kingdom, Australia, Japan, China, New Zealand, and France.
Breakey’s photographs have been published in several monographs, including Small Deaths (2001), Birds/Flowers (2003), Painted Light (2010), Los Sombras (2015), and Slow Light (2016). Her work is held in several public collections among them the National Gallery of Australia, Canberra, Museum of Fine Art, Houston, Museum of Photographic Arts, San Diego, The Wittliff Collections at Texas State University, and the Center for Creative Photography at the University of Arizona.
A native of South Australia, Breakey lives in Tucson, Arizona, where the desert landscape continues to inspire her work.
Image: Kate Breakey, Coyote, n.d.
New York Proud is a public art project presented in partnership with the New York Immigration Coalition (NYIC) celebrating the vibrant and diverse stories of immigrants across New York City.
This campaign brings to life the personal journeys of immigrant New Yorkers through a striking photo series of 25 portraits, now displayed in subway stations and public spaces throughout New York City during the month of September and into October. With each portrait featuring people in or at their workplaces, the campaign emphasizes the integral roles and contributions of immigrants to the city’s cultural and economic landscape.
New York Proud has been featured in pop-up photo exhibitions across NYC, located in Times Square in Manhattan (August 30-September 14, 2024); in Brooklyn, as a co-presentation with the Downtown Brooklyn Partnership, at The Plaza at 300 Ashland Place (August 29-September 16, 2024); Hunter’s Point South Park, LIC, Queens (September 16-October 15, 2024); and Starlight Park, The Bronx (November 4-December 6, 2024). It is currently on view in Staten Island at the Ferry Terminal! These larger-than-life installations will allow the public to take a deeper look into the lives of the featured individuals.
Featured campaign participants include Jesus, a Peruvian drag queen; Marie Rose, a fruit vendor from Côte D’Ivoire; Mayowa, a Nigerian visual artist; and Antonio, a bus driver from Honduras, among many others. This campaign was developed in partnership with F.Y. Eye, The Opportunity Agenda, with portraits taken by Venezuelan documentary photographer Oscar B. Castillo.
“New York Proud” is a citywide campaign to uplift and honor the resilience, contributions, and experiences of immigrants who shape the economic, cultural and social fabric of New York City. The portraits offer a curated visual narrative that reveals how immigrants are seamlessly integrated into the fabric of life across the city. We hope this campaign will ignite a citywide conversation about the importance of immigration to the vitality and future of New York City.
Witness the powerful photography of Baltimore-based artist Devin Allen, whose black-and-white images capture the raw emotion of the Baltimore uprisings that followed Freddie Gray’s death a decade ago in 2015. Documenting a defining moment in Baltimore’s history, Allen reveals both the pain and strength of its people. See these images—rarely on display—in remembrance of Gray’s life.
Content Advisory: These photographs reflect the impact of racialized violence. Enter with mindful awareness and deep care.
This exhibition is organized by Lisa Snowden, Editor-in-Chief and co-founder of Baltimore Beat and Tracey Beale, BMA Director of Public Programs.
The Griffin Museum is pleased to present the works of Anastasia Sierra as part of our summer exhibition Vision(ary). Anastasia Sierra’s lens tenderly showcases the profound connection between mother and child. Her images capture the nurturing touch and the unbreakable threads of love that bind them. Through luminous colors and intimate compositions, Sierra unveils the beauty and vulnerability inherent in maternal bonds. Each photograph explores the connection the two share, and the everyday moments of motherhood. Her images serve as a poignant reminder of the enduring power and artistry of this fundamental human relationship, etching fleeting moments into timeless expressions of affection.
About Bittersweet –
“Bittersweet” is an ongoing body of work about the conflicting emotions of motherhood, where love and joy live next to the feelings of frustration, guilt and exhaustion.
I collaborate with my young son to recreate moments of tenderness and tension. Together, we make a colorful and mysterious world of our own, using light and shadow as a metaphor, with our lives bright and colorful on the outside and piles of laundry, dirty dishes and some of the darker feelings obscured by the shadows.
I make these images to remember his chubby thighs and what it’s like to touch his skin and feel the weight of his body while I can still carry him. I photograph our love and nightmares, with a superstitious hope that my fears won’t materialize if I spell them out in my photographs.
About Anastasia Sierra –
I am a portrait and fine art photographer based in Cambridge, MA.
My work explores the themes of motherhood, womanhood, and the body from a feminist perspective. Inspired by dreams and the unseen, I construct photographs that portray internal tensions – the conflicting emotions of motherhood, the push and pull between the need for connection, and the desire for independence.
I use photography to gain a better understanding of my own experiences, and find a deeper connection with people and places I photograph, employing light and color to create vivid images that inhabit the space between the real and the imaginary.
My work has been exhibited in the US and internationally, most recent exhibitions include Kathryn Schulz Gallery in Cambridge, MA, the Photographic Resource Center, the Griffin Museum of Photography in Winchester, MA, Vermont Center of Photography, and Soho Gallery in New York.
I have a BA in Linguistics and am currently attending the Photography MFA program at the Massachusetts College of Art and Design, expected to graduate in 2026.
Ansel Adams stood at the pinnacle of his career—revered, celebrated, and firmly entrenched as America’s preeminent landscape photographer. But as the 1960s unfolded, everything around him—and within photography itself—began to shift. The civil rights movement, counterculture rebellion, free love, psychedelics, political assassinations, and the Vietnam War protests reshaped the nation. Meanwhile, a younger generation of photographers rejected the grandeur of nature and the meticulous precision of Adams' Zone System, instead embracing raw, unsettling, and often provocative imagery. As photo historian Jonathan Green put it: “The obsessions of sixties photography were ruthless: alienation, deformity, sterility, insanity, sexuality, bestial and mechanical violence, and obscenity.”
Against this backdrop, Adams embarked on Fiat Lux, the most extensive photographic commission of his life. Between 1963 and 1968, he captured over 7,500 images for the University of California, documenting the institution’s vast and evolving landscape. But beneath the surface, Fiat Lux reveals something more: an artist struggling to find his place in a rapidly transforming world. His once unwavering photographic vision seemed untethered, his artistic compass unsettled. Lost in the Wilderness exposes this tension, showcasing Adams not as the master of the natural world, but as a photographer navigating the shifting tides of change.
Image: Image: Ansel Adams, Untitled, n.d. Scan from original negative. Collection of the California Museum of Photography at UCR ARTS, 1987.0027.6.UCB.63.3.
The Great Acceleration, the first solo institutional exhibition of world renowned photographer Edward Burtynsky’s work in New York City in over twenty years, reveals the depth of Burtynsky's investigation into the human alteration of natural landscapes around the world, showing their present fragility and enduring beauty in equal measure.
Curated by David Campany, Creative Director at ICP, this retrospective exhibition will present over seventy photographs, including many of Burtynsky’s landmark images, some of which have never previously been shown, along with three ultra high-resolution murals. The exhibition will also include a visual and narrative timeline of Burtynsky’s creative life. Intentionally scheduled to extend through Climate Week NYC in September 2025, The Great Acceleration will serve not only as an urgent call for action, but will also give visitors the opportunity to appreciate the sublimity that remains in the landscape, while also deepening our understanding of the challenges that confront us today. In this way, The Great Acceleration upholds ICP’s long-standing and core commitment to present concerned photography that can inspire new audiences.
"The Great Acceleration" is an established term used to describe the rapid rise of human impact on our planet according to a range of measures, among them population growth, water usage, transportation, greenhouse gas emissions, resource extraction and food production, each of which Burtynsky has photographed the outward signs of at length and in great detail over the past forty years. From open pit mines across North America to oil derricks in Azerbaijan, from rice terraces in China to oil bunkering in Nigeria, Burtynsky has travelled across the world and back again as part of his restless and seemingly inexhaustible drive to discover the ways, both old and new, that organized human activity has transformed the natural world. Though already unified by both the precision and formal beauty that Burtynsky deploys to create each photograph, The Great Acceleration further underscores that, like their respective subjects, each project remains fundamentally interconnected.
Image: Edward Burtynsky, Salt River Pima and Maricopa Indian Community - Suburb, Scottsdale, Arizona, USA, 2011
The International Center of Photography (ICP) is proud to present Panjereh, an exhibition by Iranian-American artist Sheida Soleimani. Panjereh—which means ‘window’ or ‘passageway’ in Farsi—builds on Soleimani’s ongoing Ghostwriter series, in which she explores her parents’ experiences of political exile and migration as a lens to examine broader systems of geopolitics. Known for her intricate, studio-based compositions that combine photographs, props, live animals and even her own parents in surreal, magical realist scenes, Soleimani expands her practice in Panjereh with the debut of a new body of work featuring injured birds. These images draw from her work as a wildlife rehabilitator and founder of Congress of the Birds, a federally licensed wild bird rehabilitation center in Rhode Island. The exhibition will also include a new site-specific wall drawing created specifically for ICP’s galleries.
Curated by Elisabeth Sherman, Guest Curator, the exhibition will bring together more than forty photographs, the vast majority of which have never before been shown in New York. Sherman states, “In her work, Soleimani uniquely braids together the complex particularities of her family’s history, deep research into geopolitics and her inherited passion for care work into a visual language completely her own. The magically inventive spaces she creates allow for complexity in telling these stories, honoring their richness and continually unfolding nature. It is truly an honor to be presenting her first solo exhibition in New York, specifically at an institution historically dedicated to photography that engages with the politics of our time.”
The Ghostwriter series takes Soleimani’s family history—specifically that of her parents' flight from Iran as political refugees following the 1979 revolution—as an overarching conceptual framework that informs her creative process, from the significance of the objects and family ephemera she uses to the compositions of the photographs themselves. The series carries out a form of ‘ghostwriting’ in the way it both narrates and reconstructs the lives of Soleimani’s parents without utilizing their voices directly. The works focus on their lives in Iran as pro-democracy activists before then being forced to flee the country, enduring both physical and psychological hardship on their way to eventual resettlement in the United States. Soleimani’s mother was forced to give up being a practicing nurse, leading her to begin caring for wild birds, a skill which she would eventually pass along to her daughter.
With their personal emphasis, the Ghostwriter works present a distinct expression of Soleimani’s longstanding interest in Iranian history and the contemporary geopolitics between the West and the Middle East. Rather than address this history using a strictly documentary approach, Soleimani instead examines storytelling and memory as the primary means through which these stories are transmitted; the construction of her pictures captures the way that detail and meaning are often obscured, transformed or difficult to fully grasp. This process is expressed by the degree of visual compression and accumulation of detail that Soleimani’s photographs contain, as specific passages, details or textures—wildlife and plants, architecture and landscape—regularly function as stand-ins and metaphors rather than straightforward description. Soleimani situates artifacts from her parents’ journey against backgrounds made up of imagery pulled from a variety of archival family photographs, resulting in works that are layered composites of multiple stories, documenting factual traces of history within newly imagined spaces.
A new development within the Ghostwriter series are the Flyways photographs, which draw attention to the plight of migratory birds, many of whom are wounded on their long journeys through populated areas. Soleimani’s work as a federally licensed wildlife rehabilitator grew out of a care practice that she learned from her mother and forms part of a larger cultural inheritance that has been passed down to her. Assuming the position of primary characters, the birds that Soleimani photographs and places within her tableaux provide a metaphor for the many social, political and environmental obstructions met by people forced into flights of their own.
This new group of analog photographs that Soleimani made of rehabilitated birds presents a unique kind of maximalism despite their small scale while also forgoing the complex layering of reference and imagery typical of the Ghostwriter series. Shot in extreme close-up, these works render the bodies of birds as intensely detailed and complex worlds unto themselves, where feathers, talons and eyes are as richly described as Soleimani’s family history is explored. The acts of care contained within these images highlights the relationship between care and political resistance that has unfolded not only with Soleimani’s own family, but which remains critically important for our present moment.
Image: Edward Burtynsky, Salt River Pima and Maricopa Indian Community - Suburb, Scottsdale, Arizona, USA, 2011
We are pleased to present the solo exhibition of Griffin artist member Francisco Gonzalez Camacho. Selected for an exhibition prize during our 30th Annual Juried Members Exhibition by Director Crista Dix, Camacho’s works are visual, emotional moments, finding calm among the landscape. We are pleased to showcase his series of works during our celebration of our creative community this summer.
Reverting –
Reverting reflects upon the profound material connection between the landscape and image-making, exploring environmental issues and the objectification of nature in Iceland.
Developed in Reykjavík with the SIM artist-in-residence program, this project merges photography and printmaking through material experimentation, seeking alternative ways to engage with the landscape.
Issues like gentrification, waste, and environmental degradation, largely driven by tourism, challenge the idealized image of Iceland’s natural beauty. During my stay, I photographed highly visited natural locations, which I reinterpreted in combination with the creation of my own handmade recycled paper from waste.
This exploration mirrors the transformative process of manifesting something from the void —a form of alchemy of waste— with the delicate equilibrium of our environment, and the perpetual cycle it follows.
About Francisco Gonzalez Camacho –
Francisco Gonzalez Camacho (b. 1990) is a Spanish visual artist based in Finland.
Gonzalez Camacho’s work presents a process-based approach interweaving photography and graphic printing methods. His practice is a result of intuitive exploration centered around themes such as materiality, immigration and the connectedness between landscape and self.
As a photographer I have had a lifelong desire to record the daily life around me. This has principally been in Boston and Cambridge. Like the Boston painter Allan Rohan Crite, I have thought of myself as an artist-reporter, motivated to clearly detail what life looked like in this place at this particular time. I have been drawn to the everyday, to ordinary people going about their lives. To me there is wonder in small things .
I’ve often wished that photography had existed in distant times – say, in colonial Boston or medieval Europe or ancient Greece – to have a record of everyday life in those eras. Looking at the archive of Arthur Griffin was a real pleasure because it spoke to this interest of mine in the recorded past – even if only decades before my own life. In fact, what made researching his work particularly interesting to me was that the city he captured was at once both so similar and so different from the city I have photographed. (Almost every photograph I chose from the Griffin archive was made in Boston). I found that we often photographed people doing the same things, such as looking at books for sale on a sidewalk, hovering over a car engine, waiting on benches in a train station. And often our subjects were photographed in the same location – North Station, the L Street Bathhouse, the Bunker Hill Memorial – even, at times, framed from almost the exact same spot, decades apart. This caused me to reflect on the evolution of a city; what continues, carries on over the years, and what changes, what is new. There are physical and social aspects of Boston in Griffin’s pictures that are remarkably the same as in mine. But there are also differences – in what has changed in the built environment, in the mix of people who make up the city, and in the city’s changing culture. To continue observing and to continue challenging yourself to make a well-framed image of an expressive human moment in this evolving world – like Arthur Griffin did so successfully – is forever satisfying.
About Tony Loreti
Tony Loreti is a Boston-based photographer and photography educator. Born in Beverly, MA, he earned a Bachelor of Science degree in Filmmaking from Boston University and a Master of Fine Arts degree in Photography from the Massachusetts College of Art and Design.
Tony recently retired after teaching photography for twenty-five years at the Cambridge School of Weston. His personal photography has been selected for many juried exhibitions and is in both private and public collections. A significant portfolio of his street photography work has been purchased for the collection of the Print Department of the Boston Public Library, and the Cambridge Public Library has also acquired a large number of prints.
Tony continues to work with film and traditional printing in his personal photography. He is deeply committed to the older form of the medium, particularly because of its tangible nature and the look and feel of gelatin silver prints.
SUNY Polytechnic Institute’s Gannett Gallery proudly announces Deconstructed Self, a solo exhibition by acclaimed photographer Natalie Christensen (Santa Fe, New Mexico and Louisville, Kentucky). The show will run from August 20 through October 3, 2025, with an opening reception on Wednesday, September 3, 2025, featuring an artist talk at 2:00 PM, followed by a public reception from 4:00 to 6:00 PM.
Christensen, whose work has been exhibited in prestigious venues internationally and featured in publications such as Vanity Fair, The Guardian, The Observer, The British Journal of Photography and Creative Boom, worked as a psychotherapist for over 25 years and was significantly influenced by the theories of psychologist Carl Jung. This unique perspective informs her approach to color, shadow, and space—elements that become symbolic language in her abstracted suburban imagery. Her photos often convey a somber interpretation, evoking repressed desires, unexplained tension and looming disaster.
Known for her minimalist compositions and exploration of psychological landscapes, Christensen brings her distinctive vision to central New York with a series that interrogates the interplay between interior experience and the constructed environment. Deconstructed Self features evocative images that strip away context, encouraging viewers to confront themes of identity, memory, and perception.
“Natalie Christensen’s work asks us to slow down and see the emotional resonance in ordinary spaces,” said a Gannett Gallery spokesperson. “Her photographs challenge the viewer to consider what lies beneath the surface of what we think we know—about place, and about ourselves.”
Christensen’s work is inspired by commonplace architecture and streetscapes. “I don’t have to go anywhere special to make my photography; instead, I find my images around shopping centers, apartment complexes and office parks.” Choosing to shoot in locations that might be seen as uninteresting or even visually off-putting, she finds it challenging to “see” something hidden in plain sight. She notes, “It is our nature to ignore what is unpleasant, but sometimes I get a glimpse of the sublime in these ordinary places. When I find it, it feels like I have discovered gold.” Closed and open doors, empty parking lots, and forgotten swimming pools draw her to a scene; her reactions elicit interpretation. Christensen continues, “The symbols and spaces in my images are an invitation to explore a rich world that is concealed from consciousness. And the scenes are an enticement to contemplate narratives that have no remarkable life or history yet tap into something deeply familiar to our experience; often disturbing, sometimes amusing…unquestionably present.”
The artist will present an in-depth talk about her process and the themes of Deconstructed Self at 2:00 PM on Wednesday, September 3, 2025, offering visitors a personal glimpse into the psychology and artistry behind the work.
Nearly 60 years after The Beatles performed their final concert at Candlestick Park, Beatlemania is back in the Bay. Featuring more than 250 personal photographs by Paul McCartney, along with video clips and archival materials, this exhibition offers a behind-the-scenes look at the meteoric rise of the world’s most celebrated band. The images capture the period from December 1963 through February 1964 and the band’s journey to superstardom, from local venues in Liverpool to The Ed Sullivan Show and worldwide acclaim. Photographs of screaming crowds and paparazzi show the sheer magnitude of the group’s fame and the cultural change they represented. More intimate images of the band on their days off highlight the humor and individuality of McCartney and bandmates John Lennon, George Harrison, and Ringo Starr. Rediscovered in the artist’s personal archive in 2020, these images offer new perspectives on the band, their fans, and the early 1960s, as seen through the eyes of Paul McCartney.
Paul McCartney Photographs 1963–1964: Eyes of the Storm is organized by the National Portrait Gallery, London, in collaboration with Paul McCartney. It is curated by Paul McCartney with Sarah Brown for MPL Communications and Rosie Broadley for the National Portrait Gallery, London. The presentation at the de Young museum is organized by Sally Martin Katz.
Curated by Kalup Linzy
This powerful exhibition explores themes of migration, impermanence, and
identity through photography and video. Featuring a diverse group of
contemporary artists, the show invites viewers to reflect on the ways we
experience place, community, and belonging in a world marked by movement
and change.
Through personal and collective narratives, the works engage with cultural
intersections, shifting landscapes, and the complexity of selfhood. At its heart,
the exhibition asks: How do we define home? Who gets to belong? And what
stories are hidden—or revealed—through the lens?
Curated by video and performance artist Kalup Linzy, this exhibition is
presented in partnership with Queen Rose Art House and Tulsa Artist
Fellowship. This timely and thought-provoking exhibition includes work
by Jackson Adair, Adam G. Davis, Le’Andra LeSeur, Eyakem Guililat, VC
Torneden, and Martha Rosler.
For 30 years Photographs Do Not Bend Gallery (PDNB Gallery) has operated in the city of Dallas in Uptown and in the Design District. It is exciting to announce that PDNB Gallery is officially open and ready for business in its new home in Denton, Texas! Gallery Co-Directors Burt and Missy Finger started as private art dealers in Denton and now they are proud to bring it all back home to the historic Downtown Square!
This celebration exhibition will highlight the artists that have helped make PDNB a lasting success in Texas and beyond. The opening show will also be a nice introduction to the Denton community.
Featured artists in GOING HOME include Texas artists: Peter Brown, Keith Carter, Earlie Hudnall, Jeanine Michna-Bales, Stuart Allen and Michael O’Brien. PDNB artists span the globe, and this exhibition will also include Esteban Pastorino Diaz (Argentina), Chema Madoz (Spain), Michael Kenna (USA), Cheryl Medow (USA), Patty Carroll (USA), Al Satterwhite (USA), Ruth Orkin (USA), Nickolas Muray (Hungarian born-USA), John Albok (Hungarian born-USA), Lucienne Bloch (Swiss born-USA).
PDNB Gallery specializes in photography, but throughout its history they have also exhibited painting, sculpture, ceramics and works on paper. Artists represented by PDNB are established or emerging. Most have their work in major museum collections and have monographs published.
It will be exciting to meet new friends in the art community of Denton, and old friends that come up to visit this bustling city with a remarkable downtown vibe.
Image: Peter Brown, Dimmitt Meat Company, Dimmitt, TX, 1992
Front Row Center: Icons of Rock, Blues, and Soul charts photographer Larry Hulst’s extraordinary path through the pulsing heart of the most exciting live music of the twentieth century, showcasing a unique visual anthology of rock, blues, and soul music from 1970-1999. From Janis Joplin and Jimi Hendrix to David Bowie and Lauryn Hill, this exhibition brings together more than 70 images of legendary musicians across three genres and generations. Front Row Center grants viewers an all-access pass to some of the most memorable performances in popular music history.
These images, which have been featured on album art and Rolling Stone spreads, convey Hulst’s lifelong passion for the magnetism, immediacy, and unpredictability of live music. With photos that also document the unforgettable voices of funk, punk, and beyond, Front Row Center grants viewers an all-access pass to some of the most memorable performances in popular music history.
Image: Larry Hulst, Van Halen at Cow Palace, Daly City, CA, May 10, 1984. Photograph courtesy of the artist.
One of Hawaiʻi’s most respected photographers, Franco Salmoiraghi’s work is reflective of his affection for Hawaiʻi and of his powerful connection to the islands and its people. Born in Illinois, he moved to Honolulu in 1968 for a teaching position at the University of Hawaiʻi at Mānoa. His photographs that span the ensuing decades celebrate the importance of Hawaiʻi as a place of sublime beauty and cultural significance.
Franco Salmoiraghi: Photographs of Hawai‘i from the 70s, 80s, and 90s is drawn primarily from HoMA’s collection, and includes key loans highlighting various subjects the artist explored during a period of renewed interest in traditional Hawaiian practices, language, and devotion to the ‘āina (land). The exhibition features works in five subject areas—intimate portraits, awe-inspiring island landscapes, sensitive nude studies, detailed patterns in nature, and expressions of the energy and activism of the second Hawaiian Cultural Renaissance—which convey the artist’s sustained interest in documenting the rich diversity of Hawaiʻi’s people and places.
ROSEGALLERY is pleased to present BOUND AND UNBOUND: The Photographic Book and the Print. While photographic prints often stand at the forefront as iconic images in their own right, the photobook reveals the broader scope of a series, situating singular photographs within a larger narrative. The exhibition highlights two distinct ways of experiencing photographs: the book through the intimate act of turning pages, and the print through its scale and material presence. This interplay underscores the artistry of sequence, design, and craft while reaffirming the enduring significance of the photographic print. Together, singular prints and photobooks work in tandem, each holding their own weight and offering distinct yet complementary ways of experiencing photography.
By staging the books and prints together, BOUND AND UNBOUD examines the unique proposition that the book itself is not simply a vessel, but an additional artistic form that is dialogue with the photographic print. This exhibition becomes both a library and a gallery, a meditation on the multiple lives of photographs, and a testament to the enduring role of publishing in shaping the field of contemporary photography.
The Six by Six series, published by Nazraeli Press, occupies a rare and important place in the history of photographic publishing. Conceived as a set of finely crafted, limited-edition books paired with original prints, Six by Six is at once a publishing project, a collector’s art object, and a collective portrait of contemporary photography. With prints showcased on the walls, they expand outward, breaking free from the bound format; images are seen in a new scale, where gesture, surface, and detail can be apprehended differently.
This doubling, the page and the wall, reveals photography’s ability to inhabit multiple registers. Among many artists featured in the exhibition are works by Thomas Demand, Marilyn Minter, Catherine Opie, Carrie Mae Weems, and Alec Soth, whose work moves fluidly between the printed page and the collectible print, this shift of context underscores how each format amplifies distinct qualities of the image. In the book, photographs converse in sequence, forming narratives or visual poems. On the wall, they assert themselves as singular presences, suspended in space.
BOUND AND UNBOUND: The Photographic Book and the Print also features books from Luhz Press, Editorial RM, Schirmer/Mosel, and more, continuing the dialogue between the photobook as something democratic and portable, and the print as a singular, collectible entity.
In the remote western Brooks Range of Alaska, permafrost is thawing at an unprecedented rate and exposing the pyrite-rich bedrock to water and oxygen. As a result, rivers and tributaries now flow bright orange with oxidized iron and sulfuric acid. Canadian photographer Taylor Roades (b.1990) captures this transformation through aerial and on-the-ground documentation.
The work that scientists do in these watersheds is crucial to our understanding of climate change and our ability to mitigate its effects on some of the world's most at-risk places.
- Taylor Roades
The camera and the car revolutionized modern life in America and have been intertwined since the very beginning. This photography exhibition displays work by artists shaped mainly by car travel in the 20th century, exploring how the automobile and the road mediated what the photographers discovered. Themes include Depression-era documentary work, roadside culture, utopian impulses of escape, and fascination with the desert Southwest. Significant figures include Walker Evans, Dorothea Lange, Edward Weston, Robert Frank, and Lee Friedlander. Vernacular photographs as well as books will also be on view. The exhibition will include a significant display of work by Emil Otto Hoppé, whose 1926 travels generated the first comprehensive survey of the American landscape.
In Search of America: Photography and the Road Trip is curated by Eric Lutz, associate curator of prints, drawings, and photographs.
In Common Practice celebrates the work of participants from two vibrant CPW artistic communities: Lesly Deschler Canossi’s Monthly Crit Group and the Project Salon led by Charles Purvis.
Both programs, which began in 2024 and have each hosted three artist cohorts to date, embody the artists’ ongoing commitment to developing their work and craft in collaboration with fellow creators through conversation and inquiry. These initiatives foster connections that extend beyond CPW, creating lasting networks of mutual support and artistic exchange within the broader creative community.
The exhibition offers a variety of styles, techniques, and perspectives, highlighting individual expression and creativity while celebrating the collective journey of artistic development. Each work reflects not only personal vision but also the enriching influence of peer engagement and supportive critique that ripples outward, strengthening the wider artistic ecosystem.
Participating artists:
Jessica Bard
Joseph Callender
Jessica Chappe
Allison DeBritz
Cicero deGuzman Jr.
Daniel Georges
Jackson Porter Hardin
Tara Holmes
Dallas Houston
Inna Ivanovskaya
Simon Keough
Alon Koppel
Flynn Larsen
Nancy Macnamara
Kathy McFarland
Jeff Mertz
Matt Moment
Harry Murzyn
Will Nixon
Tom Picasso
Carla Rhodes
Adina Scherer
Alicia Schirrmeister
Valerie Shaff
Kelly Sinclair
Pamela Takif
Rich Tomasulo
Anastassia Tretiakova
Erika Norton Urie
This presentation includes new photographs originally commissioned by Aperture and Documentary Arts.
In conjunction with the 2025 Filter Photo Festival, Filter Photo is pleased to presnt A layin’ on of hands..., a solo exhibition of work by Alayna N. Pernell.
In A layin’ on of hands..., Alayna N. Pernell explores the cultural and emotional significance of care in the lives of Black women, drawing inspiration from a phrase she often heard growing up in Alabama. In her community, "a laying on of hands" symbolized the transmission of power, healing, and blessing through touch—a love language Pernell has carefully incorporated into her visual practice. Through photography and archival exploration, this exhibition reflects on how the act of care shapes the lives and experiences of Black women.
Our Mothers’ Gardens delves into historical photographic research, offering a broader societal perspective, while for the record intimately explores personal narrative through the act of mending photographs. Together, these works form a nuanced portrayal of the interconnectedness between the historical and personal facets of care—revealing how care transcends individual experience to become a deeply rooted cultural and historical force.
Pernell envisions this exhibition as both a memorial and an honorary space— one that remembers and honors the lives of Black women. These works collectively reveal that care is not just a personal practice, but a force that continues to shape the lives of Black women and the communities they sustain.
About the Artist
Alayna N. Pernell is an interdisciplinary artist, writer, and educator from Heflin, Alabama. She is currently the Associate Lecturer of Photography and Imaging at the University of Wisconsin-Milwaukee. She is also a Content Editor for Lenscratch, an online photographic arts publication, and founder of Surely You Know, an archival photographic initiative dedicated to returning displaced photographs to black families. In May 2019, she graduated from The University of Alabama where she received her Bachelor of Arts in Studio Art with a concentration in Photography and a minor in African American Studies. She received her MFA in Photography from the School of the Art Institute of Chicago in May 2021. Pernell’s artistic practice considers the gravity of the mental well-being of Black women concerning the physical and metaphorical spaces they inhabit.
She has provided lectures about her work at various spaces including Texas Tech University, Colorado Photographic Arts Center, The Sheldon, and Syracuse University, among others. Her work has been exhibited in various cities across the United States, including FLXST Contemporary (Chicago, IL), Refraction Gallery (Milwaukee, WI), JKC Gallery (Trenton, NJ), RUSCHWOMAN Gallery (Chicago, IL), Colorado Photographic Arts Center (Denver, CO), Griffin Museum of Photography (Winchester, MA), among several others. Her work is currently held in private collections at the Museum of Contemporary Photography and the Illinois State Museum.
Pernell was named the 2020-2021 recipient of the James Weinstein Memorial Award by the School of the Art Institute of Chicago Department of Photography, the 2021 Snider Prize award recipient by the Museum of Contemporary Photography, a 2023 Mary L. Nohl Fellowship Emerging Artist recipient, and a 2024 gener8tor Art x Sherman Phoenix Artist. She was also recognized on the Silver Eye Center of Photography 2022 Silver List, Photolucida’s 2021 Critical Mass Top 50, and a 2021 Lenscratch Student Prize Honorable Mention, among others.
In conjunction with the 2025 Filter Photo Festival, Filter Photo is pleased to announce, On the Shelf, an open call for a photo book exhibition, juried by Tim Carpenter.
With an open theme, On the Shelf seeks well-conceived, original, and compelling photo books. Eligible entries include all types of photo books, whether self-published, handmade, or commercially published. Books by or featuring the work of more than one artist are also eligible. Books must have been completed within the last three years..
A Juror’s Choice and Honorable Mention will be awarded. The Juror’s Choice Award comes with a $500 cash prize. The cost to submit to On the Shelf is $25.00 for a single photo book project. Please note: artists will be responsible for the cost of shipping books to and from Filter Space gallery if accepted into the exhibition.
Pace is pleased to present The Weight of Hope, a monumental exhibition by Robert Longo, in New York from September 11 to October 25. As a sequel to the Milwaukee Art Museum’s recent presentation of Robert Longo: The Acceleration of History—curated by Margaret Andera, the institution’s Senior Curator of Contemporary Art—Longo will take over Pace’s entire 540 West 25th Street gallery, exhibiting 26 drawings, three films, three sculptures, and 33 studies across the flagship’s first, second, third, and seventh floors as well as its exterior.
The Milwaukee Art Museum’s new catalogue for The Acceleration of History, featuring contributions from Andera, artist Rashid Johnson, and journalist Tom Teicholz, will be released during the run of Pace’s show and available to purchase on-site at the gallery. A Pace Live performance featuring musician Rhys Chatham, along with an opening reception for the exhibition, will take place on the evening of Wednesday, September 10, and the show will also be open to visitors from 6 to 8 p.m. on Thursday, September 11.
The Weight of Hope will highlight Longo’s enduring engagement with social and political happenings in his work across mediums, bringing together large-scale charcoal drawings, films, sculptures, and studies—including private and institutional loans—created between 2014 and 2025. This landmark show at Pace will open on the heels of the artist’s first full-scale Scandinavian survey, on view at the Louisiana Museum of Modern Art in Denmark through August 31, and his presentation of a new multimedia work at Art Basel Unlimited in June.
Over the past decade, the artist has increasingly turned his focus to images from the media, including coverage of the January 6 United States Capitol attack and the Black Lives Matter movement. Building up his hyper realistic, black-and- white charcoal drawings in layers with painstaking attention to light and shadow, he creates highly detailed works based on news photography as well as images of protests, civil unrest, and war on the Internet. Transforming his source images into epically scaled, emotionally resonant compositions, he reflects on power, violence, and national mythmaking. His works slow down the “image storm” and “culture of impatience” in which we live through the historic and venerable medium of charcoal, encouraging viewers to take time to absorb and process the turbulence of the current moment—both in the US and around the globe—while also proposing hope for the future.
“As artists, we’re reporters,” Longo said in a recent interview for his Louisiana Museum of Modern Art exhibition. “Our job is to report what it’s like to be alive now. We’re one of the few professions left in the world that has the opportunity to try to tell the truth. I feel a moral imperative to preserve the images of our shared dystopic present with the hope that something will one day change.”
Born in 1953 in Brooklyn, New York, Longo was deeply influenced by social and political issues from an early age. He graduated high school in 1970, weeks after the Ohio National Guard massacred several students at Kent State University who were protesting the US invasion of Cambodia—including one of Longo’s former classmates, whose body was shown in a Pulitzer Prize-winning photograph that shocked the world. In 1973, Longo enrolled at Buffalo State College, where he trained as a sculptor and began his decades-long friendship with fellow artist Cindy Sherman. The two moved to New York together in 1977, and, throughout the 1980s, Longo frequently performed in New York rock clubs in Menthol Wars, his band with Richard Prince. During this period, he also designed album covers for numerous bands and directed music videos for New Order and R.E.M.
In his first solo exhibition at Metro Pictures in New York in 1981, Longo showed his charcoal and graphite Men in the Cities drawings, works that became icons of the “Pictures Generation.” This group, which includes Longo, Sherman, Prince, Louise Lawler, and David Salle, is known for critiquing the anaesthetizing power of consumer capitalism and the indoctrinating effects of mass media through their art. Working with diverse materials at increasingly ambitious scales over the course of his career, Longo cemented himself as a preeminent artist of his generation. Today, his work can be found in the collections of major museums around the world, including The Museum of Modern Art, Whitney Museum of American Art, and Brooklyn Museum in New York; the Los Angeles County Museum of Art and Museum of Contemporary Art, Los Angeles; the National Gallery of Art in Washington, D.C.; the Milwaukee Art Museum; the Walker Art Center in Minneapolis; Tate in London; the Stedelijk Museum in Amsterdam; and many other international institutions.
Pace is pleased to present an exhibition of work by photographer Paolo Roversi at its 508 West 25th Street gallery in New York. Opening on September 12, during New York Fashion Week, and running through October 25, this focused retrospective will feature works produced by Roversi between the early 1990s and the present, highlighting the artist’s relationships with his many collaborators in the fashion industry.
Roversi’s upcoming exhibition with Pace in New York—his first solo show with the gallery since 2019—will present an overview of his storied career through a selection of photographs created over the past 35 years.“Every portrait is a meeting, an exchange, a mutual intimate confession,” Roversi has said of his work. The show will shed light on Roversi’s legacy as the artist behind some of the most iconic fashion images of our time.
Drawing inspiration from the work of August Sander, Robert Frank, and Diane Arbus, Roversi developed a distinctive style that is deeply influenced by the Byzantine architecture and rich cultural history of his birthplace, Ravenna, Italy. “Paolo's photography is timeless,” Sylvie Lécallier, curator Roversi’s 2024 exhibition at the Palais Galliera in Paris, said in an interview last year. “It is detached from the spirit of the times, from the ephemeral trends of fashion. It is located both at the heart of fashion and at the edge.”
Made with Polaroid film and mostly taken in his Parisian studio, Roversi's dreamlike, enigmatic images are imbued with a classical sensibility. His studio, he has said, “is a place for the chance, the dream, the imaginary to prevail. I give these forces as much space as I can.”
In addition to his collaborators in the fashion world, Roversi has recently joined forces with his friend and fellow artist Sheila Hicks. For these works, which will figure in Pace’s exhibition, no discussion is had between the two artists regarding a direction for the final work, each knowing and respecting the other’s practice.
Born in Ravenna, Italy in 1947, Roversi discovered his passion for photography during a 1964 family holiday in Spain— upon his return from the trip, he built a darkroom in the basement of his home. He began his career in 1970, taking photojournalism assignments from the Associated Press. In 1973, at the invitation of photographer and ELLE art director Peter Knapp, Roversi moved to Paris, where he has lived and worked ever since. After a nine-month period assisting British photographer Lawrence Sackmann, whom he cites as an influential teacher, Roversi started shooting independently with small commissions for ELLE and the band Depeche Mode, gaining wider recognition with a Dior beauty campaign in 1980 and ultimately forging his reputation as one of the industry's leading photographers by the mid- 1980s. As model Guinevere van Seenus, who has worked with Roversi for nearly three decades, has said, “Having your portrait taken is more than just looking at the camera, [Paolo] creates the space for the person to [emerge]."
Today, Roversi’s work can be found in museum collections around the world, including the Museum of Modern Art in New York; the Getty Museum in Los Angeles; and the National Portrait Gallery in London. He has had major exhibitions around the world—in recent years, at the Museo d'Arte della città di Ravenna, Palazzo Reale in Milan, the Palais Galliera in Paris, the Multimedia Art Museum in Moscow, and Dallas Contemporary in Texas—and has published numerous books, including Paolo Roversi: Palais Galliera (2024), Lettres sur la lumière (Gallimard, 2024), Des Oiseaux (Éditions Xavier Barral, 2023), Paolo Roversi – Studio Luce (Museo d'Arte della città di Ravenna, 2020), Natalia (Stromboli, 2018), and Nudi (Stromboli, 1999).
In celebration of the year-long Greene Fellowship program, RedLine is delighted to announce two solo exhibitions featuring the 2025 Greene Fellows:
Aesthetic Impermanence by Alex Branch, and Artificial Geologies by Phillip David Stearns. Guest curated by George Bolster, Curator at the Shelley & Donald Rubin Foundation.
In this time of continuous attacks on science in favor of origin stories and the projections of fantasies on reality, many artists—including Stearns and Branch—have once again become fascinated by it, reflecting its research in their aesthetic practices.
While Alex Branch and Phillip Stearns presentations might not immediately seem to share many correlations, it is a trust and experimentation in scientific subjects and narratives that unites them.
Alex Branch’s recent practice conflates science in the form of an ongoing study of entropy, with a poetic sensibility evident in metaphoric visual narratives. Aesthetic Impermanence features her works in a broad variety of media including photography, stop motion animation and sculpture. Collectively, they investigate time, cycles of life, the bodily fragility, and the ephemerality of objects.
Humans exact their will on the world through physical strength. While it has the illusion of permanence, it is temporary. For Branch, a sculptor who for a period of time lost that faculty, it must have been an impossible prospect for the longevity of her practice. This mortalizing event resulted in a dream, where the artist’s limbs were buried in the icy surface of a mountain top.
Another outcome is an ongoing range of works including photographs Suspended Animation, Liminal Thaw, and Artifact, and the sculpture When It’s Darker Than It Is Now, And the Snow Is Colder, all 2025. Each depicts her appendages and/or blocks of ice in various stages of liberation.
This direct interfusing of humans with nature is also evident in works such as Passing Through You Like Wind Through A Wind Chime a sculpture in a dress form made from dandelion seed puffs, and a corresponding stop motion animation film The Foreignness of What You No Longer Are of a woman’s hair covered in gradually blooming dandelion stalks.
Branch’s practice is ultimately one of flux: every element is in a state of change; time-based, shapeshifting, transforming. Through foregrounding these factors, she visually communicates the impossibility of stasis in nature.
Image: Alex Branch, Liminal Thaw, 2024, Photographic print on hahnemuhle rag paper. Courtesy of the artists.
The Gallery at Leica Store San Francisco is delighted to present Summertime // Love, a solo exhibition by renowned photographer Mark Steinmetz, on view from September 1 through October 31, 2025.
With an eye attuned to fleeting gestures and the quiet theater of everyday life, Steinmetz has spent decades creating photographs that feel both intimate and timeless. This exhibition brings together selections from his celebrated Summertime series, with tender portraits and languid moments steeped in the haze of youth, alongside images made during his travels across the globe. From sun-dappled afternoons in American suburbs to shadow-lined streets in faraway cities, his photographs speak in a language of patience and empathy, capturing both the universal and the particular, the unrepeatable moment and the enduring essence of place.
LACP is thrilled to announce a solo exhibition by Matthew Finley, whose work imagines the world as it should have been: A world where no queer person feels ashamed for who they love, who they are and how they want to present themselves.
In this moment, when people in power insist on marginalizing, isolating and denouncing queer communities, LACP insists on elevating love and acceptance.
Matthew Finley’s work imagines the world as it should have been: A world where no queer person feels ashamed for who they love, who they are and how they want to present themselves. In this universe, family support of one’s love is a given, rather than a possibility, or, we could say, an impossibility.
In his poetic photographic projects, Finley provides coordinates for how life in this world would be. This solo exhibition, which depicts several series from the past decade, chronicles how Finley reimagines found images and objects, encouraging his staged subjects to discover the joy of nature, as well as a self-consciousness that never seeks to conceal or mask itself, visualizing how we package ourselves for others and the emotional states that result. Whether in fictive family albums or expansive analog projects, his photographic perspective remains intimate and vulnerable. Finley positions male bodies in compositions that echo photographic histories, in which the male subjects become a focal point of the viewing eye, a source of fascination and desire–and that desire quietly comes to the fore to insist on its rightful place. The emotional burden at the core of these works informs their shapes, perspectives, light and configurations. They are both haunting and haunted, charting a path from rejection to liberation by way of friendship and love.
Desire, in these works, becomes a core element of vision; whether it is the desire to be close to another body or the desire to be fully accepted. In that sense, Finley’s work negotiates lived experiences and offers them as an invitation for the viewer, to become an active participant; re-imagine relationships and their histories alongside those captured in the frame, and insist on joy and love as an antidote for judgment, exclusion and isolation in our current world.
Image: hoto by Matthew Finley, We couldn’t stop kissing on our wedding day. 2024, glitter and varnish on archival pigment print from vintage found photograph.
Geoglyphs are ancestral symbolic forms, etched into the ground with dry-stone lines, cleared furrows, and tamped soil. Created by Indigenous communities as ritual acts, they embody communal cosmologies across the landscape—a shared vision of the Cosmos. Often aligned with constellations or natural features—and most legible from above—they weave culture, Land, and the heavens.”
This photographic investigation is a personal reflection on human values and how they are carved into the Earth’s body. I have traversed South America’s mining territories for fifteen months in search of meaning. As an architect expanding my practice into the realm of the visual arts, I have sought to engage with the spiritual dimensions of our epoch, immersing myself in monumental voids that descend into the Earth’s depths. From the air and from the ground, what emerged transcended the commodification of minerals for the energy transition: these voids exist as testaments to humanity’s aspirations.
The chronicles of modernity are inscribed across the Planet’s surface. Sacred Lands have become kingdoms of accumulation, empires of extraction. These new cosmotechnic terrains are the geoglyphs of our time—monuments to the values we pursue.
- Lorenzo Poli
Leica Gallery Los Angeles is pleased to present Moonstruck, a compelling solo exhibition by Mona Kuhn, opening September 3 through November 2, 2025. The evening’s vernissage, held from 6:00 PM to 8:00 PM, will introduce visitors to a new body of work commissioned in collaboration with Leica. Moonstruck evolves Mona Kuhn’s enduring exploration of the human form by merging it with abstraction, inspired directly by musical improvisation and atmospheric light conditions in Southern California and beyond
Artist Mona Kuhn reflects, “Madly in love and partially insane, I fell for a glimmer, a gesture, a vanishing trace. I had been struck by the moon.” In Moonstruck, Kuhn continues her twenty-five-year practice of intimate photographic approaches to the nude, but takes a more abstract and painterly direction. Through refined techniques and collaborative improvisations, she dissolves distinctions between figure, landscape, and abstraction, crafting dream‑like compositions that evoke both the ethereal and the corporeal
Born in São Paulo in 1969, Mona Kuhn has lived and worked in Los Angeles since 2005. She has exhibited widely, including retrospective exhibitions titled Works (Los Angeles, New York, London, and Shanghai in 2021), Kings Road (Paris, 2023), and Between Modernism and Surrealism (New York, 2024)
Kuhn’s work is known for its deeply expressive representation of the body and subtle interplay of light, form, and atmosphere. In Moonstruck, she harnesses the precision and sensitivity of the Leica SL3 to explore new horizons in abstraction and gesture
In the Apsáalooke (Crow) language, the word Áakiwilaxpaake (People of the Earth) describes Indigenous people living in North America, pointing to a time before colonial borders were established. In this exhibition, curated by the Apsáalooke artist Wendy Red Star, artists from throughout what is now called North America—representing various Native nations and affiliations—offer diverse visions, building on histories of image-making. Some of the artists presented in Native America: In Translation are propelled by what the historian Philip J. Deloria describes as “Indigenous indignation”—a demand to reckon with eviction from ancestral lands—while others translate varied inflections of gender and language, as well as the impacts of climate change, into inventive performance-based imagery or investigations into personal and public archives. “The ultimate form of decolonization is through how Native languages form a view of the world,” Red Star notes. “These artists provide sharp perceptions, rooted in their own cultures.”
Wendy Red Star (born 1981, Billings, Montana) is a Portland, Oregon–based artist raised on the Apsáalooke reservation. Her work is informed both by her Native American cultural heritage and by her engagement with many forms of creative expression, including photography, sculpture, video, fiber arts, and performance. An avid researcher of archives and historical narratives, Red Star seeks to recast her research, offering new and unexpected perspectives that are inquisitive, witty, and unsettling. Red Star holds a BFA from Montana State University, Bozeman, and an MFA in sculpture from the University of California, Los Angeles. Red Star’s first major monograph, Delegation, is copublished by Aperture and Documentary Arts.
This exhibition is adapted from “Native America,” the Fall 2020 issue of Aperture magazine, guest edited by Wendy Red Star. It is organized by Aperture and made possible, in part, with generous support from the National Endowment for the Arts.
Image: Rebecca Belmore, "matriarch," 2018, from the series "nindinawemaganidog (all of my relations)." Photograph by Henri Robideau. Courtesy of the artist.
The photo-based work of Louviere+Vanessa draws on Southern Gothic traditions. They have
developed a style innovatively using mixed media and photography. Their latest work, Dust of
the Stars, delves into the delicate interplay between earthly life and the cosmos. Each piece is
finished with a gilt varnish and homemade bioplastics, infusing the work with a subtle luminosity
that is a reminder of the divine spark within all matter, connecting the mundane with the
transcendent
Our latest series “Dust of the Stars” explores the intrinsic connection between the celestial and
the earthly. We have created a unique medium by combining bone and water to form handmade
bio plastics, symbolizing the organic and the intangible.
These images represent what the natural world is made of: bone, water, cartilage, the essence
of life and a symbol of fluidity and change. Bone and water then come together again to fuse
these images into a state of permanence, something the living world is not afforded. L+V 2025
This collection delves into the delicate interplay between human life and the Cosmos;
with Carl Sagan’s poetic assertion that we are all make of “Star Stuff” as inspiration.
These photographs came to be from a time of intense personal transformation, V’s
ongoing struggles with major spinal surgeries and the continuous challenges and
changes she faces.
Vanessa and her father handmade the frames of all our past work and with his passing,
we chose to leave the art unframed but still include him by adding a trace of his ashes
into each piece… star stuff. Instead the pieces are floating off the wall with magnets,
giving them room to change their form as if they were alive. - L+V 2025
Louviere + Vanessa (Jeff Louviere and Vanessa Brown) make their home and art in New Orleans.
Their work combines the mediums and nuances of film, photography, painting and printmaking.
They use Holgas, scanners, 8mm film, destroyed negatives, wax and blood. Since they began
showing professionally in 2004, they have been in over 50 exhibits and film festivals in America
and abroad. They are included in the collections of the Museum of Art | Houston, the Photomedia
Center, the New Orleans Museum of Art, the Ogden Museum of Southern Art, as well as the
film archive for Globians International Film in Potsdam Germany, Microcinema in San Francisco,
and the George Eastman House.
In addition to producing their innovative still images, Louviere + Vanessa experiment in moving
pictures. They have created the first movie, consisting of 1,900 frames, shot with a plastic Holga
camera. Based on that film, they shot the animation sequence for Rosanne Cash’s short film,
“Mariners & Musicians”, which had its world premiere at the Tribeca Film Festival. They were
included in the Australian Photography Biennale.
Image: Rime, 2025, 14 x 20”, homemade bio plastic and gold paint, unique variant edition of 3
Hauser & Wirth is honored to present its first New York City exhibition devoted to the work of Sir Don McCullin CBE, lauded internationally as one of the most significant photojournalists of our time. Coinciding with his 90th birthday, McCullin’s most comprehensive US presentation to date brings together over fifty works, as well as seldom seen archival materials and historical ephemera. ‘A Desecrated Serenity’ offers a deep look at both the beauty and brutality of McCullin’s expansive archive. From the gritty unfiltered images taken on the battlefield and in postwar Britain to painterly European vistas and meticulously crafted still lifes, the exhibition reveals the twin forces that course through and characterize McCullin’s oeuvre: an innate and profound compassion for humanity and exceptional mastery of composition and process.
‘A Desecrated Serenity’ chronicles McCullin’s remarkable seven-decade career, including his seventeen-year tenure as special contract photographer for The Sunday Times, when his assignments took him to the frontlines of war across Greece, Vietnam, Biafra, Bangladesh, Northern Ireland and Beirut. It was during this time that he captured searing images such as ‘A shell-shocked US Marine, Hué’ (1968). This widely circulated photograph shows an American soldier gripped by quiet distress during the brutal battle to retake Hue City—one of the Vietnam War’s fiercest conflicts—his intense expression capturing the war’s deep personal toll. ‘A Desecrated Serenity’ presents these harrowing images alongside personal objects that speak to the extraordinary risks McCullin faced in the field, most notably his Nikon F camera that absorbed a bullet during combat. McCullin’s deep, hard-won sense of empathy, shaped by his youth living through poverty and violence in East London, is evident in these images and objects.
Examples of photographs taken during McCullin’s formative years, portraits such as ‘The Guvnors in their Sunday Suits, Finsbury Park, London’ (1958) and stark industrial landscapes––reflecting the grim realities of crime and unemployment in Northern England in the 1950s and 1960s––serve to demonstrate the photographer’s innate ability to capture sorrow and dignity in equal measure, finding poetry within bleakness, serenity within desecration. The exhibition also delves into the work McCullin made during his personal travels across India, Indonesia and the Sudan, where he often turned his lens to local communities, everyday rituals, celebrations and architecture. Intimate compositions such as ‘India, The Great Elephant Festival, The River Gandak’ (1965) transcend a straightforward documentary practice and engage the viewer through their emotional charge, a result of McCullin’s empathetic exchange with his subjects.
In the late 1980’s, McCullin turned his lens toward more peaceful subjects—the landscapes of France, Scotland and England, in Somerset, where he had been evacuated to as a child during the Blitz and where he now makes his home. Rendered in richly tonal black and white, these painterly depictions of the English countryside—the place the artist himself has described as his greatest refuge—offer an exquisitely personal and poignant meditation on solitude, memory and the longing for stillness. They capture wild, windswept vistas that echo the emotional resonance of McCullin’s earlier reportage, revealing nature not merely as an idyllic escape but as a site of quiet reckoning. The same chromatic and emotional gravity carries over to a selection of still lifes inspired by the work of Flemish and Dutch Renaissance masters, as well as images of Roman statuary evolving from his ‘Southern Frontiers’ series, McCullin’s 25-year survey of the cultural and architectural remains of the Roman Empire. Imbued with both awe and unease, these images, like much of McCullin’s oeuvre, inhabit a space between beauty and brutality, evoking the psychological weight of history seen through the photographer’s unflinching eye and compassionate gaze.
Image: Don McCullin, Catholic youths escaping from CS gas, Londonderry, Northern Ireland, 1971, Courtesy the artist and Hauser & Wirth
In January 1944, at the height of World War II, Gordon Parks photographed Herklas Brown, owner of the general store and Esso gas station in Somerville, Maine. Parks traveled to the state under the auspices of the Standard Oil Company (New Jersey) to record its contributions to the war effort and to document the home front. His photographs chronicled oil and gas facilities and those who operated them, Esso gas station owners in small towns, and people whose work depended on fuel and other Standard Oil products. Consistent with his work before and after, Parks made it his mission to get to know his subjects and show their humanity. He photographed Brown at his Esso station, in his store, and with his family at the dinner table. Parks spent a month in Maine that winter and then returned in August to resume his work in the state. At a time when transportation, food, and lodging were a challenge, and notably as a Black man traveling alone, Parks nonetheless created a compelling documentary record of rural America that offers insight into this historic moment.
These 65 photographs, which are being exhibited at the Bowdoin College Museum of Art in partnership with The Gordon Parks Foundation, highlight an important early chapter in Parks’ career—before he joined Life magazine in 1948 and began to achieve wider recognition.
Gordon Parks: Herklas Brown and Maine, 1944 is presented in conjunction with East-Northeast: Charting Moments in Maine, four exhibitions in summer of 2025 at the Bowdoin College Museum of Art featuring artists who drew inspiration from Maine.
This exhibition is curated by Frank Goodyear, co-director, and is accompanied by a catalogue of the same title published by Steidl. Generous funding support for this exhibition provided by Peter J. Grua ’76 and Mary G. O'Connell ’76, Robert A. Freson, Steven P. Marrow ’83, P ’21 and Dianne Allison Pappas P’21, the Roy A. Hunt Foundation, and the Elizabeth B.G. Hamlin Fund.
Image: Gordon Parks. Untitled, Augusta, Maine. 1944
In 1966, the Bowdoin College Museum of Art presented an exhibition of photographs by John McKee, then a Romance Languages instructor at the College with an interest in photography. Titled As Maine Goes, the exhibition featured a series of black-and-white photographs that starkly depicted the environmental degradation of Maine’s coastal landscapes, highlighting issues such as pollution, seaside dumps, and the impact of unchecked development. What began as a sidelight became the defining part of McKee’s career—and these works served as a catalyst for environmental awareness and legislative action in Maine, contributing to the burgeoning environmental movement of the time. The exhibition was accompanied by a limited-edition catalog, with an introduction by U.S. Supreme Court Justice William O. Douglas.
Almost 60 years later, the Museum is refreshing McKee’s original exhibition in a new presentation that is no less relevant in the face of the changing climate and its impact on Maine. McKee, who died in 2023, bequeathed 54 photographs from the As Maine Goes series to the Museum, as well as 31 additional images from other later series. This exhibition is a rare opportunity to look backwards and forwards at the same time.
John McKee: As Maine Goes is presented in conjunction with East-Northeast: Charting Moments in Maine, four exhibitions in summer of 2025 at the Bowdoin College Museum of Art featuring artists who drew inspiration from Maine.
This exhibition is curated by Chris Zhang ’25 and Frank Goodyear, co-director of the Bowdoin College Museum of Art. Major support has been provided by the Estate of John H. McKee and the Stevens L. Frost Endowment Fund for the Bowdoin College Museum of Art.
Image: John McKee. Tourist Accommodations, Old Orchard Beach. 1965
From 1949 to 1978, photography in the People’s Republic of China was reserved for governmental propaganda: Its function was to present an idealized image of life under Chairman Mao and communist rule. In 1978, as China opened to global trade and Western societies, photography as documentation, art, and personal expression experienced a sudden awakening. Personal photographic societies formed, art schools began teaching photography, and information on Western contemporary art became available.
In the late 1990s, a new generation of Chinese artists, many initially trained as painters, revolted against traditional academic definitions of photography. Building on the work done in the previous decades by Western artists, they dissolved the boundaries between photography, performance art, conceptual art, and installation. In so doing, they brought photography into the foreground in Chinese contemporary art. This exhibition presents works from the museum’s collection by eight key artists from that generation.
Born between 1962 and 1969, these artists grew up during the Cultural Revolution (1966–76), when conformity was required and past intellectual and artistic products—whether artistic, family history, or documentary—were banned and destroyed. They also experienced the cultural vacuum that followed this erasure. As adults, these artists lived in a radically different China—newly prosperous, individualistic, and consumerist. They helped develop a new visual idiom, producing artworks that addressed their country’s recent history, its swift societal transformation, and their own resultant shift in identity as Chinese.
Image: 1/2 Series, 1998. Zhang Huan (Chinese, b. 1965)
The Hunter College Art Galleries will present Last Art School, an exhibition and programming series curated by Lindsey White, Arthur & Carol Kaufman Goldberg Visiting Curator and Artist in Residence. Last Art School offers a platform for investigating and documenting the current crisis moment within higher arts education. As educators, researchers, and students across the United States have been silenced, reprimanded, fired, and even deported, this project emphasizes the power of personal networks and structures of connectivity, calling upon socio-cultural histories of activism and mutual aid in a search for community empowerment and fellowship.
In Hunter College’s 205 Hudson Gallery, White creates a theatrical environment for the presentation of her own artworks, alongside those of her peers, which implicate art schools and their internal dynamics as a formidable and complex subject.
Participating artists and collections: Mario Ayala, Alex Bradley Cohen, Dewey Crumpler, Henry Fey, Whitney Hubbs, Alicia McCarthy, Sandra Ono, Ralph Pugay, Jon Rubin, Maryam Yousif, Rhoda Kellogg Children’s Art Collection, and the San Francisco Art Institute Legacy Foundation and Archive.
In addition to artworks by White’s friends and colleagues, Last Art School features a collection of finger paintings from the Rhoda Kellogg Children’s Art Collection and materials from the San Francisco Art Institute Legacy Foundation and Archive (SFAI LF+A).
The lower gallery of 205 Hudson will host a community gathering space modeled after a cozy local restaurant. An integral part of White’s residency will be dynamic collaborations with student fellows and the development of free public programming, including lectures, screenings, conversations, performances, and other unusual and unexpected events. This space is also available for the MFA and MA community for class meetings, events, and hangouts. White will serve lunch one day a week for Hunter students, faculty, and staff throughout the run of the exhibition.
Last Art School also contains a recording studio and interview archive. In response to the active erasure of records and archives by the United States government, White will conduct interviews with arts educators in and around the New York City area to document the complex and critical moment facing higher education. Gallery visitors will have the chance to hear these interviews in the space.
This exhibition explores the "hidden mother" in 19th-century portraits of children, where long exposure times required mothers or caretakers to keep children still, often concealed behind props or beneath textiles to an unsettling degree. Contemporary artist Sara VanDerBeek responds to these examples of hidden labor by highlighting photography’s power as a form of mediation between past and present, original and reproduction. Addressing themes of motherhood, labor, and grief, VanDerBeek reflects upon the collective memory of women beneath the veil, both then and now.
Image: Artist Unknown (American, 19th century), Untitled, 1860s
Visual Kinship explores how photography defines, challenges, and reimagines the concept of family. Across diverse historical and contemporary works, the exhibition examines how images reflect and disrupt family structures shaped by colonialism, migration, transnational adoption, and queer intimacies. Photography plays a pivotal role in bridging the personal and political, offering a lens through which kinship can be recognized, claimed, and contested. The exhibition also considers how visual culture fosters alternative networks of belonging and care, expanding the notion of family beyond biological or traditional frameworks.
This exhibition is organized by the Hood Museum of Art, Dartmouth, and generously supported by the Charles Gilman Family Endowment.
Image: Rania Matar, Alae (with the mirror), Beirut, Lebanon
This exhibition is generously supported by Jacki June Horton.
The Center for Photographic Art is proud to present Easy Days, a solo exhibition by acclaimed photographer Sage Sohier. In celebration of Sage's latest monograph, CPA partnered with Nazraeli Press to create this retrospective exhibition which includes a selection of the artist's photographs from her series Americans Seen, Passing Time, and Easy Days, which is also the title of Sage's new book (Nazraeli, 2025). We’re honored that Sage will be here in person to discuss her long career and sign copies of her latest beautiful monograph. Come early to hear Sage in conversation with SFMOMA curator of photography, Shana Lopes.
Artist Statement:
“These photographs were made between 1979 - 1986 when I was a young photographer living in Boston. In that pre-digital and less paranoid era, families––and especially children and teenagers––used to hang out in their neighborhoods. A kind of theater of the streets emerged from the boredom of hot summer days and it was a great time to photograph people outside. Undoubtedly my own childhood afternoons, often spent in my neighbor’s basement creating theatrical productions with the four kids who lived there, helped to form my vision of the play of children as a kind of rite or performance. That our audience was comprised of our dogs never discouraged us.
Over the seven years I made these pictures, I grew familiar with Boston’s many working class and ethnic neighborhoods and became visually addicted to the triple deckers, porches, vacant lots, clothes lines, and tree stumps that created striking stage-sets for the complex portraits I seemed compelled to make. On the hottest days, I headed to beach towns, and each summer I took a road trip: one through small-town Pennsylvania via dilapidated Newburgh, New York, another to mining areas in rural West Virginia, and once to Mormon enclaves in Utah and Idaho. During long Boston winters, I would head south for a week or two: to the citrus-producing regions of inland Florida, or through the Florida panhandle to New Orleans and Cajun country.
My rather grandiose ambition was to create a portrait of contemporary America by photographing people in their environments. I was obsessed with making the best complex pictures that I could of people hanging out in neighborhoods, in their homes, and on their porches. It was exciting when I came upon an interesting situation, and I loved the challenge of collaborating with strangers until something compelling emerged from the interaction. I had to work quite quickly, so that I could let people get back to whatever they were doing when I first asked if I could photograph them. Though asking permission usually changed the dynamic of the situation, interesting things would often emerge when I was allowed to stay for longer than a picture or two. Intruding on people’s personal space could feel awkward, and was never easy to do, but most of the time it seemed that my enthusiasm was contagious and people were able to relax and be themselves.
During the isolation of the pandemic, I had the opportunity to revisit my archive of negatives and contact sheets from the 1980s, and discovered a number of interesting images that I had never printed. This prompted the publication of my second and third books with Nazraeli Press, Passing Time, and Easy Days.
A lot of time has passed since these wanderings, and though much is still vivid in my mind, I wish I had kept a journal about the people I met, the conversations I had, and the strange and wonderful things that I noticed along the way. In my twenties, I began to see the world and understand more about people from a variety of different backgrounds. Meeting people (in order to photograph them) was thrilling, and it changed me. Being a photographer has been a wonderful excuse to wander and to be inquisitive about others’ lives and experiences. I will always be grateful to the people pictured here––not just for allowing me to spend time making pictures of them––but also for how these interactions informed and enriched my life.
Power & Light: Russell Lee's Coal Survey is an exhibition of photographs of coal communities by American documentary photographer Russell Lee. These images tell the story of laborers who helped build the nation, of a moment when the government took stock of their health and safety, and of a photographer who recognized their humanity.
About the Exhibit
Power & Light is free and open to the public. The exhibition features more than 200 of Russell Lee’s photographs of coal miners and their families in the form of large-scale prints, projections, and digital interactives from a nationwide survey of housing and medical and community facilities of bituminous coal mining communities. The survey was conducted by Navy personnel in 1946 as part of a strike-ending agreement negotiated between the Department of the Interior and the United Mine Workers of America. The full series of photographs, which numbers in the thousands, can only be found in the holdings of the National Archives. These images document inhumane living and working conditions but also depict the joy, strength, and resilience of the miners' families and communities.
The Soldier’s Lens is a curated exhibition showcasing the original perspectives of active-duty service members, veterans, and their families. This powerful exhibition will explore the diverse experiences of military life, from moments of intensity and duty to the quiet rhythms of everyday routines.
Chosen submissions will be carefully selected by a panel of judges with deep knowledge in both art and military service. These selected works will be featured in a group exhibition at FMoPA in October 2025.
This ambitious project is planned in multiple phases, including an online exhibition, live programming, and curriculum development. The exhibition’s core aim is to honor the profound intersection of photographic arts and military service, while simultaneously raising awareness of veterans’ experiences and generating support for both FMoPA and vital veterans’ causes.
This exhibition is made possible through the generous support of Tom and Dixie Arthur and the Hillsborough County Board of County Commissioners.
Channeling: body viewer features works by eleven international artists who communicate through and with the body. The featured artists draw on diverse approaches and means to deliberately activate direct connections with the viewer. These communications position the viewer to experience a heightened awareness of their self and body, or to explore how bodies channel and confront societal malaise and oppression. Varied gestures—crawling, lying, climbing, kneeling, pointing, running, walking backwards—evoke memory, history, and rhetoric. These actions also call attention to the senses and physicality of skin, touch, voice, hearing, and sight.
Situating the body politic and ways in which histories imprint upon us, and as a counter to the disembodiment of remote screen culture, these works remind us that we humans are both in, and of, the body. Channeling: body viewer includes photography, video, and installations that memorialize, witness, and bear tribute to our humanity.
Curated by Joan Giroux (US) and Alice Maude-Roxby (UK), Channeling: body viewer includes works from the 1970s to the present by Laura Aguilar, Pia Arke, EJ Hill, Susan Hiller, Ketty La Rocca, Shari Rothfarb Mekonen, Gustav Metzger, Paulo Nazareth, Anna Oppermann, Gina Pane, and Bridget Smith.
MoCP is supported by Columbia College Chicago, MoCP Advisory Board, Museum Council, individuals, private and corporate foundations, and government grants.
The 2024–2025 exhibition season is sponsored in part by the Efroymson Family Fund, Henry Nias Foundation, The Rowan Foundation, Phillip and Edith Leonian Foundation, Pritzker Traubert Foundation, Comer Family Foundation, and Venable Foundation.
This project is partially supported by a CityArts grant from the City of Chicago Department of Cultural Affairs and Special Events. MoCP acknowledges support from the Illinois Arts Council.
Image: Wendy Ewald, Self-portrait reaching for the Red Star sky –Denise Dixon, from the “Portraits and Dreams” series, 1975-1982
The first issue of Provoke magazine, published in Tokyo in November 1968, declared that “we as photographers must capture with our own eyes the fragments of reality that can no longer be grasped through existing language.” With this manifesto, Provoke encapsulated the energy of a time in which established conventions were discarded, and a new generation experimented with fresh outlooks and new technologies that shattered assumptions of what a photograph could be. Photobooks became the primary vehicle for transmitting radical approaches to visuality, and photographers transformed the fields of design, sculpture, installation, and film. This exhibition focuses on three innovations developed in Japan in the 1970s—are-bure-boke (grainy-blurry-out of focus), konpora (contemporary), and I-photography (first-person). These intertwined concepts profoundly impacted late-twentieth-century Japanese culture and art around the world.
Photographers featured include Shōtarō Akiyama, Nobuyoshi Araki, Shigeo Gocho, Yasuhiro Ishimoto, Kosuke Kimura, Jun Morinaga, Daido Moriyama, Masatoshi Naito, Takuma Nakahira, Tamiko Nishimura, Yutaka Takanashi, and Shomei Tomatsu. Special thanks to Hirsch Library and the Manfred Heiting Book Collection at the Museum of Fine Arts Houston, Anton Kern Gallery, and Alison Bradley Projects for generously loaning artworks for this exhibition, which is presented in conjunction with the 2025 Louisville Photo Biennial.
Image: Masatoshi Naito, [a street performer swallowing a snake], in Ken, no. 2 (pp. 22-23), October 1970, magazine, 9 x 7 ½ x 1/2 inches (23 x 18.9 x 1.3 cm). Courtesy of The Museum of Fine Arts, Houston, The Manfred Heiting Book Collection. Photo: Paul Hester, Hester + Hardaway Photographers. .
The Hemispheric Institute at New York University presents Huracán Architectures, a new exhibition by Puerto Rican photographer Ruben Natal-San Miguel.
For almost a decade, Natal-San Miguel has situated his practice at the intersection of the island’s devastating financial crisis and the deterioration and disappearance of its vernacular architecture as a result of neglect, mass migration, and the catastrophic weather events that define climate change in the region. Beginning with his photographic series Paradise Ruined (2016), the artist has sought to capture the process through which Puerto Rico, in his own words, “already strained to the breaking point by financial woes, population exodus, widespread addiction, and two natural disasters, is entering a pivotal time in its history.”
In Huracán Architectures, Natal-San Miguel, a trained architect, captures this pivotal moment through his focus on the island’s vernacular architecture as both a hallowed marker of nationhood and an amalgam of traditions brought together through adaptations to the island’s environment and weather. The island’s vulnerability to climate events—hurricanes, floods, landslides, and the encroaching rising seas—is captured by Natal-San Miguel, whose photographs document the devastating effects of a misplaced economic austerity that has subjected the Puerto Rican population, as well as the built environment through which its cultural history has been expressed, to acute dislocation and loss. His images juxtapose the island’s luminous beauty, exuberant nature, and riotous colors, with the destruction wrought by a climate change generated in a first-world elsewhere.
The exhibition is part of “Hurricane Worlds,” a multi-year initiative led by Institute Director Ana Dopico that seeks to gather the epistemologies, world-making, and art-making of people who live and have lived in hurricane worlds. We look beyond environmental and climatological surveillance, state emergency management, and crisis capitalism to consider the ways of life and ways of knowing that hurricanes inaugurate. We consider how hurricanes build modes of sovereignty and care, and we seek to preserve the vernacular histories and communal archives that survive in hurricane time.
Over his nearly six-decade career, Robert Rauschenberg (1925–2008) continually captured the zeitgeist of his time, from moon landings to the globalization of contemporary art. For his paintings, sculptures, prints, photographs, and performances he mined cultural detritus, imagery, and objects. Through stacking, layering, and transferring elements into nonlinear narratives, Rauschenberg achieved what he believed was a true representation of the twentieth century: “I was bombarded with TV sets and magazines, by the excesses of the world . . . I thought an honest work should incorporate all of these elements, which were and are a reality.”
The term “flatbed picture plane” in this show’s title refers to the flatbed printing press, a horizontal bed in which a surface to be printed rests. Art historian Leo Steinberg coined the phrase during a lecture in 1968, claiming it denoted a monumental perspectival shift that took place in artmaking in the early 1950s: from the vertical to horizontal. Steinberg believed this change began with artists including Rauschenberg who, rather than continue to employ the “window to the world” approach—one that “affirms verticality” and had dominated painting since the Renaissance—began treating artwork surfaces as if they were horizontal tabletops or studio floors. They also shifted their subject matter from nature to culture: “The pictures of the last fifteen to twenty years insist on a radically new orientation, in which the painted surface is no longer the analogue of a visual experience of nature but of operational processes.”
This exhibition examines Rauschenberg’s work through the concept of Steinberg’s flatbed picture plane. Created with a variety of printmaking techniques, each of the works presented here was conceived with horizontality in mind and reveals new images and meanings as the beholder meanders through the composition. Acquired for Sheldon Museum of Art’s collection between 1970 and 2018, the nine editioned works in this exhibition are presented together for the very first time.
Robert Rauschenberg and the Flatbed Picture Plane is organized by Christian Wurst, associate curator for exhibitions.
During the 1930s and early 1940s, George Hurrell (1904–1992) reigned as Hollywood’s preeminent portrait photographer. Hired by the Publicity Department at Metro-Goldwyn-Mayer (MGM) when he was only twenty-five, Hurrell advanced rapidly to become the studio’s principal portraitist. With a keen eye for artful posing, innovative lighting effects, and skillful retouching, he produced timeless portraits that burnished the luster of many of the “Golden Age’s” greatest stars. “They were truly glamorous people,” he recalled, “and that was the image I wanted to portray.”
In 1933, Hurrell left MGM to open a photography studio on Sunset Boulevard. There, he created some of his most iconic portraits of MGM stars as well as memorable images of leading actors from the other major studios. After closing his Sunset studio in 1938, Hurrell worked briefly for Warner Bros. and Columbia Pictures before serving with a military film production unit during World War II.
Following the war, candid photographs, made with portable, small-format cameras, rose to replace the meticulously crafted, large-format studio portraits that epitomized Hurrell’s style. For George Hurrell, Hollywood’s “Golden Age” had come to an end. “When we stopped using those 8 x 10 cameras,” he declared, “the glamour was gone.”
This exhibition has been made possible in part through the generous support of Mark and Cindy Aron.
Image: Clark Gable and Joan Crawford by George Hurrell / 1936, Gelatin silver print / National Portrait Gallery, Smithsonian Institution; acquired in part through the generosity of an anonymous donor
Named by the influential German artist and teacher László Moholy-Nagy, the “New Vision” comprised an expansive variety of photographic exploration that took place in Europe, America, and beyond in the 1920s and 1930s. The movement was characterized by its departure from traditional photographic methods. New Vision photographers foregrounded experimental techniques, including photograms, photomontages, and light studies, and made photographs that favored extreme angles and unusual viewpoints.
This exhibition, uniting more than one hundred works from the High’s robust photography collection, will trace the impact of the New Vision movement from its origins in the 1920s to today. Photographs from that era by Ilse Bing, Alexander Rodchenko, Imogen Cunningham, and Moholy-Nagy will be complemented by a multitude of works by modern and contemporary artists such as Barbara Kasten, Jerry Uelsmann, Hiroshi Sugimoto, and Abelardo Morell to demonstrate the long-standing impact of the movement on subsequent generations.
Image: Imogen Cunningham (American, 1883-1976), Agave Design I, ca. 1920
The Ruth and Seymour Landfield Atrium, Xcel Energy Gallery, and Starion Bank Gallery
Fifty Years of Photography and Design is a retrospective exhibition celebrating Murray Lemley’s artistic career. The exhibit features a wide range of imagery, including extensive black-and-white analogue street photography from Europe in the 1970s and 80s, documentary portrait studies of people from his hometown of Hope, powerful portraits of Native Americans on the Fort Berthold Reservation, and a radical transition in later years to creating modern Polaroid images he calls “STREET COLLAGE GRAFFITI.” With this more recent work, he has, in one sense, returned to the streets he haunted in Europe in the 1970s, but in vivid color and with a new point of view and style.
After leaving his home on the family farm near Hope, Lemley studied architecture at North Dakota State University, but after disagreements with his design professor, he shifted his focus to photography, journalism, graphic design, and anti-establishment activism. This journey inspired him to launch three independent magazines, work in radio, and edit the controversial yearbook The Last Picture Book, which famously omitted the name of the university from its cover and led to a temporary discontinuation of yearbooks at NDSU. Despite amassing double the required credits for a degree, his political activism resulted in the administration, in an act of petty revenge, from granting him a degree.
Lemley’s photography career took off after two pivotal experiences in the early 70s: photographing for the Concordia College May Seminars Abroad and attending the Apeiron Photo Workshops in New York, which deepened his creative vision and marked a shift from photojournalism to more artistic photography. His design career flourished as well, working at Atomic Press in Seattle and later in Amsterdam, where he designed books for artists and photographers. After the years in Seattle and San Francisco Lemley moved to Amsterdam in the early 90s and has lived primarily in Europe ever since. During his early years there, Lemley worked at many things from construction to graphic design and art. He managed an art gallery for a prolific painter and designed eight books for artists and photographers, many of which are featured in this retrospective exhibition at Plains Art Museum. Lemley has had several exhibitions of this photography at the Plains as well at Suzanne Biederberg Gallery, Ververs Gallery and the Zamen Art Gallery.
Kinship & Community presents approximately 50 photographs from the Texas African American Photography Archive that span a period from the 1940s to the 1980s. Co-curated by Nicole R. Fleetwood, the exhibition provides an overview of African American photography in rural and urban areas of Texas, underscoring the community photographer’s role in shaping and bolstering self-esteem by documenting local life and culture. Kinship & Community includes studio portraits, school photos, parades, protests and other gatherings. It brings the ordinary world of Black Texans–their social and political doings–out of the shadows and onto the center stage of daily life.
The Texas African American Photography Archive was founded by Alan Govenar and artist Kaleta Doolin in 1995 with collections assembled by Documentary Arts over the last forty years. The Archive provides a broad overview of African American photography in rural and urban areas of Texas, spanning the period from the 1870s to the present, and representing a variety of processes and makers. The Archive is unique in its comprehensiveness and consists of over 60,000 images and more than 20 oral histories collected from African American photographers.
Nicole R. Fleetwood is a renowned writer, curator, art critic, New York University Professor, and MacArthur Fellow. She is the author of the award-winning Marking Time: Art in the Age of Mass Incarceration and has curated numerous groundbreaking exhibitions that center Black cultural production, incarceration, and vernacular photography.
Curated by Nicole R. Fleetwood and CPW Executive Director Brian Wallis, Kinship & Community will be accompanied by a catalogue published by Aperture.
Image: Josie Washington, [Social Tea, Dallas, Texas], 1955. Hand-colored gelatin silver print. Collection Texas African American Photography Archive, Dallas, TX.
Everyday Culture presents seven key projects by Documentary Arts over the past forty years that focus on tattooing, blues music in Texas, Black cowboys and rodeos, folk artists, Texas-Mexico border culture, urban street life in Dallas, and vernacular photography. Represented through photographs, films, music, and folk art, the materials in Everyday Culture point to previously marginalized or ostracized cultural forms that have largely gone mainstream and are now part of America’s vibrant cultural heritage. The exhibition’s presentation of these creative expressions, once seen as the purview of “outsiders,” preserves materials and practices from the 1970s and 80s. And it demonstrates how the past four decades have brought a sea-change to art that is considered worthy of attention and serious consideration.
The non-profit organization Documentary Arts was founded in 1985 by Alan Govenar, a Guggenheim Fellow and interdisciplinary artist, historian, and folklorist whose expansive career has been at the edge of advancing public dialogue about a kaleidoscope of overlooked voices across America. In a multitude of ways, Govenar and his work with Documentary Arts has unearthed America’s grassroots stories in cities, sprawling suburbs, and out-of-the way rural towns. Over the past 50+ years, Govenar has authored more than 40 books, directed 20+ documentary films, created Off-Broadway musicals, and had his photographs and artist books featured in numerous exhibitions and public collections
Documentary Arts is a network of like-minded collaborators, from a cross-section of academic disciplines and creatives, in Dallas and New York City, focused on advancing essential perspectives on art revolving around themes of change and the interconnectedness of diverse people and the potential for finding harmony in unexpected places.
Curated by CPW Executive Director Brian Wallis, Everyday Culture will be accompanied by a book of the same title, published by CPW, co-authored by Wallis and Govenar.
Image: Alan Govenar, Valle Nuevo, Mexico, 1994. Courtesy the photographer.
A Subllime Obsession: Photographs from the Hazlitt Collection showcases a bold mix of black & white and color photographs drawn from one collector’s deeply personal archive. Featuring standout works by Ansel Adams, Robert Adams, William Eggleston, Joel Sternfeld, Justine Kurland, and many more, the exhibition captures everything from sweeping landscapes to offbeat street scenes and striking portraits. Whether in the tonal precision of silver gelatin prints or the saturated hues of dye transfers, these photographs reveal a collector’s eye attuned to beauty, complexity, and the unexpected moments that make photography unforgettable. This is not just a collection, it is a passion illustrated through the lens.
This exhibition is made possible through the support of Trenam Law and the Hillsborough County Board of County Commissioners.
Image: William Eggleston (American, b. 1939) Untitled, 1971, printed later, dye transfer print, Hazlitt Collection
Between a Memory and Me features the work of Rahim Fortune (b. 1994). Born in Austin, Texas and raised in the Chickasaw Nation of Oklahoma, Fortune uses photography to interrogate American identity, exploring the connections between the families and communities he photographs and the land they inhabit, the histories embedded in the landscape of the American South, and the traditions they carry forward.
Fortune’s black-and-white photographs from his Hardtack project weave together tender and reverent portraits, vast landscapes, and close-detail studies. Through a focus on Black American life, these words both draw from the history of photography and reframe the history of photographic representation of the South. The work is also deeply personal: it emerged from the artist seeking connection, kinship, and home following the loss of both of his parents. Fortune’s new color photographs, created in response to the Texas African American Photography archive, are exhibited here for the first time. His short film takes us through the fields and roads of rural Texas, lingering lovingly on quiet, exquisite details.
This presentation includes new photographs originally commissioned by Aperture and Documentary Arts.
Lines of Belonging marks the 40th anniversary of New Photography with an exhibition featuring 13 artists and collectives who delve into the complexities of identity, community, and interconnectedness. As artist Sabelo Mlangeni eloquently stated, "Love is the key that takes cultures from oppression to joy," reflecting how, in his work, the concept of love serves as a powerful force for liberation and political unity. Through their varied practices, these artists explore places of belonging and trace connections that transcend generations, histories, and geographies. Some use their personal experiences to connect with broader political narratives, while others challenge historical archives and reimagine future communities through their art.
Lines of Belonging focuses on four cities—Kathmandu, New Orleans, Johannesburg, and Mexico City—each of which has long been a hub for life, creativity, and cultural exchange, often predating the modern nation-states in which they now reside. The work presented here offers a stark contrast to the rapid, profit-driven pace of contemporary image production, digital technologies, and artificial intelligence. Instead, these artists advocate for slowness, persistence, and care as a response to the overwhelming speed and commodification of the modern world.
This exhibition marks the first time these artists and collectives are being presented at MoMA, and it includes Sandra Blow, Tania Franco Klein, and Lake Verea (Francisca Rivero-Lake and Carla Verea) from Mexico City; Gabrielle Goliath, Lebohang Kganye, Sabelo Mlangeni, and Lindokuhle Sobekwa from Johannesburg; Nepal Picture Library, Sheelasha Rajbhandari, and Prasiit Sthapit from Kathmandu; and L. Kasimu Harris, Renee Royale, and Gabrielle Garcia Steib from New Orleans. Together, these artists offer fresh perspectives on the intersection of place, memory, and identity.
Image: L. Kasimu Harris. Come Tuesday (Marwan Pleasant at Sportsman’s Corner), New Orleans. 2020. Inkjet print, 24 × 36" (61 × 91 cm). Courtesy the artist
How does learning from cultures different from our own shift our perspectives and understanding of the world?
Africa Past, Present, and Future: Celebrating 65 Years of the MSU African Studies Center marks this major anniversary year while also forwarding important questions about the role of collections and object-based learning to expand our knowledge and understanding of the world around us—and our place therein.
In 2025, the MSU African Studies Center (ASC) celebrates its 65th anniversary, a remarkable achievement with so many impactful years of service to the university community and across the African continent. Composed of works from the collections of the MSU Broad Art Museum and MSU Museum, the works on view present a wide range of African art and cultural objects that help narrate the relationship of MSU to Africa and its many countries, ethnic groups, and peoples.
The museums’ collections of African art grew in significance at the same time that MSU became more deeply involved with the founding of the University of Nigeria, Nsukka—a partnership forged between then-MSU president John Hannah and the Nigerian government. At this same moment, in 1960, Hannah initiated the formalization of the ASC, the second such organization to be inaugurated in the United States at that time.
Through this shared history and building upon the incredible work of the ASC today, this exhibition offers experiential opportunities for visitors to learn about the ASC’s captivating work and how university collections continue to advance teaching and learning about and from the many cultures of Africa—past, present, and future.
Africa Past, Present, and Future: Celebrating 65 Years of the MSU African Studies Center is organized by the Eli and Edythe Broad Art Museum at Michigan State University and co-curated by Steven L. Bridges, senior curator and director of curatorial affairs at the MSU Broad Art Museum; Kurt Dewhurst, professor and curator at the MSU Museum, and director of arts and cultural partnerships at University Outreach & Engagement; Leo Zulu, director of the MSU African Studies Center; and Erik Ponder, African Studies Librarian; with additional curatorial advisors: Candace Keller, associate professor of art history and visual culture at MSU; Marsha MacDowell, professor and curator at the MSU Museum, and director of the Michigan Traditional Arts Program; Ray Silverman, former professor of art history and visual culture, curator of African Arts, and director of museum studies at MSU; Lynne Swanson, cultural collections manager at the MSU Museum; and Chris Worland, textile artist and former guest curator at the MSU Museum. Support for this series is provided by the MSU Federal Credit Union. This exhibition is the result of a partnership between the MSU African Studies Center, International Studies and Programs; MSU Broad Art Museum; MSU Museum; and MSU Libraries.
More Is More: Reinventing Photography Beyond the Frame presents singular works of art created from multiple photographs. Set in the experimental time of the mid-1960s to 1980s, the exhibition features artists who deconstructed, reconstructed, and multiplied photographs, playfully pushing photography’s physical boundaries and conceptual limits.
By the 1970s photography had clawed its way from the margins of the art world, gaining greater acceptance in museums, galleries, and university classrooms. A new generation of artists began integrating photography into their artistic practice, working alongside photographers who were already fully engaged in the medium. With this newfound adoption—particularly among Conceptual and Performance artists—photography found itself at the vanguard of creativity.
More Is More features 43 photographs by 25 artists, many of which are on view for the first time at the Nelson-Atkins. Artists in the exhibition include David Hockney, Gordon Matta-Clark, Andy Warhol, Barbara Crane, Nancy Burson, Jan Groover, John Baldessari, Lew Thomas, Vito Acconci, Eleanor Antin, Barbara Blondeau, and Ray Metzker, among many others.
More Is More is accompanied by a selection of photographs in gallery L10, featuring works by Eadweard Muybridge, Ilse Bing, Irving Penn, Edward Weston, Doris Ulmann, Clarence White, Louise Dahl-Wolfe, Louis-Rémy Robert, and William Henry Jackson among others.
Organized by The Nelson-Atkins Museum of Art. Generous support provided by the Hall Family Foundation.
With a diversifying population, rapidly evolving cities, and transforming ecology, North Carolina has undergone immense change, especially in recent years. This exhibition features works by artists who are reckoning with the inevitability of the passage of time across our state.
While some artists reflect on deeply personal memories of their home and their relationship with the land and built environment, others highlight the consequences of climate change and the legacy of social injustice. Then and There, Here and Now challenges viewers to consider their own relationship to the past—however nostalgic, mournful, disorienting, or hopeful—and its impact on the present.
Organized by the North Carolina Museum of Art. This exhibition is made possible, in part, by the North Carolina Department of Natural and Cultural Resources; the North Carolina Museum of Art Foundation, Inc.; and the William R. Kenan Jr. Endowment for Educational Exhibitions. Research for this exhibition was made possible by Ann and Jim Goodnight/The Andrew W. Mellon Foundation Fund for Curatorial and Conservation Research and Travel.
Image: Elizabeth Matheson, Pinecrest Pool, 2004
Photojournalism is work and it is livelihood, it is craft and it is documentation, it is a way to be in the world and to share the world, it is a way to resist oppression while insisting on the fullness of life.
Black Photojournalism presents work by more than 40 photographers chronicling historic events and daily life in the United States from the conclusion of World War II in 1945 to the presidential campaigns of 1984, including the civil rights movements through the 1950s, 60s, and 70s. Drawn from archives and collections in the care of journalists, libraries, museums, newspapers, photographers, and universities, the original work prints in the exhibition were circulated and reviewed in publishing offices before anything went to print. Each one represents the energy of many dedicated individuals who worked to get out the news every single day. One picture leads to another, making visible multiple experiences of history while proposing ways of understanding today as tomorrow is being created.
Responding to a dearth of stories about Black lives told from the perspectives of Black people, Black publishers and their staff created groundbreaking editorial and photojournalistic methods and news networks. During a period of urgent social change and civil rights advocacy, newspapers and magazines, including the Afro American News, Atlanta Daily World, Pittsburgh Courier, Chicago Defender, and Ebony, transformed how people were able to access seeing themselves and their communities. Their impact on the media landscape continues into the digital present.
The exhibition, designed by artist David Hartt, is co-organized by Dan Leers, curator of photography, and Charlene Foggie-Barnett, Charles “Teenie” Harris community archivist, in dialogue with an expanded network of scholars, archivists, curators, and historians.
Since the 1990s, photographer Peter Moriarty has traveled to greenhouses, orangeries, conservatories, and arboretums to capture the characteristics of these “warm rooms” constructed to preserve and propagate prized plants. From the Royal Botanic Gardens at Kew in England to Longwood Gardens in nearby Kennett Square, Moriarty documents the unique structures and specimens as encountered through his personal, graphic sensibility. He produces traditional gelatin-silver prints that convey the light-filled, atmospheric spaces of historic greenhouses.
Planned to complement the exhibition of Peter Moriarity’s photographs, this show draws from the Museum’s photography collection and features plant pictures from the 20th and 21st centuries. Represented artists include Tom Baril, Paul Caponigro, Imogen Cunningham, Alida Fish, and Erica Lennard.
Since the 1970s, artist Charles Gaines has worked with numeric systems and repeating visual structures to investigate representation. His subjects have ranged from race theory and language theory to objects in the natural world.
This exhibition focuses on Night/Crimes, a series Gaines created from 1994 to 1997, in which he paired archival photographs of violent crime scenes, victims, and indicted murderers with images of constellations that could have been seen in the night sky when the crimes occurred. Written onto the Plexiglas covering each pair of photographs are the location and date of the crime, the astronomical position of the pictured constellation, and lastly, a date 50 years after the first one.
While the paired photographs of Night/Crimes suggest narrative cycles of violence, justice, astrology, and fate, there is no causal connection between the artworks’ various elements. “The murderers pictured in the mug shot-type photographs are not the ones who have committed the crimes you see in the crime scene,” says Gaines. “Nevertheless, it seems compelling to people to override the fact that this relationship is completely made up.”
As viewers, our instinct is to assume the role of detective: What is the relationship between the chaos of violence and the tranquility of the night sky? How does the injustice of the past influence the present? Are our fates written in the stars?
This will be the first museum exhibition of Night/Crimes since it was first shown in 1995. The future dates Gaines etched into each of the works have all passed, inviting a new consideration of the 50-year arc of history that the series addresses. Gaines is also revisiting the series and has made two new Night/Crimes works for this presentation.
On September 18, in conjunction with this exhibition, the performance version of Gaines’s Manifestos 4 will be presented by an ensemble of seven musicians—a woodwind quintet, a pianist, and a tenor—in the museum’s Rubloff Auditorium. For his Manifestos series, which comprises both gallery installations and performances, Gaines took the text of the 1857 Dred Scott v. Sandford Supreme Court decision that proclaimed Black people, whether enslaved or free, were not citizens, and translated each letter into a note or rest according to a set of rules. In Manifestos 4 as in Night/Crimes, Gaines has created a systematic construction that invites visceral response while also questioning their validity.
American artist Man Ray (1890–1976) was a visionary known for his radical experiments that pushed the limits of photography, painting, sculpture, and film. In the winter of 1921, he pioneered the rayograph, a new twist on a technique used to make photographs without a camera. By placing objects on or near a sheet of light-sensitive paper, which he exposed to light and developed, Man Ray turned recognizable subjects into wonderfully mysterious compositions. Introduced in the period between Dada and Surrealism, the rayographs’ transformative, magical qualities led the poet Tristan Tzara to describe them as capturing the moments “when objects dream.”
The exhibition will be the first to situate this signature accomplishment in relation to Man Ray’s larger body of work of the 1910s and 1920s. Drawing from the collections of The Met and more than 50 U.S. and international lenders, the exhibition will feature approximately 60 rayographs and 100 paintings, objects, prints, drawings, films, and photographs—including some of the artist’s most iconic works—to highlight the central role of the rayograph in Man Ray’s boundary-breaking practice.
“Before my eyes an image began to form, not quite a simple silhouette of the objects as in a straight photograph, but distorted and refracted … In the morning I examined the results, pinning a couple of the Rayographs—as I decided to call them—on the wall. They looked startlingly new and mysterious.” — Man Ray
The exhibition is made possible by the Barrie A. and Deedee Wigmore Foundation.
Major funding is provided by Linda Macklowe, the Horace W. Goldsmith Foundation, The Daniel and Estrellita Brodsky Foundation, The International Council of The Metropolitan Museum of Art, Andrea Krantz and Harvey Sawikin, and Schiaparelli.
Additional support is provided by the Vanguard Council.
The catalogue is made possible by the Mellon Foundation.
Additional support is provided by James Park, the Carol Shuster-Polakoff Family Foundation, and Sharon Wee and Tracy Fu.
In 1966, the George Eastman House of Photography in Rochester, New York, hosted a pivotal exhibition curated by Nathan Lyons called Toward a Social Landscape. The slim, accompanying catalog was shared amongst photographers who were especially encouraged by Duane Michals’s observation that “when a great photographer does infuse the snapshot with his personality and vision, it can be transformed into something truly moving and beautiful.” The UK Art Museum has a robust collection of photographers included in and inspired by this exhibition including Ruth Bernhard, Bruce Davidson, Lee Friedlander, Danny Lyon, Alen MacWeeney, Ralph Eugene Meatyard, Duane Michals, Peter Turnley, and Garry Winogrand. Their photographs are not merely records of scenes they observed, rather they are charged emotional moments formed in the relationship between the person behind and the world in front of the camera.
This exhibition of photography from the United States is installed on the floor above Self and Others: Japanese Photography after 1968 so visitors can compare and contrast two parallel discourses on opposite shores of the Pacific Ocean. Shared concepts and processes indicate a growing sense of international contemporaneity in the 1970s. Both exhibitions are presented in conjunction with the 2025 Louisville Photo Biennial.
Image: Duane Michals, Untitled from Alice’s Mirror, 1974, gelatin silver print. Collection of the UK Art Museum, purchase: The Robert C. May Photography Fund.
This focus exhibition explores artistic engagement with the natural environment as a source of creative inspiration worth celebrating and protecting.
Approximately 25 photographs, prints, drawings, and textiles illustrate the elements of air, water, earth, and fire against broader themes of ecological awareness and preservation. These range from how artists have used visual language to convey the act of locating oneself in nature; works that depict natural forms through the physical integration of environmental components; and artists’ commentary on sites of environmental disaster, the socio-political ramifications of human impact, and the potential of symbiotic healing for this planet and its occupants.
Presented as part of the Turn Again to the Earth environmental initiative.
Curated by Andaleeb Badiee Banta, BMA Senior Curator of Prints, Drawings, and Photographs.
When Langston Hughes Came to Town explores the history and legacy of Langston Hughes through the lens of his largely unknown travels to Nevada and highlights the vital role Hughes played in the Harlem Renaissance and beyond. James Mercer Langston Hughes (1902-1967) was born in Joplin, Missouri. Hughes studied at Columbia University in 1921 for one year and would eventually become one of leading writers of the Harlem Renaissance. A writer with a distinctive style inspired by jazz rhythms, Hughes documented all facets of Black culture but became renowned for his incisive poetry.
The exhibition begins by examining the relationship of this literary giant to the state of Nevada through a unique presentation of archival photographs, ephemera, and short stories he wrote that were informed by his visit to the area. The writer’s first trip to Nevada took place in 1932, when he investigated the working conditions at the Hoover Dam Project. He returned to the state in 1934, at the height of his career, making an unexpected trip to Reno, and found solace and a great night life in the city.
The presentation continues with work created by leading artists of the Harlem Renaissance who had close ties to Hughes, including sculptures by Augusta Savage and Meta Vaux Warrick Fuller, and paintings by Beauford Delaney, Aaron Douglas, Norman Lewis, and Archibald Motley, Jr., among others. The range of work on display foregrounds the rich expressions of dance, music, and fashion prevalent during the influential movement.
The final section of the exhibition features contemporary artists who were inspired by Hughes and made work about his life. Excerpts from Hughes’s poems and short stories are juxtaposed with related works of art, demonstrating how his legacy endures in the twenty-first century. Isaac Julien, Kwame Brathwaite, Glenn Ligon, and Deborah Willis are among the artists whose works are included. Julien, for example, in his renowned series Looking for Langston Hughes reimagines scenarios of Hughes’s life in Harlem during the 1920s. His black-and-white pictures are paired with Hughes poem No Regrets. Similarly, Brathwaite’s impactful photographs highlight the continuation of the Harlem Renaissance through the Black pride movement of the 1960s and are coupled with the poem My People. Finally, Glenn Ligon’s black neon sculpture relates to Hughes’s poignant poem Let America Be America Again, which both leave viewers to ponder the question of belonging in America.
During her long, prolific, and groundbreaking career, the American photographer Dorothea Lange made some of the most iconic portraits of the 20th century. Dorothea Lange: Seeing People reframes Lange’s work through the lens of portraiture, highlighting her unique ability to discover and reveal the character and resilience of those she photographed.
Featuring 100 photographs, the exhibition addresses her innovative approaches to picturing people, emphasizing her work on social issues including economic disparity, migration, poverty, and racism.
This exhibition debuted at the National Gallery of Art in 2023 and is curated by Philip Brookman, consulting curator in the department of photographs, National Gallery of Art. The Nevada Museum of Art’s presentation of Dorothea Lange: Seeing People will be the only West Coast venue for this exhibition.
This exhibition is organized by the National Gallery of Art, and is part of its Across the Nation program to share the nation’s collection with museums around the country.
French photographer and visual artist Nicolas Floc’h’s Fleuves-Océan project traces the movement of water across our planet, exploring its flow through varied habitats and representing the ways we are all connected by water cycles and systems. This exhibition pairs vibrant monochromatic photographs of the color of water made under the surface with dramatic black-and-white landscape photographs made along the banks of the Mississippi and its tributaries—from Louisiana and across the country.
Nicolas Floc’h documented the entire span of the Mississippi during a 2022 artist residency in the United States with Villa Albertine in collaboration with the Camargo Foundation and Artconnexion. This exhibition, organized by the New Orleans Museum of Art, is a clarion call illustrating illustrating the importance of a network of water that links people across the entire continent. Floc’h’s photography translates important scientific concerns—like climate change and the looming water crisis—into an overwhelming aesthetic experience, without sacrificing any urgency or insistence.
A monumental arrangement of Floc’h’s “water color” photographs constitutes a central element of the exhibition. Floc’h made each image by lowering the camera underwater to the same prescribed depths, repeating the process at different locations in the Mississippi and its source waters. Light passing through the water appears as an unbelievable range of colors and shades, influenced by factors like plant and animal life, mineral run-off, and other determinants of the river’s chemical content. NOMA’s presentation combines nearly 300 individual photographs into a monumental grid of vibrant color, a new kind of polychromatic map plotting the health of the Mississippi between New Orleans and the Gulf of Mexico.
In tandem with this wall of color, the exhibition includes compelling landscape photographs that illustrate the full span of the watershed, from Minnesota and the Dakotas, through Illinois, West Virginia, Missouri, Texas, and more. Floc’h traces the movement of water through the many tributaries that combine to make the Mississippi, chronicles human efforts to harness and direct the power of the river, and the alarming absence from dry reservoirs and creek beds. Floch’s striking landscapes are presented in tandem with water color photographs specific to that place, making a visual connection between what we can see happening on the land and the quality of the water that surrounds us.
Image: The Color of Water, Mississippi River, Ohio River Confluence 2022
Postcards from Nowhere presents an intimate installation of 42 photographs of people at work and play by South Florida humanist photographer Eduardo Chacon. This is a combined special exhibition that also features a selection of iconic street photographers from the Museum collection that inspire Chacon’s practice.
Eduardo Chacon shoots straight photography with no cropping, no auto-focus, and all manual settings. By maintaining the integrity of the original scene, Chacon captures his surroundings rife with that thing most fleeting: human emotion.
As a counter to a society obsessed with peering into our phones’ black mirrors, Chacon turns his camera’s eye ever outward and up and, in the blink of a lens, creates visual chronicles of human interaction, from a bartender mid-pour to a family fishing trip, to an embrace while gazing at the stars.
Postcards from Nowhere, using only Chacon’s masterful control of timing, contrast, and composition in black-and-white, transports the viewer on a trip to their own personal realm. As the exhibition reveals, this could be anywhere worldwide, as long as it avoids modern technology in favor of a simpler time.
Image: Eduardo Chacon, Hangover Bros, 2022 (printed 2023), archival print. Courtesy of the Artist
Explore the vibrant and dazzling world of Harlem’s gay Black community during the 1920s and 30s. To mark the centennial of The New Negro, Alain Locke’s groundbreaking edited volume of literature and art, The Gay Harlem Renaissance invites visitors to immerse themselves in the richness of LGBTQ+ Black life during the height of the Harlem Renaissance.
The exhibition makes the case that the influx of ideas and people into the neighborhood during the Great Migration, on a scale never before seen, enabled a vibrant, visible LBGTQ+ Black culture and network to flourish in Harlem. Facing racist practices and homophobic laws yet drawn by promise and possibility, these individuals created a space where they could gather, build community, and produce art that forever changed American culture. Uniting painting, sculpture, artifacts, documents, photographs, and music from collections across the country, The Gay Harlem Renaissance celebrates the creativity, innovation, and resilience of Black LGBTQ+ Harlemites.
Curated by Allison Robinson, associate curator of history exhibitions and Anne Lessy, assistant curator of history exhibitions and academic engagement, with contributions from Rebecca Klassen, curator of material culture and decorative arts, and George Chauncey, author of Gay New York and DeWitt Clinton Professor of American History and Director of the Columbia Research Initiative on the Global History of Sexualities at Columbia University as chief historian.
Lead support for The Gay Harlem Renaissance is provided by the Mellon Foundation.
The Unending Stream is a two-part exhibition that showcases the thriving community of photographers living and working in New Orleans. The title of the exhibition pays homage to a Clarence John Laughlin photograph of the same title, which is a part of the permanent collection at Ogden Museum of Southern Art. Considered “the Father of American Surrealism,” Laughlin was perhaps the most important Southern photographer of the mid-twentieth century. His seminal work, created between the 1935 and 1965, is an important chapter in the long-storied relationship between New Orleans and photography.
Following in Laughlin’s visionary footsteps, this exhibition focuses on contemporary photographers who are visually defining the Crescent City in the twenty-first century. The Unending Stream celebrates of the city of New Orleans’ continuing role as one of America’s most important cultural capitals while also highlighting the role the arts have played in revitalizing the region over the past twenty years since Hurricane Katrina.
The Unending Stream highlights the work of six photographers who investigate themes similar to Laughlin’s of memory, place, time and identity while capturing the mysterious beauty of America’s most unique city. Each photographer brings a contemporary twist to the exhibition, creating work that provokes thought and conjures emotion. The Unending Stream: Chapter II features photographers (Casey Joiner, Eric Waters, Virginia Hanusik, Giancarlo D’Agostaro, Steve Pyke and Clint Maedgen) who work in both analogue and digital photography.
Casey Joiner uses the camera to explore themes of family and grief; Eric Waters documents the complex culture of New Orleans’ Black masking traditions; Virginia Hanusik captures Louisiana’s disappearing coastline in a time of climate change; Giancarlo D’Agostaro makes moody nocturnal photographs of Mardi Gras parades; Steve Pyke records the lush urban forest contained within City Park; and Clint Maedgen fuses multiple images and self-portraiture to create scroll-like collages informed by his musical background.
New Orleans has been both muse and home to some of the most important and celebrated photographers of the ninetieth and twentieth century. The Unending Stream sheds light on the current trajectory of photography being created in New Orleans today.
Image: Eric Waters, Victor Harris “Mandingo Warriors” FiYiYi, 2015, Pigment Print, 30 x 24 inches, Collection of the Artist
Invented in France by Louis-Jacques-Mandé Daguerre in the 1830s, the daguerreotype rapidly became the first widely practiced photographic process worldwide. By 1853, photographers in the United States produced an estimated three million a year, mostly portraits. But between 1840 and 1860, an innovative language of scenic outdoor daguerreotypes developed despite the technical challenges of the process. Surviving examples of these jewel-like scenic daguerreotypes number in the few thousands. This exhibition looks at eighty three, most selected from an important private collection. Included are two of the earliest American landscape photographs, extraordinary full-plate daguerreotypes made in 1840-41 by Samuel Bemis (1789–1881) and never before exhibited in public, and a street scene in Cincinnati made around 1851 by James Presley Ball (1825–1904). Gain an incredible view into mid-nineteenth-century American life and the beginnings of American landscape photography that emerged concurrently with the Hudson River School of painters. These forgotten but pioneering daguerreotypes laid the foundation for the scenic and urban landscape tradition that would dominate American photography in the twentieth century.
Image: St. Anthony Falls, Minneapolis, Minnesota, Attributed to Alexander Hesler (1823-1895) and Joel Whitney (1822-1886). Sixth plate daguerreotype. Greg French Collection.
In celebration of the centennial of Robert Rauschenberg (1925–2008), and in partnership with the Robert Rauschenberg Foundation, the Museum of the City of New York (MCNY) presents Robert Rauschenberg’s New York: Pictures from the Real World, a major exhibition opening on September 12, 2025. This dynamic show explores Rauschenberg’s innovative integration of photography and found objects into his art, reflecting his deep engagement with “the real world” and his complex relationship with New York City.
Widely regarded as one of the most influential artists of postwar New York, Rauschenberg’s irreverent approach to art-making pushed the envelope for an entire generation, reshaping the art world in New York and around the world. At the heart of his practice was a desire to incorporate the tangible world around him into his art. Gathering materials and inspiration from his surroundings, he often brought found objects and images sourced or reproduced from magazines and newspapers into his paintings and sculptures. But Rauschenberg was not merely a user of found imagery; he was also a photographer with a bold creative vision— an essential aspect of his artistic practice that is the focus of the exhibition.
The show is organized into three sections—Early Photographs, In + Out City Limits, and Photography in Painting—tracing the evolution of Rauschenberg’s photographic practice and its interplay with painting, sculpture, and assemblage. His earliest images are largely intimate portraits and experiments with formal elements such as framing, light and shadow, and flattening the picture plane. The centerpiece of the exhibition is In + Out City Limits, a three-year (1979–81) photographic survey conducted across the United States—a project Rauschenberg had originally conceived decades earlier as a student at Black Mountain College in North Carolina. His New York photographs from this project reveal his fascination with the signs and symbols of human culture, even in the most humble or discarded remnants of the city. Together, these photographs emphasize his observational rigor and his constant effort to channel the fleeting, ineffable moments of life into his work—revealing a deep sensitivity to the social landscape.
In addition, the exhibition presents a selection of works created between 1963 and 1994 that combine Rauschenberg’s New York City photographs with images taken around the world, illustrating how he re-contextualized his photographic imagery through his innovative creative process.
Image: Robert Rauschenberg, Wet Flirt (Urban Bourbon), 1994. Courtesy Robert Rauschenberg Foundation
Elliot & Erick Jiménez: El Monte is the first solo museum exhibition of the artist duo Elliot & Erick Jiménez. The photographers, identical twin brothers, present an entirely new body of work inspired by the spiritual tradition of Lucumí—a syncretic Afro-Caribbean religion that emerged in late nineteenth-century Cuba bringing together elements of Yoruba, Catholicism, and Spiritism—and by Lydia Cabrera’s seminal text El Monte. First published in Cuba in 1954, El Monte is a foundational study of Afro-Cuban religions that was translated into English for the first time in 2023, significantly broadening access to its insights on Caribbean spiritual practices. This exhibition highlights the Jiménez twins’ bicultural upbringing as Cuban Americans raised in the Lucumí tradition.
At the center of the exhibition is a large structure that dominates the gallery space, its interior evoking both a chapel and a forest. The installation references syncretic Caribbean religions, their Catholic counterparts, and the Cuban monte (forest or wilderness)—a site associated with mystery, transformations, and spiritual encounters. Various works explore the artists’ relationship as identical twins, the structure itself symbolizing the shared space of the womb. Other works reimagine well-known art historical compositions through the lens of Lucumí, examining its intersections with colonialism and the Western art historical canon.
While the exhibition primarily features photographs, it also includes sculptural elements interspersed throughout the gallery. Together, these works invite visitors to engage with themes of wonder, mystery, self-reflection, and discovery.
Image: Elliot & Erick. El Monte (Ibejí), 2024. Archival pigment print
Internationally renowned artist Ann Hamilton is best known for large-scale ephemeral installations, performances, and civic monuments, but the use of photography and video runs throughout her 35-year career and has become increasingly important to her practice over the past decade. This exhibition juxtaposes past works with new creations, including some related to the museum and its collections. Explored in all this work is the relationship between touch, sight, and language. Hamilton’s interest in tactility recalls her origins as a textile artist. A central theme of her practice is the connection between feeling, understanding, and sensory experience, especially touch.
Born in Lima, Ohio, and living in Columbus, Hamilton is Ohio’s most influential and best-known living visual artist. Among her many honors are the National Medal of the Arts, Heinz Award, MacArthur Fellowship, United States Artists Fellowship, NEA Visual Arts Fellowship, Louis Comfort Tiffany Foundation Award, Skowhegan Medal for Sculpture, and the Guggenheim Memorial Fellowship. Hamilton represented the United States in the 1991 Sao Paulo Bienal and the 1999 Venice Biennale and has exhibited extensively around the world.
Image: sense • stone, 2022. Ann Hamilton (American, b. 1956). Archival pigment print on Japanese gampi paper
Can a photographic portrait inspire political imagination? Ideas of Africa: Portraiture and Political Imagination examines how photographers and their sitters contributed to the proliferation of Pan-African solidarity during the mid-20th century. Embracing the international spirit of the time, the exhibition gathers striking pictures by photographers working in Central and West African cities. They created images of everyday citizens, dazzling music scenes, and potent manifestations of youth culture that reflected emerging political realities.
Photographs by Jean Depara, Seydou Keïta, Malick Sidibé, and Sanlé Sory portray residents across Bamako, Bobo-Dioulasso, and Kinshasa at a time when the winds of decolonial change swept the African continent in tandem with the burgeoning US Civil Rights movement. The exhibition also spotlights James Barnor and Kwame Brathwaite—photographers living in Europe and North America who contributed to the construction of Africa as a political idea. Contemporary works by artists such as Samuel Fosso, Silvia Rosi, and Njideka Akunyili Crosby show the enduring relevance of these themes. Brimming with possibility, Ideas of Africa: Portraits and Political Imagination embraces the creative potential of the photographic portrait and its political resonance across the globe.
Image: Sanlé Sory. Traveller (Le Voyageur). 1970–85.
Alejandro Cartagena: Ground Rules is the first major retrospective of the acclaimed photographer, bringing together over two decades of his work through an expansive multi-series presentation. Born in the Dominican Republic and based in Monterrey, Mexico, Cartagena explores pressing social and environmental issues through a striking range of photographic practices that includes documentary images, collage, appropriated vernacular photographs, and AI-generated video. His work captures the complexities of suburban sprawl, the US-Mexico border, and increasing economic inequality. As visually dynamic as they are politically incisive, his photographs prompt viewers to question the systems that shape our world. Though rooted in Mexico, Cartagena’s photographic series speak to shared global conditions of migration, environmental crisis, and unchecked development, offering a powerful reflection on the broader forces defining life in the 21st century.
A largely self-taught photographer, Ralph Eugene Meatyard (American, 1925–1972) was a pioneering and inventive artist who created some of the most original images of the mid-twentieth century. His work defies easy categorization as he experimented across various genres and subjects, and throughout his career, he maintained the ethos of an amateur, approaching photography with a sense of affection, discovery, and surprise. He is best known for his staged scenes that suggest an absurd fantasy set in the dilapidated houses and banal suburban environs near his home in Lexington, Kentucky. These scenes, often featuring his family as actors and using props such as masks and dolls, reveal Meatyard’s search for inner truths amid the ordinary.
This exhibition, coinciding with the artist’s centenary, will feature the thirty-six prints that comprise the artist’s first monograph (Gnomon Press, 1970)—one of only two books he published in his lifetime—which Meatyard intended to stand as his definitive artistic statement. Through his idiosyncratic selection of images, this exhibition will explore how Meatyard’s singular approach and voracious curiosity expanded photography’s expressive and conceptual potential.
Image: Self-Portrait (Frontispiece), ca. 1964–1966
Why Am I Sad explores mental health and depression through still life photography. It’s estimated that almost 280 million people worldwide live with depression. Among this staggering number, this book unveils the personal narrative of just one of them—me. As a child of immigrants, I found myself living in a duality that often left me feeling like an outsider in both worlds. I was a cultural chameleon, navigating the ever-shifting boundaries of identity.
Amidst the cacophony of conflicting cultures, there was a profound sense of isolation, a feeling of not quite belonging to either place. Photography emerged as my sanctuary, a medium through which I could articulate the unspoken turmoil within. However, even as my lens captured moments of beauty, the weight of sadness lingered, a constant companion hovering at the edge of every frame.
Why Am I Sad is a personal exploration through the shadows of melancholy, unfolded in vivid still life photography that celebrates and challenges the notion of beauty and sadness. I extend an invitation to delve into this narrative—a narrative woven with threads of family legacy of mental health, cultural identity, and the relentless pursuit of self-understanding. Each photograph serves as a mirror reflecting the complexities of human emotion—a testament to the resilience of the human spirit. Behind each photograph lies a story, a silent echo of my mother's struggle with clinical depression—a battle fought in the shadows, unseen yet deeply felt. Her pain became intertwined with my own, shaping the contours of my journey through sadness. Through the lens of my camera, I invite you to join me on this introspective odyssey, where every image is a step closer to understanding the enigma of sadness.
Formal/ Informal explores the definition of portraiture, comparing that formal term to the compositions created by photographers.
During the 19th century, formal studio or posed portraits flourished as a way to capture a vision of a person, whether known or unknown to the photographer. The artist, in turn utilized their craft to tell the story of the sitter. Images from the 20th and 21st century evolved into both formal and informal views of people, as their environs began to play as much of a role in their portrait as their face did.
The result is a collection of portraits that could be serious, playful, have social or political ramifications, or whose purpose is to celebrate the people, famous or infamous, ultimately telling the story of our society as a whole.
Image: Brancusi in his Studio, Paris. Artist: Edward Steichen
Femme ’n isms is a multi-year series of exhibitions celebrating intersectional feminist artmaking in the Allen’s collection. Inspired by a recent gift of prints and photographs by German artists Käthe Kollwitz and Lotte Jacobi, the third installment of Femme ’n isms features portraits of girls and women, almost entirely by women and femme-identifying artists..
Some works depict artists, musicians, and actors in self-conscious poses, while others capture an exchange of casualness and honesty between women artists and subjects. Nearly half the works are self-portraits in artists’ studios or other intimate spaces, highlighting the overlooked labor of women artists. Spanning more than a century, changing attitudes toward self-fashioning in these works demonstrate that making one’s own image is a crucial means of asserting agency over one’s representation and ultimately oneself..
The exhibition includes works by Emma Amos, Cecilia Beaux, Martine Gutierrez, Lotte Jacobi, Käthe Kollwitz, Marie Laurencin, Joan Semmel, Cindy Sherman, and others.
Photographers seeking customers during the medium’s early years often urged the public to “Secure the shadow, ere the substance fade.” Hinting at life’s fragility, this tagline underscored photography’s ability to capture a fleeting likeness and preserve it for posterity. Portraits in the impressive whole-plate format—measuring 8 ½ × 6 ½ inches—were among the premier offerings of the nation’s leading photographic studios.
Drawing on the National Portrait Gallery’s extensive early photography collection, this exhibition traces the evolution of the grand-scale, whole-plate format from the high-end daguerreotype to the mid-range ambrotype to the more affordable tintype. Examples of whole plates in each of these mediums illustrate how the format evolved as new photographic processes were introduced. Featured works include daguerreotypes representing U.S. senators Daniel Webster and John C. Calhoun, as well as papal nuncio Gaetano Bedini; an ambrotype portrait of American landscape artist John Frederick Kensett; and a tintype likeness of an unidentified African American woman.
Face Value invites us to take a close look at the celebrity-making machinery of the 20th-century Hollywood star system. For decades, film studios produced photographic portraits to promote the glamour of the actors they had under contract. This exhibition examines how these images were manipulated for public consumption in the decades before digital tools, AI technology, and social media revolutionized the process.
For MoMA’s founding film curator, Iris Barry, building an archive of images that documented the history of motion pictures was second only to collecting films. Barry’s initiative eventually led to the acquisition of editorial archives of two leading fan magazines, Photoplay (1911–80) and Dell (1921–76).
More than 60 photographers and filmmakers—from studio staffers to Andy Warhol—are represented in the exhibition, which combines untouched images with those that show evidence of the hands-on alterations that readied them for the press. Silhouetting, in-painting, masking, sectioning, and collage were applied not only to photographs of entertainers but also to those of sports figures, socialites, and politicians. Highlighting the radical editing practices, stylized motifs, and gender stereotypes inherent in the studio system, this exhibition offers a demystifying look at the early constructions of celebrity.
Organized by Ron Magliozzi, Curator, with Katie Trainor, Senior Collections Manager, and Cara Shatzman, Collection Specialist, Department of Film.
Image: Jean Harlow, c. 1933. Photographer unidentified. Gelatin silver print. The Museum of Modern Art film stills collection
Exploring moments from the rich history of the San Francisco Art Institute (SFAI) — before its closure, the West Coast’s oldest fine art school — this exhibition spotlights works by more than 50 SFAI alumni and former faculty included in the museum’s collection. The presentation underscores the school’s crucial role in fostering creativity and experimentation, featuring works across media since the post–World War II era by artists like Ansel Adams, Joan Brown, Miguel Calderón, Imogen Cunningham, Mike Henderson, Candice Lin, and Carlos Villa, among others.
The exhibition also includes a dynamic and quirky range of archival materials drawn from the SFMOMA Library and the SFAI Archive. These encompass ephemera from the founding of the school’s photography department, posters for 1950s Beat-era galleries run by artist alumni, student newspapers, and flyers from the punk and new wave music scenes of the 1970s. Taking its title from a line in the final 2022 commencement speech by faculty member and alumnus Dewey Crumpler, People Make This Place is a collaborative effort across the museum in partnership with the SFAI Legacy Foundation + Archive.
Coinciding with the Semiquincentennial in 2026, Citizen Artist will meet a moment of national reflection with a celebration of artist workers in America. Beginning in 1933, artists painted, photographed, wrote, acted, and taught for New Deal programs including the Public Works of Art Project, the Works Progress Administration, Farm Security Administration, and the Treasury Section on Fine Arts. President Franklin D. Roosevelt’s New Deal initiated dedicated arts and cultural support at the national level. Four decades later, the Comprehensive Employment and Training Act (CETA) funded unemployment relief and jobs training programs through local Department of Labor offices. Across the United States, artists and their allies adapted, designing programs that mobilized the skills of out-of-work professional artists in service of their local communities.
CETA wasn’t designed to support artists – it was designed to create jobs. Yet in the 1970s, the Department of Labor did both. With CETA support, the creative sector saw professionalization of the field, the founding of new arts organizations, and an expansion of community-based arts programs. Artists used CETA to fund community connections, and in Delaware, it ignited energy that helped shape programs at the Delaware Art Museum and develop the foundation for The Delaware Contemporary. By reactivating CETA’s legacy of creative ingenuity, we thread the lines of creativity, innovation, and collaboration across generations. Citizen Artist brings artworks from the interconnected eras of the New Deal and CETA together, alongside original commissions that document, amplify and imagine new possibilities for artists’ roles today.
The Museum of the City of New York’s photography collection is a cornerstone of our mission to document and celebrate the dynamic story of New York City. Spanning from 1840 to the present day, the collection is housed in a state-of-the-art facility and serves as an unparalleled visual record of the city’s transformation across nearly two centuries. In 2023, the Museum launched the Photography Triennial, a bold and forward-looking initiative dedicated to showcasing the best of contemporary photography. The Triennial amplifies the voices of photographers who are capturing the vibrancy and complexity of New York today—its people, streetscapes, cultures, and contradictions.
Through the lens of photography, the Triennial explores the city’s present while engaging with its rich history and imagining its future. Each iteration invites the public to see New York anew, sparking dialogue around the social, political, and aesthetic issues that shape urban life.
Scheduled to open to the public on November 20, 2026, New York Now: After Dark will explore the vibrant and multifaceted nightlife of New York City through the lens of contemporary photography. The Museum invites amateur and professional photographers to submit images or videos made since 2000 for consideration for inclusion.
Image: Night view south from RCA Building, Samuel H. Gottscho (1875–1971), 1933. Museum of the City of New York. 88.1.1.3027.
Photographer Mathew Brady (c. 1823 –1896) may be best remembered today for his role in producing a remarkable visual record of the Civil War (1861–65). Yet he initially gained fame as a portrait photographer more than a decade before the war began.
Among Brady’s most popular offerings were small, card-mounted photographs known as cartes de visite. Modestly priced, they fueled the rapid growth of a mass market for photographic portraiture from the time of their introduction in the United States in 1859. Brady’s studios produced thousands of glass-plate negatives from which countless prints were made.
In 1981, the National Portrait Gallery acquired more than 5,400 Brady studio negatives. Originally assembled as part of a larger collection by amateur historian Frederick Hill Meserve, they offer an extraordinary pictorial index of the prominent figures of the Civil War era. The exhibition includes nine modern prints from Brady’s original photographic negatives. Portraits of Abraham Lincoln, Mary Todd Lincoln, Nathaniel Hawthorne, Ulysses S. Grant, and Emma, Queen of Hawai‘i are featured, along with an original, glass-plate negative and one of Brady’s wooden storage boxes.
“Mosquito Coast”, a new exhibition at the Cadaval Palace in the city of Evora-Portugal, showcases a series of thought-provoking photographs by Guillaume Bonn, carefully chosen from within his portfolio to delve into the very essence of East Africa’s architectural identity.
Brad Walls presents PASSÉ, an immersive new exhibition set within a monochromatic red environment in New York City, reimagining ballet from an aerial perspective. Known for his minimalist aerial photography and internationally published series, Walls invites viewers not just to observe, but to step inside the frame—onto the red carpet where the art was made, and into the lives and stories of the dancers themselves.
The photographs in this exhibition are part of a project about rural life in the Hudson Valley. For the past five years, I have been taking photographs of individuals and families in upstate New York. Having spent many years as a weekender and homeowner, most of the people I knew were other New Yorkers, and I never had the chance to meet people who grew up in this rural area. During the pandemic, I spent many hours outside with my camera, walking along the road and photographing local residents. Eventually, I decided to create a project about the people I met. Now, as some of these individuals have become friends, I continue to meet others whose families have lived in this area for many generations.
Stills presents an exhibition of new photography by Matthew Arthur Williams.
Williams is a Glasgow-based artist who has become known for a visual arts practice that explores themes of race, queerness, memory and history. A key concern that he addresses in his work is the absence of representation and how this can be perpetuated by formal histories and archives.
The 50x50 fundraising print sale is now live, giving the public the chance to acquire affordable, high-quality photographic images while raising essential funds for the UK’s only arts organisation dedicated to documentary film and photography centred on working-class life, both in the North East and internationally.
With the world in an even worse state than usual, Visa pour l’Image is
more necessary today than it has ever been. Even more than 37 years
ago, when we launched this project that nobody believed in.
Photography and the Black Arts Movement brings together approximately 150 works spanning photography, video, collage, painting, installation, and other photo-based media, some of which have rarely or never been on view. Among the over 100 artists included in the exhibition are Billy Abernathy (Fundi), Romare Bearden, Dawoud Bey, Frank Bowling, Kwame Brathwaite, Roy DeCarava, Louis Draper, David C. Driskell, Charles Gaines, James E. Hinton, Danny Lyon, Gordon Parks, Adrian Piper, Nellie Mae Rowe, Betye Saar, Raymond Saunders, Jamel Shabazz, Lorna Simpson, and Carrie Mae Weems
In 2025, World Press Photo marks its 70 year anniversary; a milestone which provides the opportunity not only to look back at the remarkable history of the organization, but also to examine how the images World Press Photo awarded and helped to give a global platform over the past seven decades have shaped the public’s understanding of the world.
I become a mother and stop sleeping through the night. Years go by, the child sleeps soundly in his bed but I still wake at every noise. My father comes to live with us and all of a sudden I am a mother to everyone. As I drift off to sleep I can no longer tell my dreams from reality. In one nightmare my father tells me he’s only got two weeks left to live, in another I am late to pick up my son from school and never see him again. I am afraid of monsters, but instead of running, I move towards them: we circle each other until I realize that they are just as afraid of me as I am of them.
