Photo Exhibitions

Guest curated by Wendy Ewald, Susan Meiselas, and Laura Wexler, along with Kristin Taylor, MoCP Curator of Academic Programs and Collections This exhibition will feature works in the MoCP permanent collection that are included in the recent and groundbreaking publication titled Collaboration: A Potential History of Photography. The book was created by a group of artists, art historians, activists, and scholars—Ariella Aïsha Azoulay, Wendy Ewald, Susan Meiselas, Leigh Raiford, and Laura Wexler—and published by Thames and Hudson in 2024. It is an extension of a project that these five authors have collaborated on for over ten years, in which they reassess a range of photographs and projects that portray stories of humanity and social movements to decenter the photographer as the only author of the image, and to emphasize the act of photographing as an inherently collaborative process in which many parties are involved. By sharing both artists’ statements and excerpts from interviews with people depicted in photographs, they question whether memories align: Did both sides remember the moment in the same way? How did the photographed feel about the photograph’s life after it circulated through art markets, print media, and online? And what role might the photograph have played in perpetuating harmful or liberatory narratives about specific histories, places, or individuals? The works—both historical and contemporary—are presented in clusters focused on topics, to highlight and propose questions about photographed moments of coercion, friendship, exploitation, community, and violence. The exhibition will also feature a reflection space for the audience engagement, as part of the project’s ongoing effort to consider the history of photography as a living and evolving entity that is unfixed and expanding as we learn more about the people, communities, and histories that images depict. 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

In 1962, Joel Meyerowitz (b. 1938, The Bronx, New York; lives and works in London, England) made a life-changing decision to become a photographer. His unwavering commitment was perfectly suited to the camera, an instrument that captures fleeting moments of time and space with precision, freezing them into a permanent frame. This exhibition celebrates the NSU Art Museum Fort Lauderdale’s dedication to photography, spotlighting its recent acquisition of over 1,800 works from Meyerowitz’s archive. The artist is renowned for his early adoption of color photography in 1962, a move that helped pave the way for the medium’s acceptance in the art world. Meyerowitz’s expertise is evident in both the vibrant, immersive qualities of his color photographs and the subtle yet powerful nuances in his black-and-white prints. His true significance, however, lies in his exceptional ability to capture the perfect moment when shifting patterns, expressions, and light converge to form a complete image. His first major recognition came in 1964, when MoMA’s Director of Photography, John Szarkowski, included Meyerowitz in the influential exhibition *The Photographer’s Eye*, which also featured pioneers like Eugène Atget, Henri Cartier-Bresson, and Robert Frank. Meyerowitz was placed in the section titled “Time Exposure,” a nod to his masterful handling of time within his work. Now, nearly six decades later, Meyerowitz’s work continues to resonate through its exploration of what Cartier-Bresson referred to as “the decisive moment.” This exhibition offers a chronological and thematic exploration of Meyerowitz’s oeuvre, allowing viewers to experience how his visual language has evolved over time, reflecting the fluidity of the present moment. This evolution builds on Szarkowski’s insight that a photograph captures only the time in which it was taken, referencing the past and future through its presence in the present. Additionally, the exhibition includes a selection of 'work prints' that highlight the temporal nature of photographic prints themselves. These prints reveal the impermanence of the medium, showcasing how some colors fade over time while others endure. The inclusion of prints bearing Meyerowitz’s personal annotations, along with multiple iterations of the same image, provides an intimate glimpse into the artist’s studio process, allowing viewers to trace his journey toward perfecting each image. Image: Joel Meyerowitz, Florida, 1978, 1978, Vintage RC print, 11 x 14 inches (27.9 x 35.5 cm), NSU Art Museum Fort Lauderdale; Gift of an anonymous donor.

We are thrilled to announce the artists of the 31st Annual Juried Members Exhibition. After selecting 68 images from almost 1500, from over 300 artists submitted, we are pleased to announce the members who will be featured on the walls of the Griffin Museum this summer. Stephen Albair, Julia Arstorp, Robert David Atkinson, Robin Bailey, Diana Bloomfield, Sally Chapman, Diana Cheren Nygren, Julia Cluett, Donna Cooper, Donna Dangott, Sandi Daniel, Adrienne Defendi, Becky Field, Preston Gannaway, Steve Goldband & Ellen Konar, Donna Gordon, Joe Greene, Jackie Heitchue, Judi Iranyi, Susan Isaacson, Marky Kauffmann, Susan Keiser, Lali Khalid, Karen Klinedinst, Brian Kosoff, Alison Lake, Celia Lara, Jeff Larason, Phil Lewenthal, Susan Lirakis, Landry Major, Fruma Markowitz, Cheryl Medow, Carolyn Monastra, Judith Montminy, C.E. Morse, Jim Nickelson, Charlotte Niel, David Oxton, Allison Plass, Robin Radin, Mary Reeve, Astrid Reischwitz, Nancy Roberts, Lee Rogers, Gail Samuelson, Gordon Saperia, Jeff Sass, Mari Saxon, Jeff Schewe, Li Shen, Anastasia Sierra, Frank Siteman, Stephanie Slate, Cynthia Smith, Janet Smith, Vanessa R. Thompson, Vaune Trachtman, Leanne S. Trivett, Leslie Twitchell, Terri Unger, Alan Wagner, Anne Walker, Suzanne Theodora White, Thomas Winter, Torrance York, Michael Young and Yelena Zhavoronkova Announcements about award winners will be made in July. Join is for the opening reception on July 11th from 6 to 8pm. Our juror will be in attendance. Thank you to Ann Jastrab from Center for Photographic Art, Carmel for a beautiful exhibition.

The Griffin is pleased to present the work of Alina Saranti as part of our celebration of our member artists. Ms. Saranti was included in our 30th Annual Juried Members exhibition, winning the Directors Prize. In my project “Far From” I want to make visible what landscape photography can look like for a female photographer with child rearing responsibilities. I combine landscape photographs of the American West with embroidery to challenge the masculinity of traditional landscape photography and the myth of the West. Landscape photography was traditionally dominated by male photographers as it was deemed unsafe and impractical for women who were constrained to the domestic sphere, close to their housekeeping and child rearing duties. The myths of the American West, its rugged, open, wild landscape have also been closely associated with macho masculinity, the idea of the independent, tough man, ready to draw on his weapon, to conquer and defend the land. Landscape photography also contributed to the history of conquest of the West with its role in surveying and controlling.Embroidery, on the other hand, has been traditionally labelled as women’s work. It has been seen as something that women can do within the safety of the home, producing artifacts to decorate its interior, keeping them out of harm’s way and out of trouble, compatible with their domestic duties and especially child rearing as it can be put aside and resumed at will. Landscape photography was deemed too far, too dangerous, too incompatible with being a woman. Things have changed and landscape photography is open to female photographers now. Or is it? I made the black and white landscape photographs used in this project at the fringes of family trips. I embroidered them in the safety of my home, between school drops offs and pickups, kids’ illnesses, and school holidays, often with children in the same room, the work repeatedly interrupted and resumed. I am drawing on the history of embroidery as both a symbol of female submission and a weapon of resistance for women, and overlaying that to the masculinity of landscape photography and the American West. Stitching usually has to do with mending or embellishing; my marks are the feminine overlaying the masculine, they are imposing on it, cracking it open, splitting it apart, growing into it. About Alina Saranti – Alina Saranti is a Greek photographic artist currently living in Los Angeles, having also lived in the UK and Turkey. Her work begins autobiographically and explores the synergies and tensions between text and image, the physical alteration of the photographic print, as well as themes of motherhood, place, our inner and outer landscapes, the personal and political. After a ten-year career in journalism in Athens and London, writing mainly about international politics, she has shifted her focus to telling stories through photographic projects. Saranti received a BA in Philosophy, Politics and Economics from St Edmund Hall, University of Oxford, an MSc in International Relations from London School of Economics, and an MA in Photojournalism and Documentary Photography from London College of Communication, University of the Arts London (Distinction). Saranti has won Director’s Prize at the Griffin Museum’s Annual Juried Members Exhibition, Honorable Mention at the Julia Margaret Cameron Award and at the Los Angeles Center of Photography’s Annual Members Exhibition. She has exhibited in galleries and museums in Athens, Barcelona, Boston, Calgary and New York. Her work has been featured in numerous publications including The Boston Globe, Opt West, Aesthetica Magazine, Source, Black River Magazine, Global Zoo Zine, and the Imagined Landscape Journal.

I would like to begin by thanking the many photographers who shared their work with me as part of this process. It was a tremendous pleasure to see such interesting and inspiring work; there was much more great work than I could possibly include. I want to acknowledge the trust and vulnerability that is required for artists to provide their artwork to a juror and allow their personal expressions to be reviewed; I am grateful for the opportunity to be enriched by the dedication and creativity of HCP's members. My approach to this exhibition was first to review all the works submitted and let the photographic themes emerge. After thinking about what had been shared, it seemed that there were two primary impulses. One was about asserting presence, a kind of activism of visibility. In the works I saw protest, strength, joy, and sorrow. The photographs stated, "I am here. We are here. We take up space. Our values matter. Through art we can create a presence to validate our unique perspectives and experiences." The range of issues depicted was expansive. Photographers communicated about Queer visibility; environmental change and the threat of fire; immigrant experiences and national identity; Black joy; non-normative male beauty and masculinity; violence against women; space simulation; and motherhood. Together the photographs create a chorus of voices. The other primary impulse was to explore beauty and wonder through photography and the particular magic of our medium. Here there were experiments with different processes and materials; the embrace of light and the many unexpected and dynamic things that happen when it passes through a lens; the true lusciousness of color and the way photographic materials record them; the beauty of photographic degradation and decay; the invitation of abstraction to engage with what might be happening; the depiction of movement; and the exploration of the limits of the photograph. Many photographs fit into both categories: infused with assertion, validation, and visibility combined with the magic and beauty of photography. I hope you enjoy the exhibition as much as I enjoyed getting to know the work! Dr. Rebecca Senf, Juror, Chief Curator at the Center for Creative Photography at the University of Arizona, Tucson, AZ Image: © Oskar Alvarado

Photographic Center Northwest (PCNW) is pleased to present our 2025 Thesis Exhibition, celebrating this year’s graduates of the Certificate Program: Martin Dorn, Keylor Eng, Victoria Hunter, and Holly Pendragon. This exhibition marks not only the culmination of the 53-credit program and presentation of a year-long project for these individuals but introduces a new generation of Northwest artists. The PCNW Certificate Program offers a technically and creatively demanding curriculum delving into the history, theory, and practice of creating photographic work. During their studies students develop their own style of photography, engage in critical discussion, establish their work within a historical and contemporary photographic/fine art context, and build the foundation to sustain their creative practice.

Picto New York is pleased to present Symbiosis, a solo exhibition by photographer Ruben Tomas. Known for his intimate and atmospheric imagery, Tomas offers a contemplative visual journey that explores the profound connection between humanity and nature. Through carefully composed frames, rich textures, and a deep sensitivity to light, Symbiosis captures the subtle yet powerful moments where the human form merges with its surroundings — not as a separate entity, but as part of a larger, interconnected whole. Tomas’s work transcends traditional portraiture and landscape photography. Each image in the exhibition feels like a quiet meditation — an invitation to pause and witness the delicate balance that exists between vulnerability and strength, isolation and belonging, movement and stillness. Whether set against the backdrop of open skies, flowing water, or dense foliage, his subjects seem to dissolve into the environment, blurring the lines between the physical and the emotional, the real and the imagined. With Symbiosis, Ruben Tomas encourages us to reconsider our relationship to the world around us — to see not only with our eyes but with a heightened sense of awareness. The exhibition is both a celebration of beauty and a call to mindfulness, reminding us that we are not separate from nature, but deeply embedded within it. The exhibition will be on view at Picto New York, inviting audiences to experience this powerful exploration of connection, presence, and unity.

Filter Photo is pleased to present Shaping the Land, a solo exhibition of work by José Ibarra Rizo. Shaping the Land is part of an ongoing series documenting the Latinx/e migrant experience in the American South. Through intimate portraits and landscapes, this body of work explores how these communities establish familiarity and stability in shifting environments—whether through work, leisure, or acts of cultivation. This exhibition considers the evolving relationship between people and place, revealing migration as not just transition but an ongoing process of making home. Rather than offering a singular narrative, Shaping the Land invites viewers to reflect on the layered realities of migration—where histories, labor, and aspirations intersect in everyday life. About the Artist José Ibarra Rizo (American, born Mexico) is a lens-based artist living and working in Atlanta, GA. His work examines cultural memory, identity, and the migrant experience in the American South. He was awarded the inaugural Emerging Artist Fellowship by the Atlanta Center for Photography, named a finalist for the 2022 Aperture Portfolio Prize, recognized as one of three recipients of the 2022 Atlanta Artadia Awards, and selected as a 2023–2024 Working Artist Project winner by MOCA GA. José's work is part of the permanent collections of the High Museum of Art, the Virginia Museum of Fine Art, and the Michael C. Carlos Museum. His clients include Rolling Stone, TIME Magazine, and The New York Times.

These pictures are part of an ongoing series of group portraits by the collaborative duo, Jon Tonks (UK) and Roman Franc (Czech Republic). Their portraiture documents civic life in their hometowns and in communities further afield. Both artists have participated in past exhibitions in Bloomington where they came to love the city and its special character. Bloomington is to be the first city in America to be featured in the project. The photographs on the wall were made during an intensive seven-week visit and were brought to life with a good dose of friendly local help. And though they capture a variety of the town’s dimensions and its treasures, it’s only a slice of the rich cultural life in this city. In a time where group identity is used to polarize and situate people against one another, group portraits can be a force in the opposite direction, celebrating unity and camaraderie. The photographs offer a unique moment, where the act of coming together is preserved in a timelessly fascinating image.

Benrubi Gallery is honored to present a memorial exhibition for our beloved Jed Devine. Born on August 31, 1944, Jed grew up in Pleasantville, NY, the middle of three brothers. He attended Pleasantville High School, Deerfield Academy, and Yale, where he captained the baseball team and received his BA in fine arts and MFA in graphic design. After graduate school, Jed focused on photography, notably the black-and-white palladium prints for which he is known, and later for his color digital prints. He exhibited with Daniel Wolf and then with our founder Bonni Benrubi from 1987 on. Jed has been an integral part of our gallery's story and legacy, shaping how we have seen pictures since our very inception as an organization. In 1986, Jed received a Guggenheim Fellowship for his photographs of Central Park’s Bethesda Terrace. Jed’s work is in the permanent collections of numerous museums, including the Metropolitan Museum of Art, the Victoria and Albert Museum, the Art Institute of Chicago, the Museum of Modern Art, the Eastman House, the Brooklyn Museum of Art, the Addison Gallery, the Aldrich Contemporary Museum of Art, the Cleveland Museum of art, the San Francisco Museum of art and the Martha’s Vineyard Hospital, among other private and public collections. Jed Devine—photographer, teacher, husband, father, and grandfather—passed away on October 29, 2024. He died at home on Martha’s Vineyard, surrounded by his wife Barbara Kassel, his son Jesse Devine, and his daughter Siobhan Devine. We invite you to join us for this celebration of life and throughout the summer as Jed fills our gallery with his eternal sense of humor, love and poetry. Image: Jed Devine, Untitled (Pears, Woodblocks, And Face)

CLAMP presents “James Bidgood | Dreamlands,” an exhibition of photographs marking the launch of the monograph of the same title from Salzgeber, in addition to recent screenings of the artist’s cult classic film, “Pink Narcissus,” at theaters across the United States and Europe. The book combines iconic motifs from the artist’s oeuvre with many previously unpublished images. The exhibition at CLAMP includes twelve of these new photographs selected from the estate archives, along with a large-scale print of “Pan”—the monograph’s cover image. “Pink Narcissus,” James Bidgood’s film from 1971, described as a “kaleidoscopic fever dream of queer desire,” was recently restored by the UCLA Film & Television Archive, and has been playing at theaters since late 2024, including MoMA (New York), Hammer Museum (Los Angeles), BAM (New York), Metrograph (New York), and other screens in London, Bologna, San Francisco, Seattle, Provincetown, Tucson, St. Louis, etc. James Bidgood passed away in 2022 at the age of 88. A New Yorker for over 70 years, he was adored and admired by generations of artists and cinephiles alike. When Bidgood first came to New York from Wisconsin in the 1950s, he worked as a drag performer and occasional set and costume designer at Club 82 in the East Village. After studying at Parsons School of Design from 1957 to 1960, Bidgood found jobs as a window dresser and costume designer. He then went on to work as a photographer for men’s physique publications and began creating his own personal photographs and films that greatly benefited from his talents in theater design and costume construction. It was during this period in the early 1960s that Bidgood began working on his masterpiece—the 8mm opus “Pink Narcissus.” In his tiny apartment in Hell’s Kitchen, he handcrafted sets using humble materials to create a theatrical dreamland in which artifice became transcendent. With hand-tailored clothing, saturated lighting, and lots of glitter, Bidgood built a cosmos of queer belonging, populated with angelic figures of male beauty—including Cupid, Pan, and other mythological gods, along with harlequins, soldiers, firemen, hustlers, drag queens, altar boys, and more. Bidgood’s confined domestic production speaks to both necessity and liberation—"a queer creative spirit refusing to be constrained by material limitations." In fact, the artist and his models would eat, sleep, and frolic within the sets until it was time to tear them down and begin building the next scene. Within this space, and in front of his lens, the homosexuals that were ostracized by larger society could be beautiful, glamorous, complex, silly, or simply themselves.

This summer, the Alice Austen House proudly presents The Serpent, The Medicine, and The Invisible Devil, a new site-specific installation by visual artist Jasmine Murrell. Renowned for her interdisciplinary, community-rooted practice, Murrell transforms both the museum’s contemporary galleries and the surrounding Alice Austen Park into immersive spaces of ritual, healing, and transformation. Collaborating with artists, farmers, botanists, and performers, Murrell unveils a series of photographs featuring her wearable sculptures and handwoven garments crafted from organic materials and natural dyes. During the run of the exhibition, Murrell will also create a living sculpture in the waterfront park, constructed from earthen plasters, medicinal plants. This evolving piece serves as both sanctuary and sculpture, incorporating plant species meaningful to the local community. Inside the museum, her installation includes photography, sculpture, and film, all centered around the voices of “plant whisperers”—Black and Brown herbalists, healers, and elders who draw on ancestral plant knowledge to sustain and care for their communities.

Featuring work by: Holly Andres, Trent Davis Bailey, Matt Black, Chris Dorley-Brown, Nadav Kander, Josef Koudelka, Mimi Plumb, Amy Stein, Alex Webb, Rebecca Norris Webb, and Michael Wolf The Robert Koch Gallery is pleased to present Narrative Implied, an exhibition that brings together work from eleven artists whose photographs explore narrative concepts, spanning clearly defined stories to more subtle and indirect approaches. The photographs are characterized by what they disclose and what they withhold. Open to interpretation, the included photographs welcome viewers to enter a realm of mystery and uncertainty. Narrative Implied presents a broad range of visual approaches. Some artists capture elements from their surroundings, operating within established documentary practices, while others develop intentionally staged or fabricated scenes, or work with appropriated imagery. Each examines the emotional and psychological aspects of narrative construction, especially the dynamic between what appears visible and what exists beyond the frame's boundaries. Image: Josef Koudelka, Spain, 1971

“Life without photographs is no longer imaginable. They pass before our eyes and awaken our interest; they pass through the atmosphere, unseen and unheard, over distances of thousands of miles. They are in our lives, as our lives are in them.” – Lucia Moholy, A Hundred Years of Photography, 1839–1939 After opening its doors to the public in 1949, the George Eastman Museum quickly became known as one of the most important venues dedicated to the collection and care of photographs. At the time of its opening, it was one of only two American museums to establish a photography department, and this early commitment to the medium has inextricably bound the institution to the history of photography itself. Life with Photographs: 75 Years of the Eastman Museum explores the many ways in which photographic objects have come to shape our everyday lives. The exhibition encompasses broad cultural histories and image-making practices, from pre- photographic experimentation to critical advances that challenge our conceptions of the medium. While the objects on view highlight certain strengths in the museum’s holdings, lesser-known works are included to illuminate unexpected pathways into this rich and diverse collection. The museum’s holdings have been formulated through decades of gifts and purchases, and its distinguished exhibition history reflects the varied interests of its curators over the past seventy-five years. This presentation nods to this history while offering distinct perspectives on the medium from the vantage point of the twenty-first century. Curated by Jamie M. Allen, Phil Taylor, Daniel Peacock, and Louis Chavez, Department of Photography. Major support for 75th Anniversary exhibitions provided by the Rubens Family Foundation. Image: Acid Rain © Ming Smith

In recognition of the 50th anniversary of KCCK-FM, Iowa’s only jazz radio station, the CRMA brings together photographs of jazz musicians taken by Cedar Rapids natives, Carl Van Vechten and George Henry. Carl Van Vechten moved to New York City in 1906; he became a well-known critic of music and modern dance and wrote about Harlem and the black artists he encountered there. Van Vechten would end up photographing many of the creatives that formed his large circle of famous friends and acquaintances. In contrast, George Henry would remain in Cedar Rapids for most of his life, working as Coe College’s visual historian and photographing countless important moments. This exhibition highlights the work of Van Vechten and Henry and their approaches to capturing jazz greats on film. This exhibition and accompanying educational programming have been made possible in part by members of the Cedar Rapids Museum of Art and contributors to the Museum's Annual Fund. Annual educational programming has been supported in part by Transamerica.

The Griffin is pleased to showcase the works of Frank Siteman as part of our summer public art project, Vision(ary). Frank Siteman is a resident and chronicler of life in Winchester. His images soar above the streets to capture the light, movement and changes of the town. We are so grateful to partner with the Jenks Center of Winchester to bring this exhibition to the community. About Frank Siteman Frank Siteman was born in St. Louis in 1947. He attended Tufts University, where he majored in chemistry. Already immersed in photography, he shot portraits of the entire college faculty in exchange for his tuition. He soon received an assignment to photograph an annual report for a Boston area rehab hospital, and taught in a Boston youth project. Following his graduation from Tufts, where he launched the photography department through the Experimental College, he began teaching at the Roxbury Latin School, the Orson Welles Film School, Simmons College, and the Art Institute of Boston. During this time, he discovered the world of stock photography. Over the next several decades, he worked steadily shooting stock and completing commercial assignments, shooting the world while traveling. His photographs found their way into agencies, which sold them for a myriad of uses in magazines, advertising, annual reports, multi-media shows and textbooks. He continues to photograph the world and the people around him, living alternately in Winchester, MA and the White Mountains of NH.

Into What World? is a solo exhibition by Joan Fitzsimmons and a personal investigation into landscape as a place of dreams and imagination. It consists of selections from three of her photographic series called The Woods, Blue Moon, and Plant Life. ARTIST STATEMENT I have walked as long as I can remember. My Father would gather me, and my siblings, and we would walk for miles. We would walk to our grandparents' home. In summers, we walked here, in the Michigan woods, in search of evidence of past histories. When I walk, I dream. I don't start with that intent. I just want to move, but my mind moves with my body. It moves in time to places of memory and imagination. My early landscape work began with a walk in the woods, a place for me, of both fear and fantasy. Some of the fantasy was Disneyesque, some took a dark turn. The Woods, my resulting series, was inspired by my experience of frequently being lost therein. It invited new formal challenges. In an attempt to create a sense of the dense environment, I broke from the traditional small photographic rectangle, choosing to respond to the vastness of the woods with the use of scale. Hand-made photograms speak to imagined creatures, The lines created by the spare branches resemble the flow of gesture drawings. Their intricate weaving constructs a tightly knit interior space. Thoughts turned from the earth to the sky in the Blue Moon series. I never knew what a blue moon was. I loved the song. I knew the phrase, “Once in a blue moon”. A few years ago, a blue moon occurred, a fairly rare occurrence, two full moons in one month. The media gave a full explanation. I realized the photograms I was making, of simple bowls of yogurt, looked like moons. They could be blue moons. Each image is a uniquely hand-toned. Plant Life is a still-life documentation of my attempts at gardening. Some years ago, I began photographing my ongoing efforts to grow things. Having little horticultural ability, I primarily recorded my failures. During Covid, I read an article about generating scallions from cuttings. I returned to this series with a limited degree of success. I would be an urban farmer. My attention drifted. I needed to move my teaching online and the plants were neglected. Whether the plants thrive or not, the photographs survive and hold their own enigma. The natural world is a starting point for constructions of the mind. -Joan Fitzsimmons

All About Photo presents ''The Witching Hour' by Anastasia Sierra, on view throughout August 2025. THE WITCHING HOUR 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. My images follow the logic of my dreams, where we are trapped in a strange colorful world, playing a never ending game of hide and seek in a labyrinth of love, care and fears, pushing against its walls, with no way to escape but wake up. This work explores the emotional landscape of caregiving: tenderness, joy, fears, and a constant sense of what could be lost.

Peter Fetterman Gallery is proud to present "The World of Sebastião Salgado," a large-scale exhibition of prints by the master photographer Sebastião Salgado (Brazil, b. 1944). Opening on Saturday, March 15, 2025, and running through June 21st, this exhibition will offer an extraordinary retrospective of Salgado’s unparalleled career. A special opening reception will be held on March 15 from 4:00 to 6:00 PM. Utilizing the entire gallery space, this extensive exhibition will feature photographs, spanning over four decades of Salgado’s dedicated photographic work. Iconic images from his major bodies of work will be presented as hand crafted gelatin silver prints alongside his special, highly coveted platinum palladium prints. Curated to present Salgado’s powerful visual storytelling within a retrospective context, "The World of Sebastião Salgado" will provide a compelling insight into the depth and breadth of his documentary and artistic practice. Sebastião Salgado is widely recognized as one of the most influential photographers of our time. His humanistic approach to documentary photography has illuminated pressing global issues, from labor and migration to environmental conservation. The exhibition will highlight key works from his most renowned series, including the Serra Pelada Gold Mines, his documentation of conflict and displacement in Africa, his haunting portrayals of environmental destruction in the Oil Fields of Kuwait during the Gulf War, and his latest body of work from Brazil titled, Amazonia. Additionally, the exhibition will showcase works from his environmental magnum opus, "GENESIS," a project that explores untouched landscapes, wildlife, and indigenous cultures. The relationship between Peter Fetterman Gallery and Sebastião Salgado is rooted in a deep mutual respect and a shared commitment to photography as a force for storytelling and change. Introduced to Salgado through master photographers Henri Cartier-Bresson (1908-2004) and Martine Franck (1938-2012), Peter Fetterman has been a key figure in bringing Salgado's work to a fine art audience for over 30 years. Born in Aimorés, Brazil, in 1944, Sebastião Salgado initially trained as an economist before turning to photography, a path that has since shaped the field of visual storytelling. Salgado resides in Paris with his wife, Lélia Wanick Salgado, who has played an integral role in curating and publishing his works. "The World of Sebastião Salgado" at Peter Fetterman Gallery will be an unmissable opportunity to see the photographs of one of the greatest documentary photographers of our time.

Fade to West is a photographic exhibition that brings together the visionary work of Paul Jasmin and Todd Weaver—two artists who have made tangible the fleetingness of Los Angeles’s beauty and sunsets. Though neither artist was born in California, both were drawn to a city as radiant and restless as them. Now deeply rooted in its culture, they embody its essence—capturing not only its landscapes and people, but its elusive atmosphere. The exhibition pairs Jasmin’s evocative portraits and cinematic vignettes with Weaver’s ethereal scenes of nature, offering a dual portrait of a place defined by light, youth, and transience. Jasmin helped define the visual language of Los Angeles, staging moments of youth and intimacy against the soft glow of the city’s ambient warmth. His photographs are imbued with compassion and quiet curiosity, revealing a version of the city that feels personal, suspended, and tenderly observed. Weaver, meanwhile, explores the edges of California—its windswept dunes, sunlit surf, and shifting horizons. Through analog processes and in-camera experimentation, his work transforms familiar vistas into one-of-a-kind impressions—each frame a meditation on movement, time, and atmosphere. Together, Jasmin and Weaver render California not as an ideal or illusion, but as a living, breathing place—one that glows brightest in moments that never last. Fade to West was developed in collaboration with Paul Jasmin prior to his death, and we are honored to present it as intended—celebrating his artistry and his enduring love for the city of Los Angeles. Paul Jasmin (1935–2025) was an American photographer, illustrator, and educator whose work distilled a precise and evocative vision of beauty. Born in Helena, Montana, Jasmin began his career as a painter and actor before turning to photography in the 1970s, encouraged by his friend Bruce Weber. Drawn to themes of youth, innocence, and sexuality, Jasmin created dreamlike tableaux that transport viewers into a world of seductive beauty and languid allure. Set largely in and around Los Angeles, his images explored the tension between aspiration and reality, reflecting a lifelong fascination with glamour, the American dream, and fleeting moments of becoming. His editorial and commercial work appeared in Vogue, GQ, W, Interview, V Man, Teen Vogue, Vogue Hommes, and in campaigns for APC, Bergdorf Goodman, Saks, Nordstrom, and others. He published three monographs: Hollywood Cowboy (2002), Lost Angeles (2004), and California Dreaming (2010, Steidl/7L). Jasmin was also a dedicated teacher at ArtCenter College of Design in Pasadena, where he mentored generations of emerging artists with a quiet rigor and an unshakable belief in the power of imagination. Known affectionately as “Jazz” by his friends and students, he brought the same sensitivity and elegance to his teaching as he did to his images. Jasmin passed away peacefully at his home in Los Angeles on May 24, 2025, at the age of 90. Todd Weaver (b. 1970) is an American photographer recognized for his expressive use of color and intimate portraits of artists and musicians. His work is distinguished by a bold and exploratory approach to color, which brings emotional depth and vibrancy to his images. Weaver began his career under the mentorship of established photographers including William Claxton, Ellen von Unwerth, Herb Ritts, Steven Klein, and Randee St. Nicholas. Developing his own distinctive style, he has created portraits of figures such as André 3000, Lita Albuquerque, Paz Lenchantin, Devendra Banhart, and Father John Misty, and collaborated with brands including Nike, Veuve Clicquot, and Cadillac. His first monograph, 36 (2018), features portraits taken with a vintage half-frame camera, emphasizing spontaneity and intimate moments. More recently, Weaver has focused on Southern California’s surf culture, creating atmospheric, analog portraits that explore the relationship between surfer and wave. Combining experimental film techniques with a strong compositional sensibility, Weaver has participated in several group exhibitions and has been selected multiple times for the American Photography Annual. His work will be included in an upcoming publication by Taschen. Image: Summer Evening Crowd, 2020 © Todd Weaver, courtesy of Fahey/Klein Gallery, Los Angeles

Running concurrently with The World of Louis Stettner at Les Rencontres de la Photographie in Arles, Across Two Worldsat The Hulett Collection offers an intimate look at Louis Stettner’s lifelong exploration of life on both sides of the Atlantic. Drawing from his time in New York and Paris, this special exhibition brings together photographs that capture the quiet poetry of everyday life — moments of human connection, resilience, and grace, seen through Stettner’s empathetic and unwavering eye. Whether documenting the bustling streets of Manhattan or the contemplative cafés of Paris, Stettner’s work transcends geography to reveal a universal, deeply human experience. Across Two Worlds reflects Stettner’s rare ability to merge the candid energy of American street photography with the lyrical sensitivity of the French humanist tradition. These works, spanning decades and geographies, celebrate photography’s power to find beauty and meaning in the ordinary. The exhibition coincides with the release of a new Photo Poche and Photo File monographs dedicated to Stettner’s work, as well as the major retrospective now on view in Arles — together offering a season of renewed appreciation for one of photography’s most soulful and enduring voices.

The Unending Stream is a two-part exhibition that showcases the thriving community of photographers 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. Laughlin’s seminal work, created between the 1930s and 1950s, is an important chapter in the long-storied relationship between New Orleans and photography. Following in his visionary footsteps, this exhibition focuses on emerging and underrepresented photographers who continue to focus on the South through poetic imagery. These photographers are visually defining the Crescent City in the twenty-first century. The Unending Stream celebrates the city of New Orleans’ continuing role as one of America’s most important cultural capitals while also highlighting the role that the arts have played in revitalizing the region for the past twenty years since Hurricane Katrina. The Unending Stream features works by photographers who explore themes similar to Laughlin’s of memory, decay and the supernatural, capturing mysterious beauty and forgotten places. Themes of place, time, family and identity are also woven within the exhibition. Each photographer brings a contemporary twist to the exhibition, creating work that provokes thought and conjures emotion. The first chapter of The Unending Stream exhibition features six photographers (Trenity Thomas, Kevin Kline, Jacob Mitchell, Brittany Markert, Thom Bennett and Tiffany Smith) who work in both analogue and digital photography. Trenity Thomas fuses art and fashion in his colorful portraits made against an urban background; Kevin Kline documents the gritty streets of his Bywater neighborhood in the midst of gentrification; Jacob Mitchell uses the computer to sublimely manipulate his hyper-colored architectural studies; Brittany Markert constructs sensual and psychological portraits that blend beauty and horror; Thom Bennett captures with a panorama camera the flatlands between New Orleans and Acadiana; and Tiffany Smith uses self-portraiture to explore the Caribbean diaspora. 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 exhibition sheds light on the current trajectory of photography being created in New Orleans today. Image: Kevin Kline, Two Sisters, Burgundy St., 2008, Gelatin silver print, 15 x 15 inches, Collection of the artist

Midwestern Nights is a collaborative exhibition by three photographers from Illinois: Robin Bailey, Jim Hill and Dave Jordano. This work explores the after-dark world of Midwest cities and towns. Each artist brings their unique vision to the project from Jordano’s look at surviving structures in transitional neighborhoods of Detroit, to Hill’s capturing the essence of small rural towns in Illinois and Iowa, and Bailey’s collection of vernacular scenes of the heartland. The night creates a distinctive atmosphere in these images, one that isolates the scene and allows for an uninhibited and contemplative view. There are stories in these images— stories of perseverance, fortitude and survival; and, though devoid of people, these images overflow with a human presence that is palpable. Image: Jim Hill

The Christopher Hyland Photography Collection at the Newport Art Museum invites viewers into the visionary worlds of some of the 20th century’s most influential photographers. Assembled through the discerning eye of textile designer and art collector Christopher Hyland, the exhibition features works by Edward Steichen, Edward Weston, Paul Strand, Shelby Lee Adams, Sally Mann, Henri Cartier-Bresson, Robert Mapplethorpe, André Kertész, and others, each offering a distinct vision of life’s fleeting moments. United by their gift for revealing the profound within the everyday, these artists elevate ordinary scenes into timeless narratives. Whether it’s Cartier-Bresson’s decisive moments, Mann’s haunting portraits, or Weston’s sensual still lifes, each photograph commands light, form, and emotion. Together, they explore photography’s paradox—the ability to freeze a moment while evoking a universe of feeling and meaning. As Ben Lifson observed, Hyland’s collection embodies this duality: these images offer both resolution and ambiguity, transforming moments into enduring narratives. They transcend documentation, becoming vessels for storytelling and introspection.

Anti-Blackness seems inescapably mixed into whatever context I place it into; literature, science, government, health, art… look into any “field” and see for yourself. My people have had to cry, scream, and fight for respect for centuries, and we still have not gained what we deserve. To move past the damage this has done to our society, we can’t simply deny our history—we must recognize it. We must acknowledge the many ways in which this country has perpetuated a racial hierarchy since these lands were first colonized and stripped from indigenous peoples, and Black people were stolen from their native land and brought to America. In BLACK SNAFU (Situation Niggas: All Fucked Up), I appropriate various depictions of Black people that I find throughout the history of cartooning and juxtapose them with photographs that celebrate and line up more authentically with my Black experience. The photographs I create vary in subject matter; I seek to include celebratory portraits, didactic still lives, and representational documentations of places rich in their relation to Black community, allowing me to fight back against the history of the racist caricature that I reclaim in my work. By combining these ambivalent visual languages, I intend to expose to viewers America’s deplorable connection to anti-Black tropes through pop culture while simultaneously celebrating the reality of what it means to be Black. About André – Raised in the Southern states of Tennessee and Texas, André Ramos-Woodard (he/ they) is a photo-based artist who uses their work to emphasize the experiences of marginalized communities while accenting the repercussions of contemporary and historical discrimination. His art conveys ideas of communal and personal identity, influenced by their direct experience with life as a queer African American. Focusing on Black liberation, queer justice, and the reality of mental health, he aspires for his art to help bring power to the people. Selected for Foam Museum’s Foam TALENT Award in 2024 and a two-time top-50 Finalist for Photolucida’s Critical Mass (in 2020 and 2023), Ramos-Woodard has shown their work at various institutions across the United States a beyond, including the Foam Museum–The Netherlands, Amsterdam, the Museum of Fine Arts Houston–Houston, Texas, Leon Gallery–Denver, Colorado, and FILTER Photo–Chicago, Illinois. He received his BFA from Lamar University in Beaumont, Texas, and his MFA at The University of New Mexico in Albuquerque, New Mexico. We are grateful to the Cummings Foundation for their support of the arts and the Griffin Museum. The Cummings Residency program highlights artists of diverse backgrounds and using their specific skill set, work to create a photographically based exhibition as a result of their connection to the Griffin Museum, Winchester and surrounding areas, while engaging in critical dialogues about art and culture with both the youth and adult community they inhabit. Using photography as a bridge to building relationships, the Cummings Fellow creates a series of images opening up the pathways to multicultural understanding and acceptance. The museum and its partners are creating a literacy program centered around imagery, using photography as the tool, working with professional artists to talk about their communities, cultures and new and shared origin stories.

This exhibition is the first US survey of the work of Kunié Sugiura, an artist whose boundary-defying engagement with the photographic medium spans over sixty years. Born in Nagoya, Japan, in 1942, Sugiura came to the United States in 1963 to study at the School of the Art Institute of Chicago, where she majored in photography. After graduation, she relocated to New York and has lived there ever since. Sugiura’s practice embraces a hybrid approach, blending various mediums and expressing her bicultural identity. The balancing of dualisms —Japanese/American, organic/human-made, and painting/photography — defines her work. Sugiura has stated that her cross-fertilization of photography with painting and sculpture partly stems from her desire that photography be taken seriously as an art form. The exhibition charts the arc of Sugiura’s long career, beginning with undergraduate work from her Cko series that reflects her sense of isolation as a foreign student in Chicago. Prints made after her move to New York in 1967 demonstrate her use of canvas as a support and new process of working on a large scale. Her Photopaintings from the 1970s take on multidimensional, sculptural qualities, pairing painted and photographic panels with wooden elements. Photograms — images made without a camera on light-sensitive material — that she first created in 1980, capture a wide range of subjects, including flowers and portraits of other artists. Sugiura’s compositions made from X-ray negatives in the 1990s and 2000s combine unrelated pieces from various sources that were cut and pasted together to create unique configurations. Throughout her career, Sugiura has willfully made artworks that “break with conventions and traditions of both painting and photography.” Despite this inherent rebelliousness, such gestures do not overwhelm Sugiura’s vision to create dynamic and original hybrid forms in which the whole is more than the sum of its parts. Image: Kunié Sugiura, Azalea, 1970

Throughout history, artists have been captivated by the moon — not only as a celestial body, but as a powerful and evocative symbol. Its soft, silvery glow has long been associated with romance, mystery, and the passage of time. In countless paintings, drawings, and prints, the moon has served as both muse and metaphor, casting its quiet light over lovers, dreamers, and solitary figures, offering an atmosphere of reflection, longing, and poetic solitude. This installation, drawn from the Museum’s collection of works on paper, explores the many ways in which the moon has been depicted across time and artistic styles. Sometimes it functions as a compositional anchor — a glowing orb balancing the sky or guiding the viewer’s eye across the scene. In other instances, it becomes a potent symbol: of change, of cycles, of melancholy, or even of hope. Artists use the moon not only to illuminate their subjects, but to shape mood and suggest deeper emotional or philosophical themes. The light portrayed in these works is never harsh. Instead, it’s soft, diffuse, and often reflective — bathing surfaces in a gentle radiance that contrasts with the sharp clarity of daylight. But the moon is not merely a source of light; it is also emblematic of night and its inherent darkness. It represents quiet, rest, and introspection, standing in opposition to the activity and energy of the sunlit world. By contrasting moonlight with daylight, these artworks evoke a wide range of emotional and symbolic states — from vitality to vulnerability, clarity to ambiguity, reality to dream. In this dialogue between light and shadow, presence and absence, we are reminded of the enduring power of the moon to stir the imagination and speak to the rhythms of the human experience.

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.

Featuring images made between 2022 and 2024, Natural Commodities draws a stark visual contrast between Earth’s untouched beauty and its transformation under industrial pressure. From the ancient, verdant rain forests of Washington State to massive cobalt mining operations in the Democratic Republic of the Congo, the exhibition charts what Burtynsky describes as “a continuum—from pristine ecosystems to the engineered terrains shaped by human need.” The exhibition includes new work from Burtynsky’s forthcoming series Mining: For the Future, offering a rare and timely look at the extractive industries shaping tomorrow’s green economy and the race to global electrification. This collection of images—many captured by drone and stitched into hyper-detailed, panoramic compositions—depict both devastation and regeneration, particularly in places like Türkiye, where large-scale erosion control and reforestation are changing the landscape once again. Also on view are majestic views of North America’s threatened wilderness: the Coast Mountains in British Columbia, Canada, where the shock of receding glaciers mark the frontlines of climate change; and Lake Mead in Nevada, whose reservoir has reached historic lows due to prolonged droughts paired with increasing urban demand. These images function as both documents and omens—urgent reminders of what we stand to lose if we continue to push nature too far. Natural Commodities reveals the extraordinary tension between awe and reckoning that has defined Burtynsky’s work for over four decades. Image: Çayırhan Coal Mine Tailings #1, Nallıhan District, Ankara Province, Central Anatolia, Türkiye, 2022 © Edward Burtynsky

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.

Curated by Samantha Johnston Carl Bower, Dana Stirling, and Emily (Billie) Warnock What Remains, an exhibition inspired by the 2025 selection for One Book One Denver, features three contemporary photographers whose images explore complexities of identity, fear, memory, and the solace that can be found through art. Grief doesn’t follow a straight line. Neither does memory. The Colorado Photographic Arts Center (CPAC) presents What Remains, an exhibition inspired by the 2025 selection for One Book One Denver—a citywide literary initiative led by the Denver Public Library. The yet-to-be-revealed book title pieces together memory and loss through the fragments of friendship, identity, and coming of age. The title’s author doesn’t write to seek resolution, but to hold on to all that is left. This exhibition features the work of Carl Bower, Dana Stirling, and Emily (Billie) Warnock—three photographers whose images carry the same quiet, contemplative power as the prose in this year’s One Book One Denver selection. Together, their work explores complexities of identity, fear, memory, and the solace that can be found through art. Bower’s intimate portraits, paired with raw confessions, confront the unspoken fears we rarely share. Stirling, the child of immigrants, constructs a visual journal that captures the silence and longing of a childhood shaped by cultural displacement. Warnock navigates queer life and love with fragile clarity, documenting expressions of self-identity, grief, and home. These photographs don’t seek to explain. They make space for what remains. Like this year’s One Book One Denver selection, they don’t offer closure. They offer presence. — Samantha Johnston, CPAC Executive Director & Curator Image: Venceas © Carl Bower

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

Since the mid-19th century, photography has served as a powerful tool for examining concepts of gender, sexuality, and self-expression. The immediacy and accessibility of the medium has played a transformative role in the gradual proliferation of homosocial, homoerotic, and homosexual imagery. Despite periods of severe homophobia, when many photographs depicting queer life were suppressed or destroyed, this exhibition brings together a variety of evidence to explore the medium’s profound role in shaping and affirming the vibrant tapestry of the LGBTQ+ community. In the Queer Lens exhibition, we openly acknowledge the complex history of the word “queer” in our wall text and talk about its reclamation by the LGBTQ+ community. In this context, it is not derogatory, but a word of inclusivity and empowerment. Additionally, “Queer” is gender neutral and includes those who are left out of LGBT identifiers (such as intersex). We use the word with intentionality, awareness, and respect. Image: Gay Activists at First Gay Pride Parade, Christopher Street, New York, 1970; printed 2021, Arthur Tress. Gelatin silver print. Getty Museum. Gift of David Knaus. © Arthur Tress Archive LLC

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.

Alchemy After the ballots were counted in 2024, winter set in with its diminishing light. Chris Walker turned to his studio and the wet plate collodion process to coax something luminous from the dark. Walker’s botanical studies move beyond the decorative, conjuring resilience from the dormant and the damaged. His subjects emerge from the margins: bare branches, browned leaves, and rejects from the farmer's market — a discarded holiday tree. In these overlooked fragments, Walker finds escape from the gathering noise through the transformative miracle of analog photography. About the process: Wet plate collodion is a 19th Century process combining silver nitrate and collodion for a moist, light sensitive surface that enabled positive images on metal sheets. As the U.S. Civil War approached, the process was perfected. More affordable than daguerreotypes, “tintypes” were sent home by soldiers from both sides of the divided nation. Their archival nature has proven remarkable—the images outlasting by more than 150 years the lives of those whose faces they preserve. A World Undone Paula Shur’s A World Undone illustrates how our world is being de-constructed and evolving into something new. Shur’s semi-abstract images provide a straight on look at this fragmentation. We see how the familiar is being splintered and rearranged intosomething uncomfortable yet inviting to explore. They are quiet meditations on a world pulling apart. Shur’s images are digital composites created by using portions of her work or pieces from family photos to construct something uniquely new. Her compositions are metaphors that speak to the idea that our world as we know it is fractured and turning into something unsettling but familiar. Image: Tree Fire 2 © Chris Walker

$3 Bill celebrates the contributions of LGBTQ+ artists in the last century. From pioneers who explored sexual and gender identity in the first half of the 20th century, through the liberation movements and the horrors of the HIV/AIDS epidemics, to today’s more inclusive and expansive understanding of gender, $3 Bill presents a journey of resilience, pride, and beauty. In the Queer Lens exhibition, we openly acknowledge the complex history of the word “queer” in our wall text and talk about its reclamation by the LGBTQ+ community. In this context, it is not derogatory, but a word of inclusivity and empowerment. Additionally, “Queer” is gender neutral and includes those who are left out of LGBT identifiers (such as intersex). In this exhibition, we openly acknowledge the complex history of the word “queer” in our wall text and talk about its reclamation by the LGBTQ+ community. In this context, it is not derogatory, but a word of inclusivity and empowerment. Additionally, “Queer” is gender neutral and includes those who are left out of LGBT identifiers (such as intersex). We use the word with intentionality, awareness, and respect. This exhibition is presented in English and Spanish. Esta exhibición se presenta en inglés y en español. Image: Eddie McClennon, Bobbie Laney (1st place winner for Best Costume), and Toni Evans at the Funmakers Ball, Rockland Palace, Harlem, New York, 1954. G. Marshall Wilson (American, 1905–1998) Digitized gelatin silver print Johnson Publishing Company Archive. Courtesy J. Paul Getty Trust and Smithsonian National Museum of African American History and Culture. Made possible by the Ford Foundation, J. Paul Getty Trust, John D. and Catherine T. MacArthur Foundation, The Andrew W. Mellon Foundation, and Smithsonian Institution, 2023.M.24. © J. Paul Getty Trust and Smithsonian National Museum of African American History and Culture.

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. 

Bridges span rivers, connect cities, and carry us over what once seemed impassable. Where once there was only a divide — a river too wide, a ravine too deep — now there is a line drawn through space. We drive over bridges, walk across them, sometimes without even thinking. Yet Michael Kenna impressively photographs these bridges stretching across the globe in a unique light of the feat of human construction through time.
 To open the fall 2025 season, Robert Mann Gallery is pleased to announce, The Bridges of Michael Kenna, on view from September 4 through October 18, 2025. Opening hours will take place on Thursday, September 4, from 6-8pm. An additional reception with the artist will be held on Friday, September 26, from 6-8pm. 

 Kenna’s first show with Robert Mann Gallery opened in 1997 around the time the movie, The Bridges of Madison County was released; a moving love story about a photographer on an assignment to shoot historic bridges. Kenna shares this fascination in capturing these structures, “Bridge structures are usually geometric and stationary with straight lines, verticals, horizontals and other angular constructs. The universe is constantly moving, flowing organic, uncontrollable and unpredictable. The abstract relationship between the two, almost like yin and yang, can be visually stunning and continues to fascinate and attract me.”
 The bridges in this exhibition cross over bodies of water, from Sydney Harbour Bridge, Study 1, Sydney, New South Wales, Australia, to Brooklyn Bridge, Study 1, New York City, USA carrying multiple lanes of traffic, trains, and possibilities. While other small bridges such as Canal Bridge, Banbury, Oxfordshire, England and Ponte dei Sospiri, Venice, Italy stretch a short distance suitable only for individuals to journey across. Each bridge featured in the exhibition has its own historical significance and the possibility of one day being replaced. Kenna beautifully captures the bridge’s story, often at dawn or dusk, along with often solidifying its place in the world. 
 What was once the end of the road becomes a place of crossing. What was once isolation becomes relationship. The landscape is no longer defined by separation, but by the possibility of reaching across. In The Bridges of Michael Kenna, the artist’s careful treatment of each composition is apparent from frame to frame, in which every detail is given its due consideration to express this relationship between the bridge and the land. The images in the exhibition represent over 50 years of Kenna’s exploration of this subject matter. With dozens of monographs and hundreds of solo exhibitions held around the world, Kenna is one of the most widely exhibited and beloved photographers working today. His work has been shown at the Tacoma Art Museum, the Palazzo Magnani Museum in Reggio Emilia, Italy, and Bibliothèque Nationale de France, to name a few. Kenna's photographs are included in many distinguished public collections including the National Gallery of Art, Washington, D.C.; Museum of Modern Art, New York; the San Francisco Museum of Modern Art; the Shanghai Art Museum; the Tokyo Metropolitan Museum of Photography; the National Museum of Modern and Contemporary Art, Seoul, Korea; the Museum of Decorative Arts, Prague; Museum of Art and Photography, Bangalore, India; and the Victoria and Albert Museum, London.

 The Bridges of Michael Kenna will be on view in conjunction with the artist’s exhibition, Japan: A Love Story, at the International Center of Photography from August 27 - September 28, 2025. Image: Brooklyn Bridge, Study 1, New York City, USA, 2006 © Michael Kenna

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 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).

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.

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

Zig Jackson: The Journey of Rising Buffalo brings together the performative and documentary approaches of photographer Zig Jackson, whose work sheds light on the everyday realities of Native American life. With a focus on community, sovereignty, and environmental respect, Jackson challenges misconceptions and reclaims Indigenous narratives through his lens. A member of the Mandan, Hidatsa, and Arikara tribes, Jackson grew up on the Fort Berthold Indian Reservation in North Dakota and attended several boarding schools, including the Intermountain Indian School in Utah. There, he forged lasting connections with peers from various tribes, realizing the shared struggles Indigenous communities face across the country. Jackson’s photography often engages with stereotypes to critique them. In some works, he dons a feathered headdress, performing exaggerated “Indian” tropes to expose their absurdity. In another series, he disrupts Western notions of land ownership by placing signs reading *“Entering Zig’s Reservation”* in public spaces, reclaiming landscapes that have long been sites of Indigenous displacement. His practice is deeply personal, serving as a visual archive of travels across North America, visits with friends, and everyday life on reservations. Through quiet yet powerful images, he explores complex social realities, including family structures, homelessness, veterans’ experiences, substance abuse, and access to natural resources. Blending humor with profound social critique, Jackson’s work offers an authentic and dynamic portrayal of contemporary Indigenous life. His photographs challenge marginalization while celebrating resilience, documenting both the hardships and the joys of Native communities with honesty and depth. Image: Zig Jackson (Mandan, Hidatsa, and Arikara Nation, b. 1957), Indian Man on Bus, 1994, from Indian Man in San Francisco. Inkjet print. Loan courtesy the artist, © 2025 Zig Jackson / Artists Rights Society (ARS), New York.

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)

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.

In Pictures for Charis, American photographer Kelli Connell reconsiders the relationship between writer Charis (pronounced CARE-iss) Wilson and photographer Edward Weston through a close examination of Wilson’s prose and Weston’s iconic photographs. Connell weaves together the stories of Wilson and Weston with her own and enriches our understanding of the couple from her contemporary Queer and feminist perspective. This exhibition features recent portrait and landscape photographs by Connell along with classic figure studies and landscapes by Weston from 1934–1945 one of his most productive periods and the span of his relationship with Wilson. Using Weston and Wilson publications as a guide, Connell and her partner at the time, Betsy Odom, traveled to locales where Wilson and Weston lived, made work, and spent time together creating new artworks in the process. Image: ​Betsy, Lake Ediza, ​2015, ​© Kelli Connell

Bruce Davidson was born on September 5, 1933 in Oak Park, Illinois, and studied photography at the Rochester Institute of Technology in Rochester, New York from 1951 to 1954, and Graphic Design at the School of Art, Yale University in 1955. During military service in Paris, Davidson met Henri Cartier-Bresson, one of the founders of Magnum Photos, and in 1958 became a full member. He worked as a freelance photographer for Life from 1958 to 1961. Davidson created such seminal bodies of work as Circus, Brooklyn Gang, and Freedom Riders. During this period of professional growth, the late Henry Geldzahler, former Curator of Modern Art at the Metropolitan Museum, New York, said of this work, “The ability to enter so sympathetically into what seems superficially an alien environment remains Bruce Davidson’s sustained triumph; in his investigation he becomes the friendly recorder of tenderness and tragedy.” This survey of thirty-six of Bruce Davidson’s seminal black and white silver gelatin photographic prints is supplemented with works by Cartier-Bresson, Robert Frank, Diane Arbus, August Sander, and Lewis Hine for comparison and contrast purposes and to demonstrate Davidson’s historical connection and affinity with these photographers’ works. Davidson’s photographs were produced in the mid-twentieth century as cultural phenomena like big top tent circuses in America were dying out, and as profound social and political changes were being ushered in by the civil rights movement. These changes were to affect American society for generations to come. In a 2015 interview, with critic Arthur Lubow, Davidson named some photographers he thought had taken the medium to “a new departure point”: Eugène Atget, Henri Cartier-Bresson, Robert Frank, and Diane Arbus. Frank, who was probably Davidson’s greatest stylistic influence, sought to portray scenes and people new to him. Davidson, on the other hand, spent months or years getting so close to what is portrayed in his photograph that it is seen and felt by the viewer as an insider would have experienced it. The photographer received a Guggenheim Fellowship in 1962 to document the American civil rights movement, later published as Time of Change. In 1963, the Museum of Modern Art in New York presented his early work in a solo exhibition. The first photography grant from the National Endowment for the Arts was awarded to Davidson in 1967. He spent two years witnessing the dire social conditions on one block in East Harlem, New York City. The resulting book, East 100th Street, was published by Harvard University Press in 1970. This work became an exhibition that same year at the Museum of Modern Art in New York, curated by John Szarkowski. Danny Lyons’ photograph, Greenwood, Mississippi, is a photo of Bob Dylan performing at a Student Non-Violent Coordinating Committee (SNCC) Freedom Concert on July 6, 1963. It provides insight into a song that was to define an era and Davidson’s photographs. A few months after the concert in Mississippi, Dylan composed The Times They Are a-Changin in September of that same year. The song and the album with the same name were released in 1964 by Columbia Records and became an anthem of change. The song, like Bruce Davidson’s photographs, is humanistic art of the highest order. Davidson’s photographs are documents of grand and intimate moments of history from 1958 to 1992 and like Dylan’s song have become essential for an appreciation of what was lost and what was gained as we approach the end to the first quarter of the 21st century. Image: © Bruce Davidson, American, born 1933, Two Women at Lunch Counter, New York, 1962, From the series Time of Change

What We’ve Been Up To: Landscape is a unique selection of photographs from the museum's collection that have never been shown to the public. Featuring acquisitions from the past 17 years since the Photography department was established in 2008, the exhibition represents the variety of ways landscape photographs help us see and appreciate other times and places and consider where the world has been and what it is becoming. Photographs are informally organized by theme or subject matter, such as Meghann Riepenhoff’s large camera-less image of water and ice, flanked by photographs of rivers and oceans by artist Masao Yamamoto and others. Intimate photographs of nature include works by Linda Conner and Terri Weifenbach as well as a hypnotically detailed tableau by Tanya Marcuse. Landscapes by Christina Fernandez, Patrick Nagatani and Zora J. Murff confront troubling conflicts in our collective history. America’s scenic beauty is celebrated in works by Marion Post Wolcott, William Henry Jackson, Mary Peck, and Abelardo Morell. Steve Fitch’s photograph of a radio tower announces the near-universal presence of technology. Challenges of living in a changing, unpredictable world are the subject of photographs by John Ganis, Frank Gohlke and others, while Henry Wessel, Jr. evokes the easy pleasures of road trips. Other pictures show more troubling aspects of the North American landscape, from the effects of natural disasters to dark moments in the history of slavery and conflicts with Indigenous people. All are bound together by the idea that landscape can serve as an autobiography of the people, societies, and natural forces that shape the world over time. Image: © Steve Fitch

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.

he 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.

Since 2007, Pixy Liao (廖逸君) has collaborated with her partner, Takahiro Morooka (諸岡高裕, nicknamed Moro), on a series of staged, often humorous self-portraits. These works wryly examine the power dynamics between artist and muse, prod at conservative gender roles, and document the evolution of their relationship. Pixy (born 1979 in Shanghai, China), an artist working in photography, installation, and performance, met Japanese-born artist and musician Moro in 2006 when both were international students in Memphis, Tennessee. Their creative partnership has grown and evolved over the years to include many projects including their music group, PIMO, which has released six albums to date. Pixy began the photographic series, known as Experimental Relationship, shortly after she and Moro met, with many of the works playfully referencing art history, film, music, and other artifacts of popular culture. She plans to continue it so long as they remain together. Presenting approximately 45 works that span the duration of this ongoing series, Pixy Liao: Relationship Material—the artist’s first exhibition in Chicago—celebrates the couple’s many ways of being and working together. As the title suggests, the show frames Pixy’s relationship with Moro as artistic material in itself, showing how this manifests not only in photographs but also in sculptures, videos, and PIMO. Through these works, Pixy chronicles and enacts efforts to “reach a new equilibrium” in a partnership that is both artistic and romantic, examining questions of fantasy, desire, and control. Image: How to build a relationship with layered meanings, 2008, Pixy Liao, Courtesy of the artist. © Pixy Liao

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

Spanning nearly the entire history of the medium, Funny Business: Photography and Humor offers a compelling view into the ways artists have utilized visual humor not only to provoke laughter and delight, but also as a means of resistance, an antidote to the heaviness of the world, and a way to interrogate and subvert norms and hierarchies. Drawn primarily from the collection of the Center for Creative Photography (CCP) at the University of Arizona in Tucson, the exhibition presents 70 photographs that showcase the mechanics of photographic humor, while examining the reasons for which artists throughout time have employed it as a strategy in their work. Featured artists include Liz Cohen, Steffi Faircloth, Jeff Mermelstein, Bucky Miller, Reynier Leyva Novo, among others. Funny Business is arranged in four thematic sections. All the World’s a Stage highlights slapstick and observational comedy through a constellation of early 20th-century gelatin silver prints and snapshots displayed in conversation with examples of canonical mid-20th century street photography. Inside Jokes charts the medium’s evolution in the 1970s, when art institutions began accepting and exhibiting photography as a legitimate art form. Featured works highlight photographers’ adoption of a tongue-in-cheek attitude toward their predecessors and the conventions and aesthetics of the medium itself. Context is Everything explores how subjects and photographic images can become absurd, ironic, and nonsensical when shown outside of their original contexts or in unexpected juxtaposition with one another. Comic Relief features the work of contemporary artists who use humor in a critical or subversive manner to explore issues of identity and belonging, politics, and general dimensions of contemporary life. Humor operates in their work as a means of resistance, a coping mechanism, a refusal to become cynical, or a way to subvert power structures and challenge stereotypes. Image: Jo Ann Callis, Parrot and Sailboat, 1980, 1980. Dye transfer print. Center for Creative Photography, University of Arizona: Purchase, 86.16.5. © Jo Ann Callis

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 museum’s photography collection originated in 1972, when Duke University Museum of Art purchased a portrait of artist Barbara S. Thompson by noted North Carolina photographer and educator John Menapace. Twenty years later, Duke University purchased its second photograph: Cindy Sherman’s Untitled #140, depicting a human-pig hybrid creature and part of the celebrated artist’s portrayal of female characters in classic fairy tales. The opening of the Nasher Museum in 2005 initiated a more focused approach to collecting photography building upon these two earlier acquisitions. Within its first decade, the museum acquired significant groups of works by Andy Warhol, Barkley L. Hendricks, and Mike Disfarmer, among many others, as it built a robust collection of national, international, and regional photography. More recently the Nasher has added over 2,000 photographs to its collection that allow us, for the first time, to chronicle a broad historical sweep of the medium from its dawn in the 1830s and 40s to more recent innovative, experimental approaches. A five-year donation of over 1,500 photographs by Linda and Charles Googe (A.B. ’84) has more than doubled the museum’s photography holdings and included works by the best-known practitioners from the nineteenth and twentieth centuries, such as Edouard Baldus, Ilse Bing, Henri Cartier-Bresson, André Kertész, Arthur Rothstein, Nadar, and Edward Weston. Coming into Focus: A Snapshot of Photography at the Nasher celebrates these gifts and other acquisitions, highlighting a sampling of gems and illuminating a bright future of continued collecting and presenting of photography in innovative and ambitious ways. Coming into Focus: A Snapshot of Photography at the Nasher was organized by Ellen C. Raimond, Associate Curator of Academic Initiatives and Marshall N. Price, Chief Curator and Nancy A. Nasher and David J. Haemisegger Curator of Modern and Contemporary Art., with assistance from Nasher interns, Charles Blocksidge, III (’25) and Jordan Moyd (Robertson Scholar ’26, University of North Carolina, Chapel Hill), and Ghita Basurto-Covarrubias (University of North Carolina, Chapel Hill, ‘26). This exhibition is made possible by The Nancy A. Nasher and David J. Haemisegger Family Fund for Exhibitions; the Frank Edward Hanscom Endowment; the Janine and J. Tomilson Hill Family; the Neely Family Fund; the E.T. Rollins Jr. and Frances P. Rollins Fund; the J. Horst and Ruth Mary Meyer Fund; and the K. Brantley and Maxine E. Watson Endowment Fund. Image: Genevieve Gaignard, The Quietest Room in the House, 2018. © Genevieve Gaignard. Image courtesy of the artist and Vielmetter Los Angeles.

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.

The National Gallery of Art presents Photography and the Black Arts Movement, 1955–1985, an exhibition exploring the work of American and Afro-Atlantic diaspora photographers in developing and fostering a distinctly Black visual culture and identity. The first presentation to investigate photography's role in the Black Arts Movement, a creative initiative comparable to the Harlem Renaissance in its scope and impact, which evolved concurrently to the civil rights and international freedom movements, the exhibition reveals how artists developed strategies to engage communities and encourage self-representation in media, laying a foundation for socially engaged art practices that continue today. Photography and the Black Arts Movement will be on view in the West Building from September 21, 2025, to January 11, 2026, before traveling to California and Mississippi. 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. This expansive selection of work showcases the broad cultural exchange between writers, musicians, photographers, filmmakers, and other visual artists of many backgrounds, who came together during the turbulent decades of the mid-20th century to grapple with social and political changes, the pursuit of civil rights, and the emergence of the Pan-African movement through art. The exhibition also includes art from Africa, the Caribbean, and Great Britain to contextualize the global engagement with the social, political, and cultural ideas that propelled the Black Arts Movement. "Working on many fronts—literature, poetry, jazz and new music, painting, sculpture, performance, film, and photography—African American artists associated with the Black Arts Movement expressed and exchanged their ideas through publications, organizations, museums, galleries, community centers, theaters, murals, street art, and emerging academic programs. While focusing on African American photography in the United States, the exhibition also includes works by artists from many communities to consider the extensive interchange between North American artists and the African diaspora. The exhibition looks at the important connections between America's focus on civil rights and the emerging cultural movements that enriched the dialog," said Philip Brookman, cocurator of the exhibition and consulting curator of the department of photographs at the National Gallery of Art. "Photography and photographic images were crucial in defining and giving expression to the Black Arts Movement and the civil rights movement. By merging the social concerns and aesthetics of the period, Black artists and photographers were defining a Black aesthetic while expanding conversations around community building and public history," said Deborah Willis, visiting cocurator, university professor and chair of the department of photography and imaging at the Tisch School of the Arts and founding director of the Center for Black Visual Culture at New York University. "The artists and their subjects helped to preserve compelling visual responses to this turbulent time and their images reflect their pride and determination." Image: James Barnor "Drum" Cover Girl Erlin Ibreck, Kilburn, London, 1966, printed 2023 chromogenic print image/sheet: 50 x 60 cm (19 11/16 x 23 5/8 in.) mat: 25 x 25 in. frame: 25 7/8 x 25 7/8 in. National Gallery of Art, Alfred H. Moses and Fern M. Schad Fund, 2025.26.3 © James Barnor / Courtesy Galerie Clementine de la Feronnière

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.

Organized by the National Portrait Gallery, London, this exhibition is an intimate and historic opportunity to see the extraordinary archive of recently discovered photographs taken by Paul McCartney between December 1963 and February 1964. Over the course of these three short months, the Beatles—Paul McCartney, John Lennon, George Harrison, and Ringo Starr—were propelled from being the most popular band in Britain to an unprecedented international cultural phenomenon.. The photographs in this exhibition, taken by McCartney with his own camera, provide a uniquely personal perspective on what it was like to be a Beatle at the start of Beatlemania—from gigs in Liverpool and London to performing on the Ed Sullivan show in New York for an unparalleled television audience of 73 million people.. Drawn from McCartney’s own personal archive, the majority of these images have never been seen before. They allow us to experience the Beatles’ extraordinarily rapid rise from a successful regional band to global stardom through McCartney’s eyes. At a time when so many camera lenses were on them, this perspective—from the inside—brings fresh insight to the band, their experiences, the fans, and the early 1960s.. Paul McCartney Photographs 1963–64: Eyes of the Storm has been organized by the National Portrait Gallery, London, England, in collaboration with Paul McCartney. It is curated by Sir Paul McCartney with Sarah Brown for MPL Communications and Rosie Broadley for the National Portrait Gallery. Image: Paul McCartney. Self-portrait. London, 1963. © 1963-1964 Paul McCartney under exclusive license to MPL Archives LLP

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.

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

American, Born Hungary: Kertész, Capa, and the Hungarian American Photographic Legacy traces the extraordinary artistic journeys of Hungarian-born photographers who shaped the visual landscape of the 20th century. Against backdrops of war, exile, and reinvention, these artists migrated from Hungary to Berlin and Paris, and ultimately to New York, Chicago, and Los Angeles, where they redefined American photography. This exhibition offers the first comprehensive exploration of their odyssey—spanning two world wars and the 1956 Hungarian Revolution—and the remarkable artistic contributions that emerged along the way. Featuring over 150 striking and surreal photographs, the exhibition captures the poetic interplay of light and shadow, the grit of urban life, the allure of celebrity, and the ever-present promise of America. Included are works by renowned photographers such as André Kertész, Nickolas Muray, Martin Munkácsi, and György Kepes, alongside lesser-known artists whose images have become iconic. Among them is Robert Capa, a pioneer of modern photojournalism, whose harrowing images of D-Day at Omaha Beach remain among the most defining photographs of World War II. This exhibition fills a missing chapter in art history, revealing the profound impact of Hungarian émigrés on American photography, particularly in major urban centers. László Moholy-Nagy, whose avant-garde experiments at the Bauhaus in Germany laid the foundation for Chicago’s “New Bauhaus,” emerges as a key figure in this transatlantic movement. Meanwhile, John Albok’s Depression-era street photography captured New York life with raw emotion, and on the West Coast, André de Dienes’ portraits of Hollywood icons, including Marilyn Monroe, played a pivotal role in shaping the Golden Age of cinema. From evocative street scenes and high-fashion imagery to haunting war photography and cinematic portraiture, the exhibition showcases the work of more than thirty Hungarian-born artists who transformed photography in the 20th century. American, Born Hungary is organized by the Virginia Museum of Fine Arts and curated by Alex Nyerges, VMFA Director and CEO, in collaboration with Károly Kincses, founding director of the Hungarian Museum of Photography. The exhibition premiered at the Museum of Fine Arts in Budapest on April 5, 2024, to inaugurate its newly renovated galleries, before traveling to the Virginia Museum of Fine Arts in October 2024. The George Eastman Museum serves as the final stop for this landmark exhibition. Image: Nickolas Muray (American, b. Hungary, 1892–1965), Joan Crawford and Douglas Fairbanks Jr., Santa Monica, California, 1929. Gelatin silver print. George Eastman Museum, gift of Mrs. Nickolas Muray. © Nickolas Muray Photo Archives

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

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.

Erica Baum: The Bite in the Ribbon—A Paper Show invites viewers into a world where text and image converge in unexpected ways. Through the careful selection, transformation, and reinterpretation of printed materials, Baum constructs a poetic interplay of language and form, encouraging both deep looking and reading. This exhibition presents a dynamic juxtaposition of her early and ongoing projects alongside her latest work, including never-before-seen pieces. At the heart of the show, Dog Ear, displayed in the Potter Peristyle, exemplifies Baum’s signature method of repurposing found books. By folding pages at precise angles, she creates surprising interactions between words and images, generating new narratives and abstract compositions from existing texts. This simple yet radical intervention challenges traditional notions of reading, inviting fresh interpretations with every fold. In the Project Gallery, Baum’s recent series, Patterns and Fabrications, explore the aesthetics of fashion and craft through printed media. Patterns focuses on the striking geometries, colors, and textual fragments found in mid-century sewing pattern designs, while Fabrications expands this investigation to include materials from magazines, catalogs, and books on fashion and craft. By incorporating advertisements and coupons, Baum reframes the domestic and commercial imagery embedded in these everyday objects, offering a meditation on material culture and visual storytelling. Through these interwoven series, The Bite in the Ribbon—A Paper Show highlights Baum’s ongoing fascination with the interplay between print, language, and image, revealing the hidden beauty and meaning within overlooked materials. Image: Erica Baum (American, b. 1961), Wrought Iron, from Fabrications, 2024. Inkjet print. Courtesy of the artist and Bureau, New York. © Erica Baum

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.

California has long been considered a land of opportunity, offering a promise of prosperity that drove westward expansion from the Gold Rush era to its transformation into an epicenter of technological innovation. Since the 19th century, photographers have used the camera to bear witness to the continual construction of the California landscape as well as the destructive environmental forces that threaten its habitability. The photographs in this exhibition chronicle these cycles of urban settlement, including the building and renewal of San Francisco before and after the 1906 earthquake and fire, the construction of the Golden Gate Bridge and Bay Bridge, and the development of San Francisco’s South of Market neighborhood. Above all, the works reveal how periods of growth and decline have always been part of the story of Northern California, and attest to the continued resilience of this land and its inhabitants. Image: Untitled (Howard Street, now South Van Ness, between 17th and 18th Streets, San Francisco), 1906 © Arnold Genthe

Born in Inglewood, California in 1977, Cara Romero is known for dramatic fine art photography that examines Indigenous life in contemporary contexts. An enrolled citizen of the Chemehuevi Indian Tribe, Romero was raised between contrasting settings: the rural Chemehuevi reservation in Mojave Desert, California, and the urban sprawl of Houston, Texas. Informed by her identity, Romero’s visceral approach to representing Indigenous and non-Indigenous cultural memory—both collective history and lived experiences—results in a blending of fine art and editorial styles. Her visual storytelling brilliantly challenges dominant narratives of Indigenous decline and erasure and disrupts preconceived notions about what it means to be a Native American, showing the diversity within Indigenous nations and communities. Organized by the Hood Museum of Art, Cara Romero: Panûpünüwügai (Living Light) is the first major solo exhibition exploring the narrative artistic practice of the Chemehuevi photographer and presents more than 50 works Romero created between 2013 and 2024. The exhibition features new and never-before-seen photographs, site-specific installations, large scale photographs, and iconic views across five thematic sections. Image: Cara Romero, Devil’s Claw No. 1, 2025, archival pigment print. © Cara Romero. Image courtesy of the artist.

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 George Platt Lynes enriched creative life in New York City in the 1930s and 1940s with his ambitious and multifaceted art. To be photographed by Lynes was to enter a world of refined style, liberated desire, and artistic possibility. A self-taught craftsman of the medium and an intuitive master of studio lighting, he created thousands of images both for commercial use and private consumption, imbuing each with love and candor. His image repertoire, which is long overdue for consideration in its fullness, has since exerted an undeniable influence on subsequent generations of artists and on various trajectories of American visual culture. This exhibition features some 120 photographs revealing the full scope of the artist’s work in the studio—from lavish fashion imagery for Vogue and Harper’s Bazaar and commercial work for luxury brands to his stylized portraits of celebrities, his dance photography for the New York City Ballet, and his inimitable male nudes. At their very best, Lynes’ images transcend genre and artfully disclose the intimacies of his life—from friends and lovers to artists, writers, poets, choreographers, and the many dynamic figures of the era who influenced Lynes and were influenced by him. Drawn from private and public collections, including the Kinsey Institute at Indiana University, the show represents a rare opportunity for museum visitors to explore in depth the life and career of one of the most consequential photographers of the twentieth century. The exhibition is organized by Eric Crosby, Henry J. Heinz II Director, Carnegie Museum of Art, and Vice President, Carnegie Museums of Pittsburgh. Image: George Platt Lynes, Surrealist Nude, ca. 1935, Carnegie Museum of Art, The Henry L. Hillman Fund, © Estate of George Platt Lynes

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.