Photo Exhibitions

Soft Tremulous Light, Leslie Hewitt’s exhibition at Perrotin New York, unfolds as a poetic meditation on time, memory, and the layered nature of perception. Accompanied by the text Angles of a Landscape by Elleza Kelley, the presentation forms a dialogue around the concept of supermodernity, a term coined by French anthropologist Marc Augé to describe the acceleration and excess of contemporary experience. Hewitt approaches this theme through her distinctive visual language, merging photography, sculpture, and installation into compositions that feel both deliberate and open-ended. Spanning over two decades of artistic inquiry, the exhibition gathers works from seminal series including Riffs on Real Time, Birthmark, and Rough Cuts, alongside a new collaborative project with artist and life partner Jamal Cyrus titled Rhombus or Humming Song (1 - 4 - 5). Presented as a minimal constellation, these works invite viewers to navigate the shifting boundaries between the personal and the collective, the literary and the material. Hewitt’s installations often juxtapose archival imagery with sculptural elements, evoking a sense of suspended narrative where histories—both intimate and shared—are continually reassembled. Throughout her career, Hewitt has developed an approach that resists linear readings of time. Her works instead unfold in rhythms and echoes, reflecting how memory and cultural identity persist through fragmentation. The restraint of her formal compositions—carefully balanced objects, photographs, and negative space—suggests that meaning resides as much in what is omitted as in what is shown. Soft Tremulous Light coincides with Hewitt’s exhibition at the Norton Museum of Art, curated by Lauren Richman, further affirming her position as one of the most thoughtful voices in contemporary art. Through her precise and contemplative practice, Hewitt continues to redefine how we experience the intersections of image, history, and the passage of time. Image: Leslie Hewitt. Birthmark, 2022. Bronze, boulder. 18 x 32 x 23 inches. Photographer: Don Stahl. Courtesy of the artist and Dia Art Foundation.

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

ROSEGALLERY is pleased to present BOUND AND UNBOUND: The Photographic Book and the Print. While photographic prints often stand at the forefront as iconic images in their own right, the photobook reveals the broader scope of a series, situating singular photographs within a larger narrative. The exhibition highlights two distinct ways of experiencing photographs: the book through the intimate act of turning pages, and the print through its scale and material presence. This interplay underscores the artistry of sequence, design, and craft while reaffirming the enduring significance of the photographic print. Together, singular prints and photobooks work in tandem, each holding their own weight and offering distinct yet complementary ways of experiencing photography. By staging the books and prints together, BOUND AND UNBOUD examines the unique proposition that the book itself is not simply a vessel, but an additional artistic form that is dialogue with the photographic print. This exhibition becomes both a library and a gallery, a meditation on the multiple lives of photographs, and a testament to the enduring role of publishing in shaping the field of contemporary photography. The Six by Six series, published by Nazraeli Press, occupies a rare and important place in the history of photographic publishing. Conceived as a set of finely crafted, limited-edition books paired with original prints, Six by Six is at once a publishing project, a collector’s art object, and a collective portrait of contemporary photography. With prints showcased on the walls, they expand outward, breaking free from the bound format; images are seen in a new scale, where gesture, surface, and detail can be apprehended differently. This doubling, the page and the wall, reveals photography’s ability to inhabit multiple registers. Among many artists featured in the exhibition are works by Thomas Demand, Marilyn Minter, Catherine Opie, Carrie Mae Weems, and Alec Soth, whose work moves fluidly between the printed page and the collectible print, this shift of context underscores how each format amplifies distinct qualities of the image. In the book, photographs converse in sequence, forming narratives or visual poems. On the wall, they assert themselves as singular presences, suspended in space. BOUND AND UNBOUND: The Photographic Book and the Print also features books from Luhz Press, Editorial RM, Schirmer/Mosel, and more, continuing the dialogue between the photobook as something democratic and portable, and the print as a singular, collectible entity.

In the remote western Brooks Range of Alaska, permafrost is thawing at an unprecedented rate and exposing the pyrite-rich bedrock to water and oxygen. As a result, rivers and tributaries now flow bright orange with oxidized iron and sulfuric acid. Canadian photographer Taylor Roades (b.1990) captures this transformation through aerial and on-the-ground documentation. The work that scientists do in these watersheds is crucial to our understanding of climate change and our ability to mitigate its effects on some of the world's most at-risk places. - Taylor Roades

The camera and the car revolutionized modern life in America and have been intertwined since the very beginning. This photography exhibition displays work by artists shaped mainly by car travel in the 20th century, exploring how the automobile and the road mediated what the photographers discovered. Themes include Depression-era documentary work, roadside culture, utopian impulses of escape, and fascination with the desert Southwest. Significant figures include Walker Evans, Dorothea Lange, Edward Weston, Robert Frank, and Lee Friedlander. Vernacular photographs as well as books will also be on view. The exhibition will include a significant display of work by Emil Otto Hoppé, whose 1926 travels generated the first comprehensive survey of the American landscape. In Search of America: Photography and the Road Trip is curated by Eric Lutz, associate curator of prints, drawings, and photographs.

In Common Practice celebrates the work of participants from two vibrant CPW artistic communities: Lesly Deschler Canossi’s Monthly Crit Group and the Project Salon led by Charles Purvis. Both programs, which began in 2024 and have each hosted three artist cohorts to date, embody the artists’ ongoing commitment to developing their work and craft in collaboration with fellow creators through conversation and inquiry. These initiatives foster connections that extend beyond CPW, creating lasting networks of mutual support and artistic exchange within the broader creative community. The exhibition offers a variety of styles, techniques, and perspectives, highlighting individual expression and creativity while celebrating the collective journey of artistic development. Each work reflects not only personal vision but also the enriching influence of peer engagement and supportive critique that ripples outward, strengthening the wider artistic ecosystem. Participating artists: Jessica Bard Joseph Callender Jessica Chappe Allison DeBritz Cicero deGuzman Jr. Daniel Georges Jackson Porter Hardin Tara Holmes Dallas Houston Inna Ivanovskaya Simon Keough Alon Koppel Flynn Larsen Nancy Macnamara Kathy McFarland Jeff Mertz Matt Moment Harry Murzyn Will Nixon Tom Picasso Carla Rhodes Adina Scherer Alicia Schirrmeister Valerie Shaff Kelly Sinclair Pamela Takif Rich Tomasulo Anastassia Tretiakova Erika Norton Urie This presentation includes new photographs originally commissioned by Aperture and Documentary Arts.

In conjunction with the 2025 Filter Photo Festival, Filter Photo is pleased to presnt A layin’ on of hands..., a solo exhibition of work by Alayna N. Pernell. In A layin’ on of hands..., Alayna N. Pernell explores the cultural and emotional significance of care in the lives of Black women, drawing inspiration from a phrase she often heard growing up in Alabama. In her community, "a laying on of hands" symbolized the transmission of power, healing, and blessing through touch—a love language Pernell has carefully incorporated into her visual practice. Through photography and archival exploration, this exhibition reflects on how the act of care shapes the lives and experiences of Black women. Our Mothers’ Gardens delves into historical photographic research, offering a broader societal perspective, while for the record intimately explores personal narrative through the act of mending photographs. Together, these works form a nuanced portrayal of the interconnectedness between the historical and personal facets of care—revealing how care transcends individual experience to become a deeply rooted cultural and historical force. Pernell envisions this exhibition as both a memorial and an honorary space— one that remembers and honors the lives of Black women. These works collectively reveal that care is not just a personal practice, but a force that continues to shape the lives of Black women and the communities they sustain. About the Artist Alayna N. Pernell is an interdisciplinary artist, writer, and educator from Heflin, Alabama. She is currently the Associate Lecturer of Photography and Imaging at the University of Wisconsin-Milwaukee. She is also a Content Editor for Lenscratch, an online photographic arts publication, and founder of Surely You Know, an archival photographic initiative dedicated to returning displaced photographs to black families. In May 2019, she graduated from The University of Alabama where she received her Bachelor of Arts in Studio Art with a concentration in Photography and a minor in African American Studies. She received her MFA in Photography from the School of the Art Institute of Chicago in May 2021. Pernell’s artistic practice considers the gravity of the mental well-being of Black women concerning the physical and metaphorical spaces they inhabit. She has provided lectures about her work at various spaces including Texas Tech University, Colorado Photographic Arts Center, The Sheldon, and Syracuse University, among others. Her work has been exhibited in various cities across the United States, including FLXST Contemporary (Chicago, IL), Refraction Gallery (Milwaukee, WI), JKC Gallery (Trenton, NJ), RUSCHWOMAN Gallery (Chicago, IL), Colorado Photographic Arts Center (Denver, CO), Griffin Museum of Photography (Winchester, MA), among several others. Her work is currently held in private collections at the Museum of Contemporary Photography and the Illinois State Museum. Pernell was named the 2020-2021 recipient of the James Weinstein Memorial Award by the School of the Art Institute of Chicago Department of Photography, the 2021 Snider Prize award recipient by the Museum of Contemporary Photography, a 2023 Mary L. Nohl Fellowship Emerging Artist recipient, and a 2024 gener8tor Art x Sherman Phoenix Artist. She was also recognized on the Silver Eye Center of Photography 2022 Silver List, Photolucida’s 2021 Critical Mass Top 50, and a 2021 Lenscratch Student Prize Honorable Mention, among others.

In conjunction with the 2025 Filter Photo Festival, Filter Photo is pleased to announce, On the Shelf, an open call for a photo book exhibition, juried by Tim Carpenter. With an open theme, On the Shelf seeks well-conceived, original, and compelling photo books. Eligible entries include all types of photo books, whether self-published, handmade, or commercially published. Books by or featuring the work of more than one artist are also eligible. Books must have been completed within the last three years.. A Juror’s Choice and Honorable Mention will be awarded. The Juror’s Choice Award comes with a $500 cash prize. The cost to submit to On the Shelf is $25.00 for a single photo book project. Please note: artists will be responsible for the cost of shipping books to and from Filter Space gallery if accepted into the exhibition.

Pace is pleased to present The Weight of Hope, a monumental exhibition by Robert Longo, in New York from September 11 to October 25. As a sequel to the Milwaukee Art Museum’s recent presentation of Robert Longo: The Acceleration of History—curated by Margaret Andera, the institution’s Senior Curator of Contemporary Art—Longo will take over Pace’s entire 540 West 25th Street gallery, exhibiting 26 drawings, three films, three sculptures, and 33 studies across the flagship’s first, second, third, and seventh floors as well as its exterior. The Milwaukee Art Museum’s new catalogue for The Acceleration of History, featuring contributions from Andera, artist Rashid Johnson, and journalist Tom Teicholz, will be released during the run of Pace’s show and available to purchase on-site at the gallery. A Pace Live performance featuring musician Rhys Chatham, along with an opening reception for the exhibition, will take place on the evening of Wednesday, September 10, and the show will also be open to visitors from 6 to 8 p.m. on Thursday, September 11. The Weight of Hope will highlight Longo’s enduring engagement with social and political happenings in his work across mediums, bringing together large-scale charcoal drawings, films, sculptures, and studies—including private and institutional loans—created between 2014 and 2025. This landmark show at Pace will open on the heels of the artist’s first full-scale Scandinavian survey, on view at the Louisiana Museum of Modern Art in Denmark through August 31, and his presentation of a new multimedia work at Art Basel Unlimited in June. Over the past decade, the artist has increasingly turned his focus to images from the media, including coverage of the January 6 United States Capitol attack and the Black Lives Matter movement. Building up his hyper realistic, black-and- white charcoal drawings in layers with painstaking attention to light and shadow, he creates highly detailed works based on news photography as well as images of protests, civil unrest, and war on the Internet. Transforming his source images into epically scaled, emotionally resonant compositions, he reflects on power, violence, and national mythmaking. His works slow down the “image storm” and “culture of impatience” in which we live through the historic and venerable medium of charcoal, encouraging viewers to take time to absorb and process the turbulence of the current moment—both in the US and around the globe—while also proposing hope for the future. “As artists, we’re reporters,” Longo said in a recent interview for his Louisiana Museum of Modern Art exhibition. “Our job is to report what it’s like to be alive now. We’re one of the few professions left in the world that has the opportunity to try to tell the truth. I feel a moral imperative to preserve the images of our shared dystopic present with the hope that something will one day change.” Born in 1953 in Brooklyn, New York, Longo was deeply influenced by social and political issues from an early age. He graduated high school in 1970, weeks after the Ohio National Guard massacred several students at Kent State University who were protesting the US invasion of Cambodia—including one of Longo’s former classmates, whose body was shown in a Pulitzer Prize-winning photograph that shocked the world. In 1973, Longo enrolled at Buffalo State College, where he trained as a sculptor and began his decades-long friendship with fellow artist Cindy Sherman. The two moved to New York together in 1977, and, throughout the 1980s, Longo frequently performed in New York rock clubs in Menthol Wars, his band with Richard Prince. During this period, he also designed album covers for numerous bands and directed music videos for New Order and R.E.M. In his first solo exhibition at Metro Pictures in New York in 1981, Longo showed his charcoal and graphite Men in the Cities drawings, works that became icons of the “Pictures Generation.” This group, which includes Longo, Sherman, Prince, Louise Lawler, and David Salle, is known for critiquing the anaesthetizing power of consumer capitalism and the indoctrinating effects of mass media through their art. Working with diverse materials at increasingly ambitious scales over the course of his career, Longo cemented himself as a preeminent artist of his generation. Today, his work can be found in the collections of major museums around the world, including The Museum of Modern Art, Whitney Museum of American Art, and Brooklyn Museum in New York; the Los Angeles County Museum of Art and Museum of Contemporary Art, Los Angeles; the National Gallery of Art in Washington, D.C.; the Milwaukee Art Museum; the Walker Art Center in Minneapolis; Tate in London; the Stedelijk Museum in Amsterdam; and many other international institutions.

Pace is pleased to present an exhibition of work by photographer Paolo Roversi at its 508 West 25th Street gallery in New York. Opening on September 12, during New York Fashion Week, and running through October 25, this focused retrospective will feature works produced by Roversi between the early 1990s and the present, highlighting the artist’s relationships with his many collaborators in the fashion industry. Roversi’s upcoming exhibition with Pace in New York—his first solo show with the gallery since 2019—will present an overview of his storied career through a selection of photographs created over the past 35 years.“Every portrait is a meeting, an exchange, a mutual intimate confession,” Roversi has said of his work. The show will shed light on Roversi’s legacy as the artist behind some of the most iconic fashion images of our time. Drawing inspiration from the work of August Sander, Robert Frank, and Diane Arbus, Roversi developed a distinctive style that is deeply influenced by the Byzantine architecture and rich cultural history of his birthplace, Ravenna, Italy. “Paolo's photography is timeless,” Sylvie Lécallier, curator Roversi’s 2024 exhibition at the Palais Galliera in Paris, said in an interview last year. “It is detached from the spirit of the times, from the ephemeral trends of fashion. It is located both at the heart of fashion and at the edge.” Made with Polaroid film and mostly taken in his Parisian studio, Roversi's dreamlike, enigmatic images are imbued with a classical sensibility. His studio, he has said, “is a place for the chance, the dream, the imaginary to prevail. I give these forces as much space as I can.” In addition to his collaborators in the fashion world, Roversi has recently joined forces with his friend and fellow artist Sheila Hicks. For these works, which will figure in Pace’s exhibition, no discussion is had between the two artists regarding a direction for the final work, each knowing and respecting the other’s practice. Born in Ravenna, Italy in 1947, Roversi discovered his passion for photography during a 1964 family holiday in Spain— upon his return from the trip, he built a darkroom in the basement of his home. He began his career in 1970, taking photojournalism assignments from the Associated Press. In 1973, at the invitation of photographer and ELLE art director Peter Knapp, Roversi moved to Paris, where he has lived and worked ever since. After a nine-month period assisting British photographer Lawrence Sackmann, whom he cites as an influential teacher, Roversi started shooting independently with small commissions for ELLE and the band Depeche Mode, gaining wider recognition with a Dior beauty campaign in 1980 and ultimately forging his reputation as one of the industry's leading photographers by the mid- 1980s. As model Guinevere van Seenus, who has worked with Roversi for nearly three decades, has said, “Having your portrait taken is more than just looking at the camera, [Paolo] creates the space for the person to [emerge]." Today, Roversi’s work can be found in museum collections around the world, including the Museum of Modern Art in New York; the Getty Museum in Los Angeles; and the National Portrait Gallery in London. He has had major exhibitions around the world—in recent years, at the Museo d'Arte della città di Ravenna, Palazzo Reale in Milan, the Palais Galliera in Paris, the Multimedia Art Museum in Moscow, and Dallas Contemporary in Texas—and has published numerous books, including Paolo Roversi: Palais Galliera (2024), Lettres sur la lumière (Gallimard, 2024), Des Oiseaux (Éditions Xavier Barral, 2023), Paolo Roversi – Studio Luce (Museo d'Arte della città di Ravenna, 2020), Natalia (Stromboli, 2018), and Nudi (Stromboli, 1999).

Fraenkel Gallery is pleased to present Katy Grannan: Mad River, an exhibition of new photographs made in Northern California’s Humboldt County, where Grannan has recently been living and working. In the ongoing portrait series, on view for the first time, Grannan depicts subjects who reflect the independent spirit of an area known for the privacy and seclusion it offers. Often building relationships with her subjects, Grannan explores the connections between self-presentation and place, creating a kind of collaborative fiction. This will be the gallery’s sixth exhibition of Grannan’s work since 2006. The gallery will hold a public reception with the artist on Saturday, September 13, from 2-4pm, concurrent with the reception for Peter Hujar: The Gracie Mansion Show Revisited. Densely forested and largely rural, Humboldt County has been called a place where people go to disappear. Grannan first came to the area in 2023 and began photographing people she met through methods she knew, using Craigslist ads and fliers posted on local bulletin boards to find models. Her subjects are eager to be seen, and to collaborate with Grannan for reasons as varied as the individuals themselves: an autistic teenager, a circus performer, an actress, a queer farmer, a man and his goat. Over time, Grannan’s network has expanded as subjects refer friends and roommates, offering a cross-section of a particular community. In a place that has long attracted nonconformists of different types, many of the people Grannan photographed are part of the area’s different creative circles, and many identify as genderqueer. Grannan made her first portraits more than twenty years ago, in series such as Poughkeepsie Journal and Sugar Camp Road, where she found subjects through newspaper ads. Since then, social media and ubiquitous digital cameras have reshaped the experience of being photographed, and Grannan’s subjects today innately understand how they appear to her camera. In these photographs, Grannan focuses on ambiguous gestures, capturing the spaces between poses. Several images are set in a studio with bright red carpet, where subjects flirt with the language of fashion photography while subverting its rules. Others are set at the beach, in a forest, and in the shallow water of the Mad River. In a place known for its magnificent redwoods and dramatic coastline, the landscape is quiet in Grannan’s images, leaving the focus on people while revealing the outlines of the place that shapes them. Image: Morgan, Arcata, CA, 2025 © Katy Grannan

In celebration of the year-long Greene Fellowship program, RedLine is delighted to announce two solo exhibitions featuring the 2025 Greene Fellows: Aesthetic Impermanence by Alex Branch, and Artificial Geologies by Phillip David Stearns. Guest curated by George Bolster, Curator at the Shelley & Donald Rubin Foundation. In this time of continuous attacks on science in favor of origin stories and the projections of fantasies on reality, many artists—including Stearns and Branch—have once again become fascinated by it, reflecting its research in their aesthetic practices. While Alex Branch and Phillip Stearns presentations might not immediately seem to share many correlations, it is a trust and experimentation in scientific subjects and narratives that unites them. Alex Branch’s recent practice conflates science in the form of an ongoing study of entropy, with a poetic sensibility evident in metaphoric visual narratives. Aesthetic Impermanence features her works in a broad variety of media including photography, stop motion animation and sculpture. Collectively, they investigate time, cycles of life, the bodily fragility, and the ephemerality of objects. Humans exact their will on the world through physical strength. While it has the illusion of permanence, it is temporary. For Branch, a sculptor who for a period of time lost that faculty, it must have been an impossible prospect for the longevity of her practice. This mortalizing event resulted in a dream, where the artist’s limbs were buried in the icy surface of a mountain top. Another outcome is an ongoing range of works including photographs Suspended Animation, Liminal Thaw, and Artifact, and the sculpture When It’s Darker Than It Is Now, And the Snow Is Colder, all 2025. Each depicts her appendages and/or blocks of ice in various stages of liberation. This direct interfusing of humans with nature is also evident in works such as Passing Through You Like Wind Through A Wind Chime a sculpture in a dress form made from dandelion seed puffs, and a corresponding stop motion animation film The Foreignness of What You No Longer Are of a woman’s hair covered in gradually blooming dandelion stalks. Branch’s practice is ultimately one of flux: every element is in a state of change; time-based, shapeshifting, transforming. Through foregrounding these factors, she visually communicates the impossibility of stasis in nature. Image: Alex Branch, Liminal Thaw, 2024, Photographic print on hahnemuhle rag paper. Courtesy of the artists.

The Gallery at Leica Store San Francisco is delighted to present Summertime // Love, a solo exhibition by renowned photographer Mark Steinmetz, on view from September 1 through October 31, 2025. With an eye attuned to fleeting gestures and the quiet theater of everyday life, Steinmetz has spent decades creating photographs that feel both intimate and timeless. This exhibition brings together selections from his celebrated Summertime series, with tender portraits and languid moments steeped in the haze of youth, alongside images made during his travels across the globe. From sun-dappled afternoons in American suburbs to shadow-lined streets in faraway cities, his photographs speak in a language of patience and empathy, capturing both the universal and the particular, the unrepeatable moment and the enduring essence of place.

Joseph Bellows Gallery is pleased to announce its upcoming solo exhibition, Kate Breakey: In Pursuit of Light, with an opening reception on September 20th, from 6-8pm. The exhibition will feature a salon-style installation of Breakey’s color photographs of moths. Each pigment print on display is uniquely framed by the artist, drawing out the subtle details of the nocturnal creatures with pastel and pencil, and continuing the artist’s established tradition of hand-painting the surface of her photographic prints. In her monumental moth portraits, the exquisite form and pattern of these seemingly caped insects are showcased by enlarging their features to hundreds or even thousands of times their size, celebrating the unique details and elegant shapes. Moths are in the insect Order Lepidoptera, and share this Order with Butterflies. There are some 160,000 species of moths in the world, compared to 17,500 species of butterflies. In the United States, there are nearly 11,000 species of moths. The artist states, “My fascination with moths began long ago, perhaps because they go unnoticed and are somewhat unloved. They are primarily nocturnal and often drab—not as colorful or iconic as butterflies—but they are staggeringly beautiful if you look closely enough”. Her depictions follow a lineage of natural history and scientific illustration, and art photography, with an affinity for the work of naturalist illustrators Maria Sibylla Merian (1647-1717), John James Audubon (1785-1851), and botanical photographer Karl Blossfeldt (1865-1932). A passionate advocate for conservation, Kate Breakey invites us to reflect on the unseen splendor of the living world and the dire need to protect it before it vanishes. Her work reminds us to recognize how inextricably interconnected and dependent we are on the natural world. Kate Breakey's work is held in many public collections, including The Australian National Gallery in Canberra, the Center for Creative Photography in Tucson, the Museum of Photographic Arts in San Diego, the Austin Museum of Art, the Museum of Fine Arts, Houston, and The Wittliff Gallery of Southwestern & Mexican Photography. Monographs by the artist include: Small Deaths, Flowers/Birds, Painted Light (a career retrospective that encompasses a quarter century of image making), and Las Sombras / The Shadows.

All About Photo presents ''Blueprint' by Benita Mayo, on view throughout October 2025. BLUEPRINT Memory is unreliable, and time has a way of bending the truth. I have always been on ajourney to unearth and examine the stories that live within me—some through my own experience, but most through inheritance. When Daddy suddenly passed in 2020, the tectonic plates of my life forever shifted. In an instant, I knew life would never be the same. As I find myself longing to understand the past, the impermanence of memory is palpable. I feel as if I’m racing toward an invisible finish line. My parents were born in Virginia, a state with an indelible imprint on America’s most painful and pivotal chapters: the rise of slavery, the Civil War, and the long struggle for civil rights.Over 350,000 men, women, and children were sold from Richmond’s auction block. Virginia was the capital of the Confederacy, and the Fall of Richmond marked the end of the CivilWar. Later, during a time of “massive resistance,” a neighboring county chose to close its public schools rather than integrate them. This was the Virginia into which my father was born. History and politics shaped my family’s story. They directly influenced how we were raised.The most pervasive feelings I remember from childhood were fear and loneliness. We lived with trauma, sorrow, silence, and deep wounding. But at the heart of it all, there was love—and a steadfast hope that tomorrow could be better than today. Toni Morrison, in The Bluest Eye, urges us not to “forgive and forget,” but to “remember and do better.” Too often, shame and embarrassment silence truth. But only through declaration and revelation can truth and insight rise. Only then can the cracks begin to mend, and healing begin. Much of what I have struggled with throughout my life has roots in collective trauma. In mysearch to understand what happened to me, I’ve spent 1,571 hours in therapy. It has takendecades to identify the cycles, to stop the bleeding, to clean the wound, and to begin thework of healing. For any wound to heal, this must come first. Then, in time, new tissueforms—a foundation for new skin that is stronger, more resilient. Through words and pictures, I recount the fierce determination of a man caught in the web of history. The deck was stacked against him. But he made a way out of no way. The calmness of the landscape conceals the quiet outrage, the mourning, and the sacred commemoration.

LACP is thrilled to announce a solo exhibition by Matthew Finley, whose work imagines the world as it should have been: A world where no queer person feels ashamed for who they love, who they are and how they want to present themselves. In this moment, when people in power insist on marginalizing, isolating and denouncing queer communities, LACP insists on elevating love and acceptance. Matthew Finley’s work imagines the world as it should have been: A world where no queer person feels ashamed for who they love, who they are and how they want to present themselves. In this universe, family support of one’s love is a given, rather than a possibility, or, we could say, an impossibility. In his poetic photographic projects, Finley provides coordinates for how life in this world would be. This solo exhibition, which depicts several series from the past decade, chronicles how Finley reimagines found images and objects, encouraging his staged subjects to discover the joy of nature, as well as a self-consciousness that never seeks to conceal or mask itself, visualizing how we package ourselves for others and the emotional states that result. Whether in fictive family albums or expansive analog projects, his photographic perspective remains intimate and vulnerable. Finley positions male bodies in compositions that echo photographic histories, in which the male subjects become a focal point of the viewing eye, a source of fascination and desire–and that desire quietly comes to the fore to insist on its rightful place. The emotional burden at the core of these works informs their shapes, perspectives, light and configurations. They are both haunting and haunted, charting a path from rejection to liberation by way of friendship and love. Desire, in these works, becomes a core element of vision; whether it is the desire to be close to another body or the desire to be fully accepted. In that sense, Finley’s work negotiates lived experiences and offers them as an invitation for the viewer, to become an active participant; re-imagine relationships and their histories alongside those captured in the frame, and insist on joy and love as an antidote for judgment, exclusion and isolation in our current world. Image: hoto by Matthew Finley, We couldn’t stop kissing on our wedding day. 2024, glitter and varnish on archival pigment print from vintage found photograph.

Geoglyphs are ancestral symbolic forms, etched into the ground with dry-stone lines, cleared furrows, and tamped soil. Created by Indigenous communities as ritual acts, they embody communal cosmologies across the landscape—a shared vision of the Cosmos. Often aligned with constellations or natural features—and most legible from above—they weave culture, Land, and the heavens.” This photographic investigation is a personal reflection on human values and how they are carved into the Earth’s body. I have traversed South America’s mining territories for fifteen months in search of meaning. As an architect expanding my practice into the realm of the visual arts, I have sought to engage with the spiritual dimensions of our epoch, immersing myself in monumental voids that descend into the Earth’s depths. From the air and from the ground, what emerged transcended the commodification of minerals for the energy transition: these voids exist as testaments to humanity’s aspirations. The chronicles of modernity are inscribed across the Planet’s surface. Sacred Lands have become kingdoms of accumulation, empires of extraction. These new cosmotechnic terrains are the geoglyphs of our time—monuments to the values we pursue. - Lorenzo Poli

Casemore Gallery presents Daido Moriyama: Dog and Man, a new exhibition of iconic and more recent images by legendary Japanese photographer Daido Moriyama. This exhibition focuses the city of Tokyo as seen through the constantly sprinting Moriyama’s lens in his latest color and black-and-white works, in addition to some of his iconic images from the 60s and 70s. Known as a master of snapshots, Daido Moriyama, one of Japan’s preeminent photographers, began his career in the 1960s, and achieved initial notoriety as one of the members of Provoke photomagazine. Their style, which came to be described as “are, bure, boke” (rough, blurry, out of focus), sent shockwaves through the photography world and created nothing less than a new lingua franca of photography, with its grainy, high-contrast, kinetically composed snapshots of a post-war Japan rapidly transforming itself. Moriyama described their work in simple terms—“Japan was moving fast, and we wanted to reflect that in our work.” Dog and Man presents a selection of Moriyama’s early Provoke-era pictures. They depict Tokyo’s bustling and gritty streets and alleys, women’s legs in fishnet tights photographed in closeups that approach abstraction, and people young and old, adapting in the aftermath of a war that irrecoverably opened and changed their society in ways shocking and thrilling. Centering the show is a mural-size gelatin silver print of what is perhaps Moriyama’s most famous and enigmatic image, “Stray Dog,” In the decades following his early notoriety, Moriyama has never stopped working, never stopped exploring and pushing boundaries of what the camera can show and say, and never stopped documenting his restless journey in envelope-pushing photobooks. The more recent images are represented in the show in black-and-white gelatin silver prints and rarely seen color pigment prints. They reflect Tokyo as an ever-alluring subject for Moriyama, a city where history and modernity both collide and coexist in ceaseless transformation. Taken together, the fullness of these works show a revolutionary photographer who became a master photographer, still stirred by a city that fuels his revolutionary spirit as he continues his effort to reach, in his words, “the end of photography.”

This exhibition brings together work of three seminal photographers: Harry Callahan, Kenneth Josephson, and Ralph Eugene Meatyard. Each explored the expressive potential of in-camera multiple exposures to evoke the energy and complexity of nature. Harry Callahan (1912–1999) was a pioneering figure who taught at the Institute of Design in Chicago (1946–1961) and later at the Rhode Island School of Design (1961–1977). His work has influenced generations of photographers and helped further the art of photography. Included in the exhibition are two innovative works: Royal Oak, Michigan (1945), made by moving the camera horizontally between exposures on the same negative of a willow tree. Multiple Exposure Tree, Chicago (1956), made by rotating the camera in a circular motion between exposures of on the same negative. Callahan once reflected, “I was doing photography to find something—which is different.” He also explained, “What I have observed is that when a student or a person makes a picture which really surprises you, it is because that person has found something out about himself.” Kenneth Josephson (b. 1932) studied under Callahan and Aaron Siskind as a graduate student at the Institute of Design (1958–1960) after getting his undergraduate degree from the Rochester Institute of Technology, where he studied under Minor White. After graduating in 1960, Josephson taught at The School of the Art Institute of Chicago for almost forty years and influenced generations of artists. Josephson was an early figure in conceptual photography. His innovative explorations often used photography to comment on itself and our perception. Inspired by Callahan’s multiple exposure work and encouraged by the atmosphere of experimentation at the Institute of Design, Josephson titled his graduate thesis An Exploration of the Multiple Image. He cited that the harmonic polyphony in music and streams of consciousness in literature excited him to the possibilities of expression with “…multiple images on a single sheet of film exposed within the camera.” He sought to expand “the expressive vocabulary of photography.” Though he utilized some of Callahan’s techniques of camera position movement, Josephson also made exposures with varying degrees of focus while maintaining a fixed film-plane, creating ethereal images that seem to reveal dimensions beyond human sight. This exhibition features four rare vintage prints from this early period of his career (1959–1961). Ralph Eugene Meatyard (1925–1972) was an optometrist and an artist. Initially working in Chicago, Meatyard moved to Lexington, Kentucky, where he became involved with the Lexington Camera Club. There, he was mentored by photographer (and later curator) Van Deren Coke who introduced Meatyard to the concept that “the camera sees even beyond the visual consciousness.” In 1956, Coke encouraged him to attend a two-week photography seminar organized by Henry Holmes Smith at Indiana University. Meatyard found inspiration in the work and ideas of the presenters, Smith and Aaron Siskind and especially Minor White, who introduced him to Zen philosophy. Meatyard’s growing engagement with Zen merged with his knowledge of optometry and optics, and shaped much of his work, notably the series No-Focus, Light on Water, Zen Twigs, and Motion-Sound. It is noteworthy that Meatyard had expertise in strabismus, a condition that can cause double vision, when considering his Motion-Sound series, which involves horizontal, vertical, or circular camera movements between exposures on the same negative. Meatyard began his Motion-Sound series in 1967, the same year he met Thomas Merton, the Trappist Monk, writer, poet, theologian, and activist. Merton, known for his advocacy of interfaith dialogue and Eastern philosophies, including Zen, became a close friend of Meatyard until Merton’s untimely death in December 1968. In 1967, Meatyard also met writer and environmentalist Wendell Berry and began collaborating on a project on the Red River Gorge, which resulted in the publication of The Unforeseen Wilderness in 1971. Another literary friend of Meatyard’s, Guy Davenport, refereed to the Red River Gorge as a “primeval forest” and which was also the place where Meatyard’s ashes were scattered after his death from cancer in 1972. The exhibition features a 15-print sequence from the Motion-Sound series titled Common Open Spaces and Footpath Preservation Society (1969). Meatyard was introduced to sequencing by Minor White and intuitively understood the importance of narrative in images. The title is nonsensical and thus encourages the viewer to use their imagination to interpret the meaning of the work. Though made during the time Meatyard was photographing in the Red River Gorge, it is unclear if these images were made there as well. They are dark and haunting and vibrate with energy even though the photographs were made late in the year when much of the foliage had died. In the forward of Ralph Eugene Meatyard: A Fourfold Vision (Nazraeli Press, 2005), photographer Emmet Gowin recalls meeting Meatyard in 1968 and being introduced to the Motion-Sound series: “…Gene instructed me that it would be more useful to think in terms of Vibration, or Visible Sound.” Gowin later reflected, “Everything in these photographs reminds us that all of nature depends on its proper pulse.” For the finest overview of Ralph Eugene Meatyard’s artistic career, I highly recommend Barbara Tannenbaum’s Ralph Eugene Meatyard: An American Visionary (Akron Art Museum/Rizzoli, 1991). Additionally, Cynthia Young’s interview with Guy Davenport in Ralph Eugene Meatyard (International Center of Photography/Steidl, 2004) has great first-hand accounts of Meatyard. Also, Emmet Gowin’s introduction in Ralph Eugene Meatyard: A Fourfold Vision (Nazraeli Press, 2005), provides a personal perspective by a great artist on the Motion-Sound series. For a wonderful dive into some of Meatyard’s other work, I highly recommend Episode 33 of The Expert Eye podcast, Twist Endings by Aimee Pflieger. I will forever remain grateful to James Rhem whose collegiality and his scholarly work on Meatyard (Ralph Eugene Meatyard: The Family Album of Lucybelle Crater and Other Figurative Photographs, DAP 2002 and Ralph Eugene Meatyard, Nathan, Collection Photo Poche, 2000) has contributed significantly to the understanding of one of my favorite artists. Image: Kenneth Josephson, Chicago, 1961

James Cohan is pleased to present Portrait, an exhibition of new work by Teresa Margolles, on view from October 10 through November 1, 2025, at the gallery’s 48 Walker Street location. This is Margolles’ third solo exhibition with James Cohan. The gallery will host an opening reception with the artist on Friday, October 10, from 6-8 PM. Portrait features a monumental installation comprising 735 photographs of individuals from the trans+ community in Mexico and the United Kingdom. Margolles cast the participants’ faces in plaster to create individual improntas, imprints or masks. Photographed at a 1:1 scale, the casts often bear traces of makeup, facial hair, or skin serving as poignant reminders of each subject’s physical presence. Through this act of preservation, Portrait honors the individuality of every participant, unveiling a deeply human archive, forever immortalized. Created with the participants of the artist’s Fourth Plinth commission Mil Veces un Instante (A Thousand Times in an Instant) in Trafalgar Square, London, Portrait uses a minimalist, grid-like format reminiscent of Margolles’ earlier works to create a serial rhythm that both unifies and differentiates the many faces. The structure echoes the language of architecture and order, yet within this, each face interrupts the possibility of repetition. This visual tension between sameness and specificity, anonymity and self, drives the emotional force of the installation. The grid does not flatten the identities it holds; instead it frames them in a space where they can be seen clearly, powerfully, side by side, not as statistics or symbols, but as people. In Margolles’ words, “Every face has a story attached.” Portrait serves as a tribute to Karla, a singer who was one of the artist’s dear friends. In December 2015, Karla was murdered in Juárez, Mexico, and her murder remains unsolved today. She was a fixture of the trans community. While casting the improntas, Margolles created a suite of Polaroid photographs that serve as both physical artifacts and visual testaments to the profound exchanges she had with the sitters. Each session unfolded as a space for testimony beginning with Margolles speaking of her friend Karla, to whom the project is dedicated, and opening a space for the participant’s own story to emerge. The Polaroids, intentionally manipulated by the artist to reveal glitches, multiplications and distortions, hold aura not only as singular physical objects but as vessels that capture the full presence, life, and spirit of each individual.

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

Featuring: Katina Zentz • Amy Toensing • Maansi Srivastava • Erin Schaff • Ana Elisa Sotelo van Oordt • Allison Robbert • Astrid Riecken • Amanda Andrade-Rhoades • Valerie Plesch • Rosa Pineda • Leah Millis • Jacquelyn Martin • Melina Mara • Anna Rose Layden • Olga Jaramillo • Evelyn Hockstein • Carol Guzy • Tierney Cross • Arwen Clemans • Bonnie Cash • Allison Bailey • Jocelyn Augustino • Céline Apollon Women Photojournalists of Washington (WPOW) is a volunteer-run non-profit organization dedicated to educating the public about the role of women, and those who identify as women, in visual journalism and fostering their professional success. Each year, WPOW curates a traveling exhibition consisting of the work done by its members over the past year.. Image: © Carol Guzy

In the Apsáalooke (Crow) language, the word Áakiwilaxpaake (People of the Earth) describes Indigenous people living in North America, pointing to a time before colonial borders were established. In this exhibition, curated by the Apsáalooke artist Wendy Red Star, artists from throughout what is now called North America—representing various Native nations and affiliations—offer diverse visions, building on histories of image-making. Some of the artists presented in Native America: In Translation are propelled by what the historian Philip J. Deloria describes as “Indigenous indignation”—a demand to reckon with eviction from ancestral lands—while others translate varied inflections of gender and language, as well as the impacts of climate change, into inventive performance-based imagery or investigations into personal and public archives. “The ultimate form of decolonization is through how Native languages form a view of the world,” Red Star notes. “These artists provide sharp perceptions, rooted in their own cultures.” Wendy Red Star (born 1981, Billings, Montana) is a Portland, Oregon–based artist raised on the Apsáalooke reservation. Her work is informed both by her Native American cultural heritage and by her engagement with many forms of creative expression, including photography, sculpture, video, fiber arts, and performance. An avid researcher of archives and historical narratives, Red Star seeks to recast her research, offering new and unexpected perspectives that are inquisitive, witty, and unsettling. Red Star holds a BFA from Montana State University, Bozeman, and an MFA in sculpture from the University of California, Los Angeles. Red Star’s first major monograph, Delegation, is copublished by Aperture and Documentary Arts. This exhibition is adapted from “Native America,” the Fall 2020 issue of Aperture magazine, guest edited by Wendy Red Star. It is organized by Aperture and made possible, in part, with generous support from the National Endowment for the Arts. Image: Rebecca Belmore, "matriarch," 2018, from the series "nindinawemaganidog (all of my relations)." Photograph by Henri Robideau. Courtesy of the artist.

The photo-based work of Louviere+Vanessa draws on Southern Gothic traditions. They have developed a style innovatively using mixed media and photography. Their latest work, Dust of the Stars, delves into the delicate interplay between earthly life and the cosmos. Each piece is finished with a gilt varnish and homemade bioplastics, infusing the work with a subtle luminosity that is a reminder of the divine spark within all matter, connecting the mundane with the transcendent Our latest series “Dust of the Stars” explores the intrinsic connection between the celestial and the earthly. We have created a unique medium by combining bone and water to form handmade bio plastics, symbolizing the organic and the intangible. These images represent what the natural world is made of: bone, water, cartilage, the essence of life and a symbol of fluidity and change. Bone and water then come together again to fuse these images into a state of permanence, something the living world is not afforded. L+V 2025 This collection delves into the delicate interplay between human life and the Cosmos; with Carl Sagan’s poetic assertion that we are all make of “Star Stuff” as inspiration. These photographs came to be from a time of intense personal transformation, V’s ongoing struggles with major spinal surgeries and the continuous challenges and changes she faces. Vanessa and her father handmade the frames of all our past work and with his passing, we chose to leave the art unframed but still include him by adding a trace of his ashes into each piece… star stuff. Instead the pieces are floating off the wall with magnets, giving them room to change their form as if they were alive. - L+V 2025 Louviere + Vanessa (Jeff Louviere and Vanessa Brown) make their home and art in New Orleans. Their work combines the mediums and nuances of film, photography, painting and printmaking. They use Holgas, scanners, 8mm film, destroyed negatives, wax and blood. Since they began showing professionally in 2004, they have been in over 50 exhibits and film festivals in America and abroad. They are included in the collections of the Museum of Art | Houston, the Photomedia Center, the New Orleans Museum of Art, the Ogden Museum of Southern Art, as well as the film archive for Globians International Film in Potsdam Germany, Microcinema in San Francisco, and the George Eastman House. In addition to producing their innovative still images, Louviere + Vanessa experiment in moving pictures. They have created the first movie, consisting of 1,900 frames, shot with a plastic Holga camera. Based on that film, they shot the animation sequence for Rosanne Cash’s short film, “Mariners & Musicians”, which had its world premiere at the Tribeca Film Festival. They were included in the Australian Photography Biennale. Image: Rime, 2025, 14 x 20”, homemade bio plastic and gold paint, unique variant edition of 3

Hauser & Wirth is honored to present its first New York City exhibition devoted to the work of Sir Don McCullin CBE, lauded internationally as one of the most significant photojournalists of our time. Coinciding with his 90th birthday, McCullin’s most comprehensive US presentation to date brings together over fifty works, as well as seldom seen archival materials and historical ephemera. ‘A Desecrated Serenity’ offers a deep look at both the beauty and brutality of McCullin’s expansive archive. From the gritty unfiltered images taken on the battlefield and in postwar Britain to painterly European vistas and meticulously crafted still lifes, the exhibition reveals the twin forces that course through and characterize McCullin’s oeuvre: an innate and profound compassion for humanity and exceptional mastery of composition and process. ‘A Desecrated Serenity’ chronicles McCullin’s remarkable seven-decade career, including his seventeen-year tenure as special contract photographer for The Sunday Times, when his assignments took him to the frontlines of war across Greece, Vietnam, Biafra, Bangladesh, Northern Ireland and Beirut. It was during this time that he captured searing images such as ‘A shell-shocked US Marine, Hué’ (1968). This widely circulated photograph shows an American soldier gripped by quiet distress during the brutal battle to retake Hue City—one of the Vietnam War’s fiercest conflicts—his intense expression capturing the war’s deep personal toll. ‘A Desecrated Serenity’ presents these harrowing images alongside personal objects that speak to the extraordinary risks McCullin faced in the field, most notably his Nikon F camera that absorbed a bullet during combat. McCullin’s deep, hard-won sense of empathy, shaped by his youth living through poverty and violence in East London, is evident in these images and objects. Examples of photographs taken during McCullin’s formative years, portraits such as ‘The Guvnors in their Sunday Suits, Finsbury Park, London’ (1958) and stark industrial landscapes––reflecting the grim realities of crime and unemployment in Northern England in the 1950s and 1960s––serve to demonstrate the photographer’s innate ability to capture sorrow and dignity in equal measure, finding poetry within bleakness, serenity within desecration. The exhibition also delves into the work McCullin made during his personal travels across India, Indonesia and the Sudan, where he often turned his lens to local communities, everyday rituals, celebrations and architecture. Intimate compositions such as ‘India, The Great Elephant Festival, The River Gandak’ (1965) transcend a straightforward documentary practice and engage the viewer through their emotional charge, a result of McCullin’s empathetic exchange with his subjects. In the late 1980’s, McCullin turned his lens toward more peaceful subjects—the landscapes of France, Scotland and England, in Somerset, where he had been evacuated to as a child during the Blitz and where he now makes his home. Rendered in richly tonal black and white, these painterly depictions of the English countryside—the place the artist himself has described as his greatest refuge—offer an exquisitely personal and poignant meditation on solitude, memory and the longing for stillness. They capture wild, windswept vistas that echo the emotional resonance of McCullin’s earlier reportage, revealing nature not merely as an idyllic escape but as a site of quiet reckoning. The same chromatic and emotional gravity carries over to a selection of still lifes inspired by the work of Flemish and Dutch Renaissance masters, as well as images of Roman statuary evolving from his ‘Southern Frontiers’ series, McCullin’s 25-year survey of the cultural and architectural remains of the Roman Empire. Imbued with both awe and unease, these images, like much of McCullin’s oeuvre, inhabit a space between beauty and brutality, evoking the psychological weight of history seen through the photographer’s unflinching eye and compassionate gaze. Image: Don McCullin, Catholic youths escaping from CS gas, Londonderry, Northern Ireland, 1971, Courtesy the artist and Hauser & Wirth

Yossi Milo is pleased to announce Samuel Fosso’s debut solo exhibition with the gallery, which opens to the public on Wednesday, September 3, 2025, with a reception from 6-8 PM. This is Fosso’s first solo exhibition in New York in more than two decades, and spans more than thirty years of his practice, showcasing works from his series 70s Lifestyle and African Spirits. The exhibition follows the unveiling of an installation of the artist’s photographs in the Metropolitan Museum of Art’s newly renovated Michael C. Rockefeller Wing earlier this year; the exhibition also precedes the artist’s inclusion in Ideas of Africa: Portraiture and Political Imagination, a survey of African studio photography at the Museum of Modern Art curated by Oluremi Onabanjo and opening on December 14, 2025. Over his decades-long career, Cameroonian-Nigerian photographer Samuel Fosso (b. 1962; Kumba, Cameroon) has deployed self-portraiture to innovate on storied traditions of studio photography from West Africa and beyond. Since the debut of Fosso’s work on a global stage when he was awarded First Prize at the Rencontres de la Photographie in Bamako, Mali in 1994, the artist has used his practice as a conduit for questions central to identity: How can self-representation reclaim African identity from colonial imagery? How is Fosso’s personal history reflected in collective history? And, critically, how does photography assist in resisting erasure? Collector and author Artur Walther writes in his foreword for AUTOPORTRAIT, a 2020 monograph of the artist’s work: “Since the days of his experimental self-portraits, made as a teenager in the 1970s in a commercial studio in Bangui, the Central African Republic, [Fosso] has constantly explored the mythmaking potential of the camera. In his self-portraits, he amplifies himself and yet becomes someone else entirely.” Across all his work, and beginning with his earliest series 70s Lifestyle (1975-78), Fosso intuitively pulls back the curtain, collapsing subject and subjectivity by depicting himself, the photographer. 70s Lifestyle was incepted in 1975 at Photo Studio Nationale, the photography venture the artist opened at just thirteen, three years after fleeing from Nigeria’s civil war to Bangui, the Central African Republic. After hours busy with customers taking headshots, portraits, and passport photos, Fosso would photograph himself with the last few frames in a roll of film to send to his grandmother in Nigeria. Over time, the practice took on the capricious qualities of a true artist’s process. In an interview with the late Okwui Enwezor, curator of the 56th Venice Biennale, Fosso shared: “Sometimes when I made photographs I was not satisfied with, where I didn’t feel beautiful inside, I would cut up the negatives instead of printing them… I did not know I was making art photography. What I did know is I was transforming myself into what I wanted to become.” Fosso’s early interest in photography was driven by his own exclusion from photographic record: as a child, Fosso, partially paralyzed, disabled, and displaced, was not pictured until he was ten years old. Eventually, this erasure would spell out the social value of representation to the artist, and self-portraiture would show a way to enter himself into an archive with agency. In the vintage black-and-white self-portraits of 70s Lifestyle, Fosso shows his keen understanding of the fashion of the time, of his body, and of the formal qualities of the photographs themselves. Every image varies despite their consistent elements: figure, outfit, backdrop, lights. The trappings of the studio are transfigured by Fosso into shapes influenced by imported magazines and popular African singers. The artist screens himself behind dividers, dresses up and down, holds props, and, most critically, looks directly into his camera’s lens. This produces a gestalt that reflects a pop sensibility and uses the commercial as a site of metamorphosis. 70s Lifestyle makes the processes inherent to studio photography self-aware and selfreferential, and brings Fosso and the viewer into a mutual contract of observation. Fosso would continue this reflexive notion of spectatorship would continue in the following decades, which over time would continue to expand in the scope of its inquiry. The artist’s landmark series African Spirits (2008) orients his practice of self-depiction towards a politically-minded act of channeling. Across fourteen stark monochrome images, Fosso casts himself as figures key to African and diasporic histories. By inhabiting visages like Angela Davis, Miles Davis, Martin Luther King, Jr., Patrice Lumumba, Nelson Mandela, Tommie Smith, Malcolm X, and more, the artist connects a web of historical movements into a unified arc of Black liberation on a global scale. The series was initially conceived as an investigation into the global impact of slavery, and grew into an inspirational review of figures committed to human dignity and the reclamation of culture. Ultimately, it sought to correct a problem of institutional underrepresentation. Though concerned with history, each of these images is only a partial restaging of its source, a détournement from icon into iconography. Fosso strips away the backgrounds behind each subject, lending each composition a graphic quality. Streamlined and simplified, these figures become the symbolic forms they take in collective memory. Fosso’s oeuvre becomes an evaluation of the deep significance of photography in the modern era, from the historic to the contemporary; from the documentary to the constructed. A thread emerges in tracing the evolution from 70s Lifestyle through African Spirits: an emergence of the self-portrait as something more, an advancement of concern from the personal to the historical. In an almost atavistic process, Fosso harnesses this essential power of photography to show collective and historic truths. Works by Samuel Fosso are held in permanent collections around the globe, including the Solomon R. Guggenheim Museum; Metropolitan Museum of Art; Museum of Modern Art; Studio Museum in Harlem; Los Angeles County Museum of Art; J. Paul Getty Museum; San Francisco Museum of Modern Art, and the Museum of Fine Arts, Houston; as well as the Musée des Beaux-Arts; Tate Modern; Victoria & Albert Museum; Musée National d’Art Moderne; Centre Pompidou; Fondation Louis Vuitton, and Deutsche Bank, among others. Fosso has mounted solo exhibitions at institutions including the Walther Collection; National Portrait Gallery; Princeton University Art Museum; Museum der Moderne; Museo de Canal, and Jack Shainman Gallery, among others. In 2023, the Menil Collection, presented a solo exhibition of Fosso’s entire African Spirits series. Fosso has exhibited work in prominent group exhibitions internationally, including at the International Center of Photography; Art Institute of Chicago; Fotomuseum; Barbican Art Gallery; Museum of Contemporary Art; Kiasma Museum of Contemporary Art; Museum of Contemporary Art; Stephen Friedman Gallery, and Gagosian Gallery. The artist has been awarded prizes such as the Prix Afrique en Creations in 1995; First Prize for photography at the Dak’Art Biennale de l’Art Africain Contemporain, Dakar, Senegal in 2000, and Deutsche Börse Photography Foundation Prize in 2023. Fosso lives and works between Bangui, Central African Republic and Paris, France. Image: Samuel Fosso, Autoportrait, From the series 70’s Lifestyle, 1975–1978 © the artist and courtesy Yossi Milo, New York

Fahey/Klein Gallery is pleased to present Paul Outerbridge: Photographs, a landmark exhibition celebrating the visionary work of Paul Outerbridge (1896–1958), one of the most resourceful and provocative photographers of the twentieth century. This exhibition brings together a rare selection of Carbro prints, Silver Gelatin Photographs, and Platinum Prints, tracing the evolution of a modernist whose daring vision helped redefine the possibilities of photography through Cubist experimentation and radical abstraction. Outerbridge emerged in the 1920s as a bold innovator, transforming ordinary objects, such as milk bottles, collars, eggs, into fractured Cubist constructions of light and form. His platinum and silver gelatin prints reduced subjects to intersecting planes and geometric rhythms, revealing a structural beauty aligned with the avant-garde movements of his time. These works positioned him among artists and contemporaries such as Marcel Duchamp, Man Ray, and Edward Steichen, and demonstrate his embrace of Cubism’s challenge: to fracture reality and reassemble it as pure abstraction. In the 1930s, Outerbridge turned to the technically demanding Carbro process, creating some of the most vibrant and enduring color photographs of the era. Here too, abstraction was his guiding principle. Color became a tool not just for description, but for reimagining form, flattening, faceting, and animating planes into startling compositions that rival the abstract canvases of Picasso and Kandinsky. His photographs were hailed as both artistic and technical sensations. As Outerbridge observed: “One very important difference between monochromatic and color photography is this: in black and white you suggest; in color you state.” Outerbridge’s practice blurred the boundaries between fine art and commercial photography. His Ide Collar (1922), published in Vanity Fair, was more than an advertisement. It was celebrated as both functional and formally radical. A chessboard of fractured black-and-white squares disrupted by the crisp curve of a collar. Duchamp himself hung the photograph in his Paris studio, recognizing its affinity with the readymade and its radical modernist edge. Throughout his career, Outerbridge pursued abstraction as both a visual language and an artistic philosophy. His still lifes, nudes, and commercial commissions all demonstrate his preoccupation with fractured planes, geometric tension, and the transformation of the commonplace into the extraordinary. Paul Outerbridge’s work appeared in Vanity Fair, Harper’s Bazaar, House Beautiful, and McCall’s, and in exhibitions worldwide. After relocating to Southern California in 1943, he continued to write about and practice photography until his death in 1958. Today, his technical virtuosity, daring subject matter, and relentless pursuit of beauty secure his place as a pioneer who expanded the medium’s expressive range. Image: Girl with Fan, c. 1936 Vintage Color Carbo Photograph 17 x 13 inches © Paul Outerbridge

Photographer and artist Matthew Rolston, in partnership with Fahey/Klein Gallery, Los Angeles, ArtCenter College of Design, Daido Moriyama Museum / Daido Star Space, and Leica Gallery, Los Angeles, present a multi-venue Los Angeles exhibition of his latest series Vanitas: The Palermo Portraits, alongside the release of a special limited-edition monograph on Nazraeli Press. In production for well over a decade, Vanitas represents a cumulative effort by Rolston to aesthetically capture the fraught human relationship to death through the medium of photography, a profound narrative, as seen through the decaying faces of mummified individuals in Palermo, Sicily’s Catacombe dei Cappuccini. These vivid, painterly compositions bring forth an interwoven meditation on beauty, mortality and art through Rolston’s uniquely photographic lens. The monumentally scaled, richly hued Vanitas prints will be framed in patinated gold leaf, in a manner suggestive of and in tribute to the works of Francis Bacon, and, in a significant departure from typical edition practice, they will be offered as unique objects, more in the tradition of painting than photography. Four individual works will be on view in a solo exhibition at Fahey/Klein Gallery, Los Angeles, which will display the most extensive presentation of the Vanitas series, including the monograph’s cover photograph. At ArtCenter College of Design, Rolston will further present a triptych of the Vanitas work as a wall-sized installation at the College’s South Campus, curated by Julie Joyce, Director, ArtCenter Galleries and Vice President, Exhibitions. This presentation will be the only triptych on exhibition; the central panel appears on the clamshell cover of the forthcoming Vanitas monograph, a signature of the series. These three works, hung in ArtCenter’s Mullin Transportation Design Center, comprise two images of mummified children flanking one of an elderly adult, brought together in the style of an altarpiece, where the sacred and mundane, youth and elder age, collide. A single work will be shown at a solo exhibition that will open with a book launch and artist signing at Daido Star Space in downtown Los Angeles on September 30, 2025. Organized in collaboration with the Daido Moriyama Photo Foundation in Tokyo, the presentation echoes the institution’s interest in cross-cultural approaches to photography. Leica Gallery, Los Angeles, will present another solo exhibition of an additional single work from Vanitas, accompanied by a public artist talk and book signing. At a venue rooted in the technical and material traditions of photography, this presentation will highlight the painterly, craft-driven aspects of Rolston’s Vanitas project. Together, these four distinct presentations introduce Vanitas as a ‘mostra diffusa’, an exhibition intentionally distributed among multiple venues. This multi-venue presentation across Los Angeles reflects a conscious departure from the contemporary conventions of exhibition production, recalling art historical traditions in which singular works were presented in isolation. All works, regardless of exhibition venue, will be available exclusively through Fahey/Klein Gallery, Los Angeles, which will also offer an artist-signed edition of the exhibition’s accompanying monograph. For more information about Matthew Rolston and Vanitas: The Palermo Portraits, please visit: www.vanitasproject.com. Image: Untitled (Scream), Palermo, 2013 (From the series Vanitas: The Palermo Portraits) Archival Pigment Print, Ed. of 1 Signed, titled, dated, numbered on label verso 46 1/4 x 61 3/4 inches If framed: 50 3/4 inches x 66 1/4 inches x 3 inches On exhibition at Fahey/Klein Gallery as of September 25, 2025 © Matthew Rolston

Pamela Hanson’s photography captures a world where fashion feels natural, personal, and full of life. Unlike the staged glamour often found in glossy magazines, her images reveal genuine emotion and friendship between photographer and model. Laughter, play, and spontaneity define her work, reflecting a time when beauty felt effortless. Beginning her career in Paris during the 1980s, Hanson lived among models and absorbed their world—their ambitions, daily routines, and creative energy. This closeness helped her develop a unique visual language, one that celebrated authenticity at a moment when fashion photography was dominated by carefully constructed ideals. Her exhibition and the release of her book The ’90s (Rizzoli) pay tribute to a decade that transformed the fashion industry. Many of the images featured have never been seen before, offering an intimate look into a time defined by freedom and self-expression. Hanson describes the collection as “a love letter to the decade that changed everything,” a reflection of an era when style was spirited, relaxed, and human—qualities that continue to resonate in today’s cultural landscape. Born in London and raised in Switzerland, Hanson’s cosmopolitan background shaped her vision early on. After attending the American School in Lugano and the University of Colorado, she began her professional journey assisting the celebrated photographer Arthur Elgort. Her rise was swift, with photographs of emerging supermodels such as Christy Turlington, Linda Evangelista, and Kate Moss appearing in leading magazines including VOGUE, Harper’s Bazaar, GQ, and Vanity Fair. Beyond editorial work, she created campaigns for major brands like Dior, Ralph Lauren, and Estée Lauder, and directed public service films supporting causes such as juvenile diabetes research and drug prevention. Today, Pamela Hanson’s photographs stand as both cultural icons and personal narratives—testaments to an artist who captured fashion’s most human side. Image: Pamela Hanson, Nadja Auermann, Paris, 1994 © Pamela Hanson

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

The Grove Foundation for the Arts is proud to announce The Dialectical Third, its inaugural exhibition and lending program bringing together intimate and subversive Polaroids made by Andy Warhol in the 1970s and 1980s and collected and generously donated by Dr. Jeffrey S. Grove, founder of The Grove Foundation for the Arts. Owing to the persistence of both social and sexual taboos along with the explicitness of the images themselves and their celebration of marginalized identities and gender performance, the vast majority of these works have remained largely unknown to the broader public. In showcasing this collection now, The Dialectical Third represents The Grove Foundation for the Arts’ core mission of advocating for silenced communities and freedom of expression, while also providing a vital forum for engaging with Warhol’s challenging yet prescient work. “The Dialectical Third invites visitors into a liminal territory—not as passive observers, but as active participants in the alchemical process of meaning-making,” said Dina Giordano, Curator and Executive Director of The Grove Foundation for the Arts. “This exhibition takes as its philosophical foundation the notion that truth doesn’t reside in singular, fixed positions, but rather materializes in the dynamic tension between seemingly oppositional forces. Andy Warhol’s Polaroid series—which confront duality, representation, identity and embodiment—serve as a guide through this conceptual landscape.” Critically reconsidering the importance of Polaroid photography within Warhol’s art, The Dialectical Third consists of 148 Polaroids from key series such as Ladies and Gentlemen (1975), Sex Parts (1976), Torso (1977), and Querelle (1982), in addition to other key self-portraits and Polaroids as well. Accompanying these works will be two Sex Parts screen prints, a Querelle screen print, and two drawings, one from the Torso series. By bringing these works together, the exhibition demonstrates the varied importance that each medium maintained within Warhol’s art, from his early days of creating illustrations for fashion advertisements to the later function that photographs played in informing larger works such as the screen prints. In Ladies and Gentlemen, Warhol both confronts and celebrates the constructed nature of identity, performance, and the blurred lines between authenticity and artifice in a series of unguarded and candid portraits of transgender individuals and drag performers. Sex Parts evolved out of what would become the Torso series, where Victor Hugo Rojas—a former hustler—periodically brought men to Warhol’s Factory to have their torsos tenderly yet provocatively photographed, with each person remaining anonymous despite their body being vividly described. These visits gradually resulted in Rojas and the men engaging in sexual acts that Warhol then photographed. The Polaroids in Querelle—the result of a commission to create a poster for the film of the same name by Rainer Werner Fassbinder in 1982, his film adapted from Jean Genet’s 1947 novel Querelle of Brest—show Warhol transforming his photographs of sexual encounters through aesthetic experimentation, complicating the photographic binary between document and fiction. Though Polaroids have typically been understood as a reference point or source material for Warhol’s future works, these images also function as forms of aesthetic expression in their own right—ones that document intimate moments and explicit acts in equal measure. Rather than reinforce long-established theories and historical interpretations, The Dialectical Third aims to establish a new space for encountering Warhol’s work, one that embraces ambiguity and the possibility of contemporary meaning. The relationship between visibility and concealment structures the exhibition just as much as the collection itself, which is housed in a custom-crafted Louis Vuitton Malle steamer trunk designed to store and exhibit the Polaroids. The ability of the trunk to both hide the images within a luxury object and display them as aesthetic objects set against a visibly commercial background underscores the recurring tension in Warhol’s work between art and commerce, between high art and popular culture. The Dialectical Third will recreate the original function of the trunk while simultaneously breaking from its method of display. By isolating specific Polaroids on the wall and encouraging close viewing and patient reflection, the exhibition emphasizes the formal qualities of the Polaroids and their unapologetic documentation of queer intimacy, sexual performance, and gender experimentation. To further underscore the historical significance of this collection, along with the educational mission of The Grove Foundation, a new documentary film directed by Diane Crespo will screen within the exhibition space. The film features interviews with Dr. Grove and Dina Giordano that delve into the personal resonance of this work, an interview with leading Polaroid conservator J. Luca Ackerman, and interviews with Vincent Fremont, former studio manager for Andy Warhol and co-founder of the Andy Warhol Foundation, as well as with Jessica Beck, former Chief Curator at the Andy Warhol Museum in Pittsburgh, PA, and a leading scholar on Warhol’s work. When viewed in tandem with the Polaroids, these differently connected perspectives reaffirm the sense of discovery and invention that resides in Warhol’s art. Image: Andy Warhol, Self-Portrait in Fright Wig, 1986 © Andy Warhol

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)

Edition ONE Gallery will host renowned photographer David Michael Kennedy for a special exhibition on Friday, October 17th, 5 - 7 PM. The show coincides with the release of Bruce Springsteen's highly anticipated Nebraska '82: Expanded Edition, a five-disc box set featuring the legendary Electric Nebraska sessions, and the theatrical release of his biopic, Springsteen: Deliver Me from Nowhere. David’s photograph for Springsteen's Nebraska album cover is among the most recognizable images in rock history. The image was originally captured in winter 1975, depicting a desolate road seen through a car windshield during a snowstorm.br> "The cover shot was taken from the window of an old pickup truck in the dead of winter," Kennedy recalls. The photo encapsulates the stark, reflective mood of Springsteen's acoustic album, becoming a lasting symbol of American loneliness and resilience.br> The exhibition will feature prints from Kennedy's photoshoot with Springsteen, which also appear on the album covers in the box set. Visitors will have a rare chance to see and acquire the images that define the visual identity of one of America's most influential albums.br> Kennedy is also renowned for his mastery of platinum/palladium printing, creating work that extends beyond music photography to evocative Southwest landscapes and portraiture, including striking images of Native American ceremonial dance. His early work documents a wide range of iconic musicians, among them Bob Dylan, Willie Nelson, Muddy Waters, Yo-Yo Ma, and Debbie Harry.

The Hunter College Art Galleries will present Last Art School, an exhibition and programming series curated by Lindsey White, Arthur & Carol Kaufman Goldberg Visiting Curator and Artist in Residence. Last Art School offers a platform for investigating and documenting the current crisis moment within higher arts education. As educators, researchers, and students across the United States have been silenced, reprimanded, fired, and even deported, this project emphasizes the power of personal networks and structures of connectivity, calling upon socio-cultural histories of activism and mutual aid in a search for community empowerment and fellowship. In Hunter College’s 205 Hudson Gallery, White creates a theatrical environment for the presentation of her own artworks, alongside those of her peers, which implicate art schools and their internal dynamics as a formidable and complex subject. Participating artists and collections: Mario Ayala, Alex Bradley Cohen, Dewey Crumpler, Henry Fey, Whitney Hubbs, Alicia McCarthy, Sandra Ono, Ralph Pugay, Jon Rubin, Maryam Yousif, Rhoda Kellogg Children’s Art Collection, and the San Francisco Art Institute Legacy Foundation and Archive. In addition to artworks by White’s friends and colleagues, Last Art School features a collection of finger paintings from the Rhoda Kellogg Children’s Art Collection and materials from the San Francisco Art Institute Legacy Foundation and Archive (SFAI LF+A). The lower gallery of 205 Hudson will host a community gathering space modeled after a cozy local restaurant. An integral part of White’s residency will be dynamic collaborations with student fellows and the development of free public programming, including lectures, screenings, conversations, performances, and other unusual and unexpected events. This space is also available for the MFA and MA community for class meetings, events, and hangouts. White will serve lunch one day a week for Hunter students, faculty, and staff throughout the run of the exhibition. Last Art School also contains a recording studio and interview archive. In response to the active erasure of records and archives by the United States government, White will conduct interviews with arts educators in and around the New York City area to document the complex and critical moment facing higher education. Gallery visitors will have the chance to hear these interviews in the space.

The term mono no aware (the pathos of things) expresses the Japanese concept of appreciating the transient beauty of life and objects. The project focuses on three subjects: 14th-century Japanese Noh masks; the stones and trees that surround the remains of ancient shrines; and the wildflowers and grasses that bloom briefly near Izu’s home. Izu invites viewers to encounter the depth of his subjects through lustrous images that explore impermanence and refined aesthetic through three ideas: yugen (mystical and profound), sabi (beauty with aging), and wabi (austere beauty). The gelatin silver and platinum palladium prints on view are uniquely matted using antique silverleaf recovered from historic folding screens and trimmed with fabrics taken from vintage kimonos, making every work a one-of-a-kind fusion of photographic artistry and Japanese heritage.

n Japanese, utsuroi refers to the gradual and inevitable transformation from one state to another. It suggests that nothing is reliable and everything is ephemeral. Produced between spring and autumn of 2020, “Utsuroi” is a series reflecting the internal and external states experienced during the height of the pandemic, when I lived in isolation at my home in upstate New York. With minimal outside interaction, my loneliness forced me to introspect and face my inner self. Weighed down by the heaviness of the deaths and sorrows around the world, yet unable to do anything or go anywhere, I was engulfed by feelings of helplessness and blockage. I found some reprieve in solitary walks down to the lake, during which I became keenly aware of the cyclical nature of the water lilies that appear year after year.

Duncan Miller Gallery is proud to announce Icons of Fashion, an extraordinary exhibition celebrating the visionaries who shaped the global fashion landscape. Featuring portraits of over 40 of the world’s most renowned designers and couturiers, this exhibition offers an intimate look at the creative forces behind the industry’s most iconic styles. Design legends such as Coco Chanel, Salvatore Ferragamo, Jean-Paul Gaultier, Karl Lagerfeld, Valentino Garavani, Cristóbal Balenciaga, Lily Dache, Gianni Versace, and many others are captured through the lenses of the world’s greatest photographers. The collection includes the work of Herb Ritts, Harry Benson, Irving Penn, Bruce Weber, Cecil Beaton, Jean-Loup Sieff, Horst P. Horst, Yousuf Karsh, Peter Hujar, David Bailey, Dorothy Wilding, and more. Image: Salvatore Ferragamo, 1957 by James Jarche

Stephen Daiter Gallery presents Dawoud Bey: Syracuse 1985, an exhibition that revisits a pivotal moment in the photographer’s early career. On view through November 28, the show features work created during Bey’s first artist residency at Light Work in Syracuse, New York. Invited in 1985, just after the acclaim of his Harlem, U.S.A. series, Bey was given the rare opportunity to live and work without distraction for an entire month. Immersed in the rhythm of city life, he spent his days wandering Syracuse with his camera, capturing the quiet poetry of ordinary moments from dawn to dusk. The images that emerged from this period reveal an artist refining his vision, finding meaning in the gestures and faces of everyday people. Commuters waiting for buses, workers hurrying through morning light, students crossing busy intersections—all appear bathed in a luminosity that feels both spontaneous and deliberate. Bey described this time as a return to the streets, a renewed search for those fleeting instants when the world aligns and becomes a powerful visual statement. His Syracuse photographs mark a shift toward a deeper engagement with the human presence in urban space, emphasizing empathy, observation, and rhythm. The exhibition features the original twenty-six prints produced during Bey’s residency, along with a selection of additional early works from Syracuse. Together, they offer insight into a defining chapter of his artistic development—an exploration of light, form, and community that would continue to shape his practice for decades. Accompanying the exhibition is a fully illustrated catalog, Dawoud Bey: Syracuse 1985, which celebrates the lasting impact of this formative project and the enduring spirit of an artist who continues to find profound beauty in the everyday. Image: A Woman Alone at the Bus Stop, Syracuse, NY, 1985 © Dawoud Bey

Robert Koch Gallery is pleased to announce Edward Burtynsky: Transformation, featuring monumental color photographs that examine landscapes altered by resource extraction, manufacturing, rapid development, and the ecological changes that follow. These works continue Burtynsky’s ongoing exploration of how human intervention has reshaped natural environments worldwide, revealing both their vulnerability and magnificence. Edward Burtynsky: Transformation opens concurrent to The Great Acceleration, Burtynsky’s exhibition at the International Center of Photography in New York, presently on view through September 28, 2025. Timed to coincide with Climate Week NYC in September 2025, this landmark presentation, curated by David Campany, marks Burtynsky’s first major institutional exhibition in New York City in over twenty years. It is accompanied by a monograph by the ICP / Steidl. The exhibition embodies Burtynsky’s decades-long pursuit of capturing the profound and often permanent changes human industry brings to the earth’s surface. Each project remains intrinsically linked, showing how local environmental changes reflect broader global patterns, documenting the visible effects on the land brought on by demographic expansion, water consumption, carbon emissions, and mineral extraction. “At such a critical moment in time, I hope this work sparks meaningful dialogue about our relationship with the planet and brings more people to this awareness,” reflects Burtynsky on his mission to document our changing world. Images included in the exhibition range from retreating glaciers in British Columbia’s Coast Mountains, which reflect the impact of climate change on ice caps, to cobalt mining operations in the Democratic Republic of the Congo, illustrating the lasting marks of human resource extraction on the land. Burtynsky’s image of Lake Mead, Nevada depicts receding waterways brought on by prolonged drought and increasing water demand, highlighting the strain on vital resources in the American West. Burtynsky’s recent 2024 photographs of Olympic National Park, Washington capture the effects of increased rainfall in the region’s remote wilderness areas. His work depicting Thjorsá River, Iceland captures the intricate patterns formed by glacial meltwater as it meanders through Iceland’s volcanic landscape, caused by climate change. Collectively, these images form a powerful visual narrative of our planet’s rapid transformation. Burtynsky’s work was the subject of the award-winning documentary trilogy Manufactured Landscapes (dir. Jennifer Baichwal, 2006), Watermark (dir. Baichwal and Burtynsky, 2013), and ANTHROPOCENE: The Human Epoch (dir. Baichwal, Nicholas de Pencier, and Burtynsky, 2018). Burtynsky has dedicated over 40 years to documenting human impact on the planet. His works are held in the collections of over eighty museums worldwide, including the San Francisco Museum of Modern Art; Museum of Modern Art and Guggenheim, New York; Tate, London; Los Angeles County Museum of Art; Museo Nacional Centro de Arte Reina Sofía, Madrid; and the National Gallery of Canada, among other notable international institutions. Major institutional exhibitions include BURTYNSKY: Extraction/Abstraction (2024), premiered at Saatchi Gallery, London, before touring to M9, Mestre, Italy; Anthropocene (2018), Art Gallery of Ontario and National Gallery of Canada (international tour); Water (2013), New Orleans Museum of Art and Contemporary Art Center, Louisiana (international tour); Oil (2009), Corcoran Gallery of Art, Washington, D.C. (five-year international tour); China (2005–2008, international tour); Manufactured Landscapes (2003–2005), National Gallery of Canada, Ottawa (toured to Art Gallery of Ontario and Brooklyn Museum); and Breaking Ground (1988–1992), produced by the Canadian Museum of Contemporary Photography (international tour). His accolades include the inaugural TED Prize (2005); the ICP Infinity Award (2008); the Kraszna Krausz Book Award (2010); the Lucie Award for Achievement in Documentary Photography (2011); the Outreach Award at Rencontres d’Arles (2011); the Photo London Master of Photography Award (2018); the Outstanding Contribution to Photography Award from the World Photography Organisation (2022); and his induction into the International Photography Hall of Fame (2022), among others. Burtynsky was awarded the title of Officer of the Order of Canada in 2006 and currently holds nine honorary doctorate degrees. Image: Rainforest #2, Olympic National Park, Washington, USA, 2024 © Edward Burtynsky

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.

Dorothea Lange (1895 – 1965) Dorothea Lange was an American documentary photographer and photojournalist who captured the 20th century through intimate and powerful images. Her work for the Farm Security Administration (FSA) during the Great Depression made her a prominent photo-documentarian of migrant workers and farmers. Lange’s photographs humanized the Depression’s impact and influenced the development of documentary photography. Along with Lange’s photographs, additional artists of the period and known acquaintances of Lange works are being exhibited, Pirkel Jones, Imogen Cunningham, Margaret Bourke-White, Ruth Bernhard, Max Yavno, John Gutmann, Oliver Gagliani Wine Country Harvest shows the bounty of wine and harvest in California. Featuring the works of Ansel Adams, Johan Hagemeyer, Wilber Wright, J.H. Bratt, Jonathan Clark, Pirkel Jones, Jock MacDonald, Alan Ross, Max Yavno, Nicolo Setorio, Jim Banks, Philip Lorca diCorcia Image: Dorothea Lange, Mid-Continent Small Cotton Farm on US 62, Oklahoma, 1938

Constructing Mexico: Photography and National Identity traces the remarkable journey of photography in Mexico and its profound role in shaping the nation’s image. Drawn from the Chrysler Museum of Art’s collection and private lenders, the exhibition presents more than fifty-five works that chart how Mexican identity has been expressed, negotiated, and transformed through the photographic lens. From early 19th-century studio portraits and commercial scenes to powerful 20th-century depictions of revolution and culture, the exhibition captures the evolving dialogue between image and nationhood. Photography arrived in Mexico soon after its invention in 1839, and it quickly became a tool for both documentation and persuasion. Under Emperor Maximilian I, during the brief reign of the Second Mexican Empire, photographs served as instruments of imperial propaganda. Later, foreign photographers such as Claude-Joseph-Désiré Charnay, Abel Briquet, Charles Betts Waite, and Hugo Brehme were captivated by Mexico’s dramatic landscapes and growing modernity. Their images shaped how the world perceived the country—beautiful yet often romanticized through an outsider’s gaze. At the same time, Mexican photographers were building their own vision, one that would gain momentum in the 20th century. The outbreak of the Mexican Civil War transformed photography into a powerful medium of political and cultural expression. Artists like Manuel Álvarez Bravo, Héctor García, and Lola Álvarez Bravo captured scenes of daily life, struggle, and resilience, revealing the spirit of a nation in flux. Their images bridged past and present, merging artistic experimentation with social commentary. Through their work, Mexico was no longer a subject of foreign fascination but a country defining itself through its own eyes. Spanning more than a century of creativity, Constructing Mexico reveals photography’s vital role in constructing the nation’s collective identity and cultural memory. Image: Photograph of a sleeping child surrounded by shoes and sandals. Lola Álvarez Bravo, The Dream of the Poor (El sueño de los pobres), 1949 (printed 1980's), Silver print, Museum purchase, 2024.34.1

At the height of the Weimar Republic, two visionary artists dared to challenge convention. Known as ringl + pit, Grete Stern and Ellen Auerbach redefined the language of commercial photography in a society fascinated by glamour and modernity. Their photographs of wigs, mannequins, and merchandise transformed advertising into a field of experimentation, infused with humor, sensuality, and surrealism. Working in Berlin, they captured the restless energy of the avant-garde, where art and commerce collided in unexpected ways. Robert Mann Gallery presents *ringl + pit*, an exhibition running from October 23 through December 6, 2025. Featuring rare studio photographs and an exclusive limited-edition portfolio, the show brings together works that have remained unseen for decades. The duo’s practice, rooted in collaboration, was marked by constant role-switching—each artist moving fluidly between directing, photographing, and modeling. This method gave their images a striking sense of unity and play, reflecting a shared artistic vision. Trained under Bauhaus master Walter Peterhans, Stern and Auerbach absorbed his emphasis on precision and form while injecting their own wit and irony. Their photographs, such as *Komol Haircoloring Advertisement* and *Güldenring Cigarettes*, subvert traditional advertising tropes—eschewing glamour for abstraction, replacing models with objects, and suggesting touch and texture over desire. These works quietly question how femininity and consumerism were represented in a rapidly modernizing world. The exhibition also highlights two rare self-portraits that capture their mutual fascination with identity and disguise. In *pit with Veil*, Auerbach’s sidelong gaze evokes mystery, while Stern’s intense close-up radiates self-assurance and introspection. Together, their portraits reveal an intimate dialogue about art, gender, and individuality. Although forced into exile by the rise of Nazism, their friendship and creative kinship endured across continents. *ringl + pit* remains a powerful testament to the freedom and innovation that flourished in the brief yet brilliant years of Weimar modernism. Image: pit with Veil, 1931

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.

The Soldier’s Lens is a curated exhibition showcasing the original perspectives of active-duty service members, veterans, and their families. This powerful exhibition will explore the diverse experiences of military life, from moments of intensity and duty to the quiet rhythms of everyday routines. Chosen submissions will be carefully selected by a panel of judges with deep knowledge in both art and military service. These selected works will be featured in a group exhibition at FMoPA in October 2025. This ambitious project is planned in multiple phases, including an online exhibition, live programming, and curriculum development. The exhibition’s core aim is to honor the profound intersection of photographic arts and military service, while simultaneously raising awareness of veterans’ experiences and generating support for both FMoPA and vital veterans’ causes. This exhibition is made possible through the generous support of Tom and Dixie Arthur and the Hillsborough County Board of County Commissioners.

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

Daniel Cooney is pleased to present Shirttail Kin – New Work, the first solo exhibition with Texas-born artist Chivas Clem. Opening one year after his solo museum survey at the Dallas Contemporary, this exhibition features 14 never-before-seen photographs from Clem’s ongoing series Shirttail Kin, a project that began in 2012. The series’ title draws from Southern vernacular, referring to someone considered family through affection rather than blood, setting the tone for a body of work steeped in intimacy, connection, and observation. Shirttail Kin documents young white men living in and around Northeast Texas and Southeast Oklahoma, near Clem’s hometown of Paris, Texas. The photographs present the subjects mostly unclothed, captured within the private and public spaces of motels, trailer parks, abandoned houses, and Clem’s own studio. Some figures pose deliberately, while others are recorded in candid moments, creating a fluid tension between performance and authenticity. Through these depictions, Clem examines themes of masculinity, class, power, and eroticism, while also highlighting the visibility and self-presentation of this marginalized community. Clem has described his models as actors in an unscripted film, emphasizing the improvisational quality of each image. Beyond individual portrayal, the series reflects broader societal concerns, exploring the vulnerabilities of rural working-class life and the shifting notions of masculinity within contemporary culture. The photographs subtly interrogate the larger cultural and political pressures faced by these communities, offering both critique and empathy. Born in 1971 in Paris, Texas, and currently based there, Chivas Clem is a multimedia artist working across photography, film, sculpture, and painting. A graduate of the Whitney Independent Study Program, Clem is also the founder of the influential New York artist space The Fifth International. Shirttail Kin – New Work underscores Clem’s ongoing exploration of identity, community, and the cinematic potential of everyday life, presenting a deeply personal yet socially resonant vision of contemporary rural America. Image: Chivas Clem Chris on the Red River, 2025 Archival inkjet print 40 x 30" © Chivas Clem

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.

This exhibition celebrates the six-decade-long photographic practice of Kunié Sugiura, highlighting her relentless experimentation and her capacity to merge scientific curiosity with artistic vision. Born in Nagoya, Japan, in 1942, Sugiura was among the first students at the School of the Art Institute of Chicago to focus on photography during the 1960s. Since moving to New York City in 1974, she has maintained a studio practice that consistently challenges conventional boundaries, producing works that exist independently of the prevailing trends and discourses that have shaped photography over the decades. Sugiura’s oeuvre spans sculptural assemblages that integrate photography with painting, large-scale photographic canvases, and inventive photograms exploring botanical, human, and animal forms. Her approach often emphasizes process and experimentation, allowing chance, transformation, and the inherent properties of materials to guide her visual explorations. Through this lens, photography becomes not merely a tool for documentation but a medium for discovery, reflection, and poetic resonance. Despite her long-standing life and career in the United States, Sugiura retains deep connections to her Japanese heritage, which subtly informs her work. These influences surface in both the delicate sensibilities and conceptual rigor of her imagery, revealing an attentiveness to nature, temporality, and cultural memory. Flowers, animals, human gestures, and geological formations appear across her works, each element revealing both playful observation and meditative inquiry. Across every phase of her practice, Sugiura has explored the intersections of place, time, and identity, producing works that invite viewers to reconsider the possibilities of photographic expression. By embracing experimentation, hybridity, and discovery, her images offer a distinctive vision of the medium, where observation, imagination, and process converge. This exhibition traces the innovative trajectory of her career, providing insight into a lifetime of exploration and the unique ways in which she continues to expand the language of photography. Image: © Kunié Sugiura

In conjunction with the long-awaited unveiling of STORIES: The AIDS Monument in West Hollywood, the Herb Ritts Foundation, in partnership with Fahey/Klein Gallery, and ONE Gallery, is proud to present Herb Ritts: Allies & Icons – an intimate exhibition of Herb Ritts’ photographs that honor the activists, artists, and cultural leaders who helped transform the global fight against AIDS. Herb Ritts (1952–2002) is one of the most celebrated photographers of the late 20th century and early 21st century. His approach to the medium was always fresh and bold, while simultaneously capturing the strength and vulnerability of his subjects. With his clean modernist style, bold contrasts, and sculptural forms, Ritts transformed his subjects into enduring icons. In the spirit of the AIDS Monument itself, the photographs on view remember, celebrate, and educate with portraits of those that confronted one of history’s greatest crises. This exhibition, Herb Ritts: Allies & Icons, brings together striking black & white portraits of the cultural figures who stood at the forefront of AIDS activism — including Elizabeth Taylor, Elton John, Magic Johnson, Madonna, Barbra Streisand, Sharon Stone, Tina Turner, Keith Haring, and many others. Each subject used their voice, fame, and influence to fight stigma, support research, and bring compassion to a world gripped by fear. “Herb photographed the icons of his time. The notorious, the edgy, the culturally significant, and in doing so, gave us a visual record of an era marked by both beauty and profound loss. He sought not just to portray but to reveal, coaxing from his subjects a vulnerability that could disarm and a power that could inspire.” David Fahey, founder of Fahey/Klein Gallery and co-curator of Herb Ritts: Allies & Icons. The exhibition coincides with the dedication of STORIES: The AIDS Monument, a collaboration between the City of West Hollywood and the Foundation for the AIDS Monument (FAM). The Monument, designed by artist Daniel Tobin, honors the lives lost, the survivors, and the communities and caregivers who fought tirelessly for dignity, treatment, and remembrance. Ritts himself lived with AIDS and was a steadfast supporter of amfAR, The Elizabeth Taylor AIDS Foundation, Project Angel Food, APLA, and was a charter member for the Elton John AIDS Foundation. He used his platform to shift the narrative from silence to compassion, contributing books such as Duo and Notorious to raise significant funds for AIDS research and awareness. The exhibition is presented in partnership with the Herb Ritts Foundation and coincides with the public dedication of STORIES: The AIDS Monument on November 16, 2025, at West Hollywood Park, followed by a community celebration at The Abbey. For more information about STORIES | The Foundation for the AIDS Monument, please visit: aidsmonument.org. Image: Earvin “Magic” Johnson, Hollywood, 1992 Silver Gelatin Photograph 20 x 16 inches Signed, titled, dated, numbered verso Signed by Herb Ritts © Herb Ritts

Erik Madigan Heck is one of the most sought-after photographers working today, attracting collaborations and commissions from fashion and cultural icons such as Comme des Garçons, Gucci, Nike, and The Metropolitan Opera. He is praised for his talent to use color as a poetic medium, transforming each image into a vivid narrative that speaks to the emotional resonance of photography. The Tapestry marks a creative evolution in Heck’s artistic journey. This body of work infuses his love of painting and textile arts into his fashion sensibility. Inspired by the ambient light of Edgar Degas, patterned interiors of Edouard Vuillard and Gustav Klimt, and rich textures of antique tapestries, this series is a romantic exploration of color and form. Widely collected in both private and public collections, his work is held by the Museum of Fine Arts, Houston and San Francisco Museum of Modern Art. The flowing, lyrical design in Heck’s newest monograph, The Tapestry (2024), presents more than one hundred and eighty photographs in a richly colorful and immersive new collection that spans photography, fashion and broader spectrum of visual art. This will be Heck’s third solo exhibition with the gallery. Image: Vogue Italia Reconstructed, The Tapestry, 2023, Erik Madigan Heck

Saïdou Dicko’s work is deeply personal, drawing inspiration from his home in West Africa, Burkina Faso, incorporating textiles and the rich tradition of African studio photography. Each of Dicko’s works is a unique object, no two are the same. On view in the gallery will be two, new bodies of work: vibrant photographs with digital textile backgrounds from the Shadowed People, and a brand-new series entitled Fragile. In Fragile, Dicko reveals his hand as a painter, enveloping his subject with washes of color, floral vines and tendrils, and along the border has adhered ‘fragile tape’ used in transporting precious objects and works of art — perhaps a comment on the fragility of the environment, human life, or childhood. For the Shadowed People, Dicko hand-paints each subject thereby creating a silhouetted form; the backgrounds are vivid patterns and colors from Fulani cloth—an homage to the resilience of traditional West African craftsmanship in the face of global industrialization. Dicko is both an artist and humanitarian: 50% of his sales benefit the artist’s non-profit organization, Nafoore Cellal, which has built a health center, pharmacy, and organic vegetable garden in a pastoral zone in Burkina Faso. Dicko has been exhibited in numerous international exhibitions and been honored with significant photography prizes in Europe and Africa. He lives and works in both Burkina Faso and Paris. This is his second solo exhibition with the gallery. Image: Untitled, 2025, Hand-painted archival pigment print; digital collage without retouching © Saïdou Dicko

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.

Peter Fetterman Gallery presents Nouvelle Vague, an evocative survey celebrating the essence of French photography through the eyes of some of the twentieth century’s most admired artists. Bringing together works by Edouard Boubat, Raymond Cauchetier, Henri Cartier-Bresson, Jean-Philippe Charbonnier, Robert Doisneau, Willy Ronis, Sabine Weiss, and others, the exhibition pays tribute to a generation that forever transformed the language of visual storytelling in postwar France. Emerging from the ideals of the French Humanist movement of the 1930s, these photographers created a visual style that balanced documentary realism with poetic sensibility. Their images captured fleeting moments of tenderness, humor, and quiet beauty within the rhythms of everyday life. Whether depicting lovers in a Parisian street, children at play, or workers returning home at dusk, their work sought to reveal the universal dignity and emotional depth of human experience. Positioned between journalism and fine art, these photographs offered an empathetic lens through which to view a world rebuilding itself after the devastation of war. The Humanist spirit that animated these artists extended beyond photography, influencing film, literature, and visual art throughout the mid-twentieth century. Their collaborations with publications such as LIFE, Paris Match, and Vogue helped disseminate this lyrical realism to a global audience, shaping the visual identity of modern France. Today, these images endure as timeless meditations on connection, resilience, and the quiet poetry of the ordinary. Nouvelle Vague invites viewers to revisit the golden age of French photography while reflecting on its continuing relevance in a fractured contemporary world. The exhibition reaffirms photography’s enduring power to convey empathy and to remind us, across generations and borders, of our shared humanity. Image: Robert Doisneau 1912-1994 Le Baiser Blotto, 1950/Printed Later Signed in ink on recto; titled and dated in ink on verso Gelatin Silver Print Image: 14-1/8" x 11-3/4", Paper: 20" x 16", Mat 24" x 20"

The View From Here: Women Photographers of the American Landscape brings together a remarkable range of artists who have shaped, challenged, and redefined the way we see the natural world. The exhibition includes works by internationally recognized figures such as Laura Gilpin and Lilian De Cocke Morgan, alongside regional voices like Stephanie Dinkins and Suzanne Camp Crosby. For photographers Marion Post Wolcott and Berenice Abbott—celebrated for their depictions of urban life—these images reveal another side of their artistry, showcasing their skill in capturing the subtleties of landscape and light. Imogen Cunningham and Ellen Land-Weber expand the very notion of what a landscape can be, merging poetic composition with surreal or experimental techniques. In contrast, contemporary artists like Dionne Lee and Sally Mann turn their gaze inward, using the landscape as a means of reflection on identity, ancestry, and belonging. Their images situate personal histories within larger terrains, allowing nature to serve as both witness and participant in the shaping of human experience. The year 2025 marks the fortieth anniversary of Deborah Bright’s groundbreaking essay “Of Mother Nature and Marlboro Men: An Inquiry in the Cultural Meanings of Photography.” Bright called for a deeper understanding of photography—one that considers the historical and cultural context of every image while highlighting the crucial yet often overlooked role of women photographers in defining the landscape tradition. Presented in this spirit, The View From Here invites viewers to look closely and think broadly about the American landscape, not just as a physical place but as a space of memory, imagination, and cultural meaning. Drawn entirely from NOMA’s collection, these photographs chart more than a century of artistic vision, revealing how women have continually reimagined the view from here. Image: Advertisement Near Black Mountain North Carolina 1939, printed later Marion Post Wolcott (American, 1910-1990) Gelatin silver print Museum purchase, General Acquisition Fund

Dawoud Bey: Elegy brings together three powerful photographic series—Stony the Road (2023), In This Here Place (2019), and Night Coming Tenderly, Black (2017)—to explore how the landscapes of Virginia, Louisiana, and Ohio continue to hold the echoes of America’s past. Through these deeply reflective works, Bey reconsiders sites marked by slavery and resistance, transforming them into spaces where memory, imagination, and history converge. The exhibition also features two films, Evergreen (2019) and 350,000 (2023), expanding the dialogue between still and moving images while delving into the emotional resonance of these charged locations. In Stony the Road, Bey retraces the steps of more than 350,000 enslaved Africans who were forced to march to holding pens in Richmond, Virginia. The accompanying film, created with cinematographer Bron Moyi and choreographer Dr. E. Gaynelle Sherrod, reimagines this passage through a haunting visual and sonic meditation. With In This Here Place, the artist turns his lens to former plantations near New Orleans, focusing on architecture and land as silent witnesses to human suffering and endurance. The film Evergreen, paired with this series, heightens the emotional atmosphere through the voice and music of composer Imani Uzuri. The third series, Night Coming Tenderly, Black, evokes the perilous journey of those who sought freedom along the Underground Railroad. Bey’s black-and-white prints are enveloped in deep tonal shadows, allowing viewers to sense both the fear and hope of that nocturnal passage. Across all three bodies of work, Bey’s art becomes a meditation on presence—how the earth itself remembers. Dawoud Bey: Elegy asks us to confront the enduring legacies of slavery and to recognize the landscapes of the American South and North as living vessels of collective memory. Image: Untitled (Tangled Branches) 2023 Dawoud Bey (American, born 1953) Gelatin silver print Image: 44 x 55 in., Paper: 48 x 59 in. Virginia Museum of Fine Arts, Gift of Mrs. Alfred duPont, by exchange, 2020.168.4. © Dawoud Bey

The exhibition Family Portrait gathers photographs from the Addison’s collection to explore how artists have represented the idea of family across nearly two centuries. From the earliest daguerreotypes to contemporary color prints, the exhibition traces the evolution of one of photography’s most enduring subjects. Through these works, the notion of family emerges not as a static construct but as a living, shifting web of relationships, emotions, and memories. Since photography’s beginnings in the nineteenth century, artists have used the camera to capture both the familiar and the extraordinary moments that define domestic life. Some have turned their lenses inward, documenting their own families in scenes that reveal tenderness, humor, and vulnerability. These images often expose the quiet rituals and fleeting gestures that shape everyday existence—the embrace of a child, the glance of a parent, the shared silence of grief or joy. In this way, photography becomes an intimate language of belonging and connection. Other photographers have approached the family portrait as a broader meditation on time, change, and memory. Their works extend beyond the personal to consider the social and cultural meanings attached to kinship. Through their compositions, we see how generations influence one another, how traditions endure or fade, and how images themselves act as vessels of remembrance. Whether solemn or exuberant, private or public, each photograph tells a story of continuity and loss, of affection and transformation. Family Portrait ultimately reveals how photography holds within it the paradox of family life—its constancy and its impermanence. As faces age and moments pass, the photograph endures, preserving traces of our shared humanity and reminding us that the act of looking is itself a form of connection across time. Image: Eugene Richards, Family Album, Dorchester, Massachusetts, 1976. Gelatin silver print, 8 1/4 x 12 inches. Addison Gallery of American Art, Phillips Academy, Andover, Massachusetts, museum purchase, 1977.134

Since 2002, Kelli Connell has been developing Double Life, a photographic series that examines the intimate dialogue we maintain with ourselves. At first glance, the images appear to depict two women in moments of shared affection, tension, or reflection. Yet each scene is a carefully composed illusion—every figure portrayed by a single model, Kiba Jacobson, who embodies both characters through Connell’s digital manipulation. This merging of identities transforms Double Life into a quiet study of the human psyche, revealing the contradictions that shape selfhood: desire and restraint, doubt and acceptance, solitude and connection. Connell’s work transcends portraiture, probing the emotional negotiations that define how we live with ourselves and, by extension, how we relate to others. In this mirror of the self, empathy becomes both subject and method. Her images evoke the private gestures of care, forgiveness, and conflict that form the architecture of emotional growth. Each photograph invites viewers to reflect on their own dualities and on the continuous dialogue between inner and outer worlds. In 2024, Connell was commissioned by The Progressive Corporation to extend her Double Life series around the theme of “Empathy” for the company’s annual report. These new works, presented at the Museum of Contemporary Art Cleveland from June 28, 2025, through January 4, 2026, join Progressive’s distinguished contemporary art collection. Through these pieces, Connell expands her exploration of self and other, using photography to visualize emotional intelligence and mutual understanding. Connell’s photographs are held in major institutions including the Metropolitan Museum of Art, the Getty Museum, and the Museum of Fine Arts, Houston. A professor at Columbia College Chicago, she continues to shape the dialogue between identity, representation, and the unseen emotional labor of being human. Image: Kelli Connell, Negotiation, 2025 © Kelli Connell

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

Language and Image: Conceptual and Performance-based Photography from the Jorge M. Pérez Collection brings together more than 100 works by over 50 international artists. In line with our mission and vision—one that is shared by our patrons’ passion for collecting—the artists come from all over the planet but artists from Latin America and the African diaspora play a significant role. Celebrated artists who have made innovative works of art for decades, such as Marina Abramović, Thomas Ruff, Cindy Sherman, and Thomas Struth are featured alongside artists like Jonathas de Andrade, María Magdalena Campos-Pons, Ana Mendieta, and Vik Muniz, among others who have been presented at the museum frequently in the past. Since the 1960s, photography has been used as an important medium for contemporary artists to tell stories and create narratives — a language. Photography became the paramount way artists created art, documenting time-based works like performances and moving-image works, such as video installations, into still objects. Photography has been an integral part of PAMM’s collection and its growth since we became a collecting institution almost thirty years ago, in 1996. The first major show to present the medium as its central subject took place in 2005. Organized with museum patron Charles Cowles and then director Terrence Riley, The Machine, the Body and the City: Selections from the Charles Cowles Collection celebrated a large donation of 100+ photographs. In 2013, when we opened in our new building, curator Diana Nawi organized Image Search: Photography from the Collection. In 2019, on the occasion of the museum’s 35th Anniversary, Ford Foundation Fellow Ade Omotosho organized a significant selection of photographs with new research and many works that had recently been acquired. Language and Image celebrates that history while paving a new path. PAMM’s collection is heavy in works of 20th-century art prior to 1960, and this exhibition aims to create a bridge between our collections and celebrate new works coming into PAMM’s collection from the Jorge M. Pérez Collection. Image: Thomas Struth. Grab von Lu Xun, Shanghai, 1997 (Tomb of Lu Xun, Shanghai, 1997). Chromogenic print, face-mounted to plexiglass, in artist’s frame. Edition 3/10. 71 1/4 x 85 15/16 inches. Jorge M. Pérez Collection. © Thomas Struth

A Subllime Obsession: Photographs from the Hazlitt Collection showcases a bold mix of black & white and color photographs drawn from one collector’s deeply personal archive. Featuring standout works by Ansel Adams, Robert Adams, William Eggleston, Joel Sternfeld, Justine Kurland, and many more, the exhibition captures everything from sweeping landscapes to offbeat street scenes and striking portraits. Whether in the tonal precision of silver gelatin prints or the saturated hues of dye transfers, these photographs reveal a collector’s eye attuned to beauty, complexity, and the unexpected moments that make photography unforgettable. This is not just a collection, it is a passion illustrated through the lens. This exhibition is made possible through the support of Trenam Law and the Hillsborough County Board of County Commissioners. Image: William Eggleston (American, b. 1939) Untitled, 1971, printed later, dye transfer print, Hazlitt Collection

Between a Memory and Me features the work of Rahim Fortune (b. 1994). Born in Austin, Texas and raised in the Chickasaw Nation of Oklahoma, Fortune uses photography to interrogate American identity, exploring the connections between the families and communities he photographs and the land they inhabit, the histories embedded in the landscape of the American South, and the traditions they carry forward. Fortune’s black-and-white photographs from his Hardtack project weave together tender and reverent portraits, vast landscapes, and close-detail studies. Through a focus on Black American life, these words both draw from the history of photography and reframe the history of photographic representation of the South. The work is also deeply personal: it emerged from the artist seeking connection, kinship, and home following the loss of both of his parents. Fortune’s new color photographs, created in response to the Texas African American Photography archive, are exhibited here for the first time. His short film takes us through the fields and roads of rural Texas, lingering lovingly on quiet, exquisite details. This presentation includes new photographs originally commissioned by Aperture and Documentary Arts.

El Museo del Barrio presents the first major U.S. survey dedicated to the work of Cuban-American artist and writer Coco Fusco, one of the most incisive voices in contemporary art. On view under the title *Tomorrow, I Will Become an Island*, the exhibition spans more than thirty years of creative practice, revealing the evolution of an artist whose work probes the intersections of politics, identity, and power. Through film, photography, performance, and writing, Fusco has long examined how cultural narratives are constructed and who controls the means of representation. Since the 1990s, Fusco has forged a distinctive path through conceptual and performance art, often confronting themes of race, gender, and postcolonial history. Her seminal performance *Two Undiscovered Amerindians Discover the West*, created with Guillermo Gómez-Peña, remains a landmark critique of Western ethnography and cultural exhibition. In more recent years, she has turned her attention to post-revolutionary Cuba, exploring censorship, exile, and the shifting realities of freedom. The exhibition brings together installations, videos, and photographs that trace these ongoing concerns, offering a panoramic view of her intellectual and aesthetic journey. Fusco’s contributions extend beyond the visual arts. An accomplished author and critic, she has published widely and regularly contributes to major publications such as The New York Review of Books. Her most recent monograph, also titled *Tomorrow, I Will Become an Island*, serves as both a companion and a reflection of her enduring engagement with questions of identity, resistance, and belonging. Recognized with numerous fellowships and awards, Fusco’s influence is felt across generations of artists and thinkers. Organized by Susanna V. Temkin and Rodrigo Moura, this exhibition affirms her position as a vital force in contemporary art and cultural discourse. Image: Coco Fusco, A Room of One's Own: Women and Power in the New America , 2006-2008. Performance documentation. Courtesy the artist and Mendes Wood DM. © Coco Fusco

The Los Angeles County Museum of Art presents an exhibition centered on Youssef Nabil’s evocative video I Saved My Belly Dancer (2015), now part of the museum’s collection. Designed to recall the golden era of mid-century Egyptian cinema, the presentation immerses viewers in the atmosphere of the theaters where Nabil’s artistic imagination first took shape. Alongside the film, eleven related photographs extend the narrative through still images, complemented by vintage Egyptian movie posters that anchor the work within its cultural and cinematic lineage. Born and raised in Cairo, Nabil grew up captivated by the glamorous, melancholy world of classic Egyptian films. His art revisits that lost era, blending nostalgia with personal reflection. In I Saved My Belly Dancer, actor Tahar Rahim embodies the artist’s alter ego, while Salma Hayek portrays the dancer—an archetype both celebrated and misunderstood. Together they navigate a surreal landscape that oscillates between memory and reverie, love and loss, illusion and truth. Through their haunting performances, Nabil pays homage to the sensual grace of the belly dancer, once an emblem of freedom and artistry in Arab culture but later constrained by social and political shifts. The visual language of the work heightens this tension between beauty and disappearance. Each frame and photograph is hand-painted by Nabil, using delicate layers of color that infuse the imagery with warmth and unreality. His process recalls early photographic techniques while transforming them into something distinctly contemporary—a cinematic dream suspended in time. Through his meticulous craft, Nabil reclaims a fading cultural identity, merging film, photography, and memory into a poetic meditation on heritage, exile, and desire. The result is a deeply personal elegy to both a vanished art form and the timeless power of imagination. Image: Youssef Nabil, I Saved My Belly Dancer #XXIV, 2015, Courtesy of the artist, © Youssef Nabil

The International Center of Photography presents a landmark retrospective dedicated to the visionary Mexican photographer Graciela Iturbide, celebrating more than five decades of her profound and poetic exploration of the human experience. This major exhibition, organized in collaboration with Fundación MAPFRE, gathers nearly two hundred photographs that trace the evolution of an artist whose lens has continually bridged the realms of documentation and imagination. Born in Mexico City in 1942, Iturbide first pursued film studies before turning to photography under the mentorship of Manuel Álvarez Bravo. Her early years accompanying Bravo across Mexico became a formative journey—one that revealed to her the camera’s power to observe, translate, and transform. What followed was a lifetime of travel through the landscapes of Latin America and beyond, from the deserts of Sonora to the streets of Havana and the rituals of Juchitán. Everywhere she went, Iturbide sought the meeting point between tradition and transformation, between what is seen and what is felt. Her celebrated series on the Seri Indians and the women of Juchitán exemplify this pursuit. In these works, the ordinary becomes sacred; gestures of daily life take on mythic resonance. Her black-and-white photographs are marked by luminous contrasts and deliberate quiet, balancing the precision of ethnography with the dreamlike pull of poetry. Through her lens, nature and culture converge into symbolic terrain—a living archive of collective memory and personal revelation. This retrospective also reflects the long-standing commitment of Fundación MAPFRE and ICP to socially engaged photography. By gathering Iturbide’s most iconic images alongside lesser-known works and recent self-portraits, the exhibition reveals a practice that continues to question how photography can both witness and create reality. Graciela Iturbide’s art, timeless yet urgent, reminds us that to photograph is to learn—again and again—what it means to be human. Image: Graciela Iturbide, Mujer ángel, desierto de Sonora, México, 1979. Collection Fundación MAPFRE © Graciela Iturbide

The International Center of Photography presents Instead, I spin fantasies, a new exhibition by Naima Green that reimagines the visual language of pregnancy through self-portraiture, landscape, and still life. Moving fluidly between documentation and performance, Green constructs images that question how society defines motherhood and the pregnant body while proposing a more expansive and personal view of its possibilities. Curated by Elisabeth Sherman, the exhibition features dozens of new works that employ both historical and contemporary photographic processes, including albumen and lumen printing. A site-specific vinyl installation transforms the museum’s third-floor gallery, enveloping visitors in Green’s visual world. Sherman notes that the exhibition is a forward-looking meditation on how photography can open up new ways of imagining identity and experience, rather than simply recording what has been. Through fragmented narratives and overlapping scenes, Green’s photographs construct a layered vision of pregnancy as both intimate and collective. Her images depict moments of domestic routine—taking out the trash, resting, self-care—alongside gestures that challenge societal expectations, such as smoking or drinking. These acts become reflections on how notions of respectability shape the visibility of pregnant bodies, particularly in media and art. Friends, lovers, and chosen family populate Green’s photographs, weaving a sense of community into her imagined worlds. The images oscillate between tenderness and defiance, humor and gravity, acknowledging the emotional complexity of creating and sustaining life. Embedded references to medical systems and institutional pressures remind viewers of the broader contexts that frame these personal moments. In Instead, I spin fantasies, Green’s work resists linear storytelling, inviting viewers to move between realities, emotions, and identities. What emerges is not a single story of pregnancy, but a constellation of possible lives—each charged with beauty, uncertainty, and the quiet power of reinvention. Image: Naima Green, Half on a baby (DonChristian), 2025 © Naima Green

The International Center of Photography presents Sergio Larrain: Wanderings, a rare retrospective drawn entirely from the Magnum Photos archive, celebrating the visionary work of one of Chile’s most enigmatic photographers. Curated by Agnès Sire, former Director of the Fondation Henri Cartier-Bresson in Paris, the exhibition revisits the first two decades of Larrain’s career through images made in Valparaíso, Santiago, Paris, and London. These photographs, full of movement and mystery, reveal Larrain’s distinct blend of humanism and formal daring—his ability to find poetry in the everyday and transcendence in the ordinary. A member of Magnum Photos for over fifty years, Larrain saw photography as a spiritual pursuit. He believed that the best images arrived in moments of revelation, describing the process as entering a state of grace. His photographs often defy conventional composition—figures drift beyond the frame, shadows envelop entire streets, and light fractures the scene into fragments of time. The result is a body of work that feels both spontaneous and meditative, alive with the rhythm of the world yet removed from it. From his early series on the children of Santiago to his later portraits of the port city of Valparaíso, Larrain’s camera observed resilience and fragility with equal clarity. His lens traced the tension between poverty and joy, stillness and motion, architecture and the human spirit. The children who wander through his frames seem to exist outside time, emblems of a freedom untouched by material constraint. As the exhibition unfolds, Wanderings offers a new understanding of Larrain’s vision—a photography of restlessness and revelation. His images continue to resonate as quiet miracles: fleeting encounters that bridge the distance between the visible and the invisible, the real and the imagined. Image: Sergio Larrain, Cuzco, Peru, 1960 © Sergio Larrain / Magnum Photos

The Williamsburg Biannual, in collaboration with Sean Kelly, presents James Casebere: The Spatial Unconscious, a sweeping exhibition that spans four decades of the artist’s practice. Occupying three floors, the show gathers rarely seen works across a range of media, many of which have never before been exhibited in New York. Visitors will encounter early black-and-white images, color photographs, Polaroids, waterless lithographs, and new sculptural works that trace the evolution of Casebere’s exploration of constructed space and imagined architecture. Casebere’s artistic language bridges sculpture, photography, and architecture, positioning him as a seminal figure within the Pictures Generation. For him, photography is not merely a means of representation—it is a process of invention, a way to examine how perception and memory shape our shared realities. Through his meticulously crafted models, Casebere constructs worlds that balance between the real and the imagined, addressing themes of solitude, social structure, and the fragile equilibrium between permanence and decay. His compositions, often devoid of human presence, evoke a haunting psychological charge while questioning the systems that define our built environments. The exhibition also introduces Casebere’s Shou Sugi Ban sculptures, a new series inspired by the Japanese technique of wood preservation through charring. Using sustainable bamboo plywood, these geometric forms reveal both strength and vulnerability. Their textured, darkened surfaces speak to renewal through fire—a poetic meditation on the cycles of creation and loss that underpin architectural and human existence alike. Deeply influenced by literature, politics, and cultural history, Casebere continues to redefine the visual dialogue between space and meaning. The Spatial Unconscious offers a rare opportunity to experience an artist’s sustained inquiry into the architecture of the mind and the structures that hold, shape, and sometimes unsettle our collective imagination.

Fahey/Klein Gallery presents Julia Fullerton-Batten: Tableaux, a captivating exhibition that highlights two of the artist’s most ambitious projects, Old Father Thames and Frida – A Singular Vision of Beauty and Pain. Internationally recognized for her meticulously constructed, cinematic photographs, Fullerton-Batten merges the precision of film direction with the atmosphere of painting. Each image exists between fact and fantasy, transforming historical fragments and emotional truths into rich visual storytelling. In Old Father Thames, Fullerton-Batten explores London’s defining river, the lifeline that has shaped the city’s fortunes and myths for centuries. Living near its banks in West London, she was drawn to its ever-changing nature—its tides, moods, and the human dramas that have unfolded along its course. From jubilant Frost Fairs to moments of tragedy and renewal, her series reconstructs scenes from the Thames’ layered past. Each tableau feels like a moment frozen in time, illuminated with cinematic lighting and historical authenticity, revealing the river not just as a geographical feature, but as a living chronicle of London’s spirit. The Frida series pays tribute to the legendary Mexican artist Frida Kahlo, whose life and work embodied courage, creativity, and cultural pride. Inspired by Kahlo’s fearless individuality and deep love of Mexico, Fullerton-Batten reimagines her essence through strikingly stylized portraits and settings. Collaborating with Mexican artisans and costumers, she photographed her subjects in vibrant Tehuana garments within evocative locations—abandoned mansions, historic haciendas, and the haunting “doll island” of Xochimilco. These works bridge homage and invention, celebrating Kahlo’s enduring influence and the transformative power of art. Born in Bremen in 1970, Julia Fullerton-Batten has become a leading figure in contemporary fine-art photography. Her works are held in major international collections, including the National Portrait Gallery in London and Musée de l’Elysée in Lausanne, affirming her status as a master of visual storytelling. Image: The Princess Alice Disaster of 1978 Archival Pigment Print Signed, titled, dated, numbered on label verso © Julia Fullerton-Batten

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

Soft Spaces presents a compelling series of installations featuring the work of alumni from the Leslie-Lohman Museum of Art Fellowship, an international and intergenerational program dedicated to nurturing LGBTQIA+ artists of color. Since its founding in 2017, the Fellowship has provided a space for mentorship, collective learning, and professional development, guiding artists in the creation of sustainable practices while fostering radical affirmation of identity through liberatory pedagogy. The exhibition’s title, Soft Spaces, reflects the environment of care, experimentation, and vulnerability that the Fellowship cultivates. Participants describe the program as a sanctuary for exploration, where artistic risks can be taken and personal expression is nurtured. Within this context, the notion of softness becomes both a literal and metaphorical framework, shaping how the works on view engage with process, identity, and community. Soft Spaces brings together recent work by thirty-eight artists from the 2019–20, 2020–21, and 2021–22 Fellowship cohorts. The range of practices represented is expansive, encompassing digital and media art, painting, photography, filmmaking, performance, and installation. Each work embodies the artist’s exploration of self, history, and societal structures, highlighting the diversity of voices and perspectives cultivated by the program. By presenting these works collectively, Soft Spaces emphasizes the intersection of individual creativity and shared experience. The exhibition not only showcases the technical skill and conceptual depth of the artists but also illuminates the ways in which a supportive community can empower innovation and sustain artistic growth. Through these installations, viewers are invited to witness the transformative power of mentorship and the vital contributions of LGBTQIA+ artists of color to contemporary art today. Image: Alison Viana, Felix, 2024. Digital print, 24" x 36". Courtesy of the artist.

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.

The collection of Ken and Jacki Widder, prominent researchers and business leaders in biotechnology who have donated significant holdings of photographs to The San Diego Museum of Art, resembles a microcosm of the major crosscurrents in mid-twentieth-century photography in the United States. Its breadth is vast, ranging from portraiture and photojournalism to architectural views, motion studies, and photographs that verge on abstraction. Simultaneously, it is deep: the Widders have carefully collected certain artists extensively so as to illustrate the arcs of their careers. Thanks to the Widders’ generosity in sharing their collection with The San Diego Museum of Art, audiences gain the exciting opportunity to explore photography’s many facets and roles within modern culture, while also appreciating several preeminent photographers’ individual evolutions across different bodies of work. Though the photographs are varied, certain unifying threads emerge that are explored in this exhibition’s three sections: representations of the urban environment, from observations of architecture to works that borrow the language of contemporary painting to flirt with abstraction; photographs produced for organizations and media outlets during the heyday of the illustrated press from the 1930s to the 1980s; and “environmental” portraits that picture their sitters in the flux of their surroundings rather than the studio. In ways that are sometimes overt and often subtle, these photographers have used their cameras to shift our normal perception and offer new ways of seeing. Image: Ray Metzker, 80 H-Y5, 1980. Gelatin silver print. Collection of Ken and Jacki Widder. © Estate of Ray K. Metzker, Courtesy of Howard Greenberg Gallery

Casa Susanna brings together a remarkable collection of photographs and printed materials created by and for a discreet community of cross-dressers who gathered in New York City and the Catskill Mountains during the 1960s. At a time when gender expression was heavily policed and misunderstood, two small resorts operated by Susanna Valenti and her wife, Marie Tornell, offered a rare refuge. Within these walls, guests could safely dress en femme, share stories, and experience moments of acceptance. The camera played a central role in these encounters, serving as both a tool of affirmation and a medium of self-discovery. These photographs—ranging from casual snapshots to carefully staged portraits—were exchanged at gatherings or sent through the mail, preserving a private world of identity and friendship that defied social norms. Rediscovered at a Manhattan flea market in 2004, the images became known as the Casa Susanna photographs, now recognized as a landmark record of pre-Stonewall queer history. The exhibition also includes rare issues of *Transvestia*, an underground magazine that circulated among cross-dressers during the same era. Combining fiction, poetry, personal essays, and practical advice on makeup and clothing, the publication helped build a sense of belonging for individuals who otherwise lived in secrecy. Together, the photographs and printed materials illuminate a network that was both intimate and quietly revolutionary. Casa Susanna reveals the tension between conformity and liberation that shaped the community’s expression of femininity. Many of the participants portrayed themselves as respectable housewives or elegant ladies, embodying ideals of middle-class womanhood that reflected both aspiration and constraint. The exhibition invites visitors to consider these complex acts of self-fashioning within the broader history of gender and identity, tracing a poignant connection between the hidden lives of the past and the ongoing struggles for visibility and acceptance today. Image: Andrea Susan (American, 1939–2015). Photo shoot with Lili, Wilma, and friends, Casa Susanna, Hunter, NY, 1964–1968. Chromogenic print, 3 5/16 x 4 1/4 in. (8.4 x 10.8 cm). Art Gallery of Ontario, Purchase, with funds generously donated by Martha LA McCain, 2015

The Addison Gallery of American Art presents Other Things Uttered, the first museum solo exhibition by Tommy Kha, recipient of the Bartlett H. Hayes Jr. Prize. Through his distinctive approach to photography, Kha explores how identity, belonging, and difference are shaped and perceived. His work questions the conventions of self-portraiture, responding to the long history of exclusion and invisibility within the photographic medium. Describing photography as a form of language, Kha constructs his own visual grammar—one that speaks to the complexities of representation, translation, and selfhood. The exhibition’s title pays homage to Theresa Hak Kyung Cha’s 1978 performance Other Things Seen, Other Things Heard, acknowledging a shared artistic engagement with language, memory, and fragmented identity. For Kha, the act of photographing becomes a means of navigating his multiple inheritances and the spaces in between. Born in Memphis’s Whitehaven neighborhood to a family whose journey spanned China, Vietnam, and the American South, Kha brings together these cultural threads in a body of work that is both personal and political. His images reveal the tension between visibility and invisibility, intimacy and distance, humor and melancholy. Kha’s photographs frequently feature masks, cutouts, or surrogates of his own face and body, creating tableaux that blur the line between self and other. These visual doubles inhabit domestic and public spaces, evoking the feeling of being present yet detached—a reflection on what it means to see and be seen. The effect is at once uncanny and tender, a meditation on the porous boundaries of identity. Awarded every two years, the Bartlett H. Hayes Jr. Prize continues the Addison’s legacy of supporting contemporary artists. In honoring Tommy Kha, the museum extends its tradition of fostering new voices who challenge, reinterpret, and expand the language of American art. Image: Tommy Kha, Constellations XVIII, Whitehaven, Memphis, 2019. Archival pigment print. © Tommy Kha

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.

American artist Man Ray (1890–1976) was a visionary known for his radical experiments that pushed the limits of photography, painting, sculpture, and film. In the winter of 1921, he pioneered the rayograph, a new twist on a technique used to make photographs without a camera. By placing objects on or near a sheet of light-sensitive paper, which he exposed to light and developed, Man Ray turned recognizable subjects into wonderfully mysterious compositions. Introduced in the period between Dada and Surrealism, the rayographs’ transformative, magical qualities led the poet Tristan Tzara to describe them as capturing the moments “when objects dream.” The exhibition will be the first to situate this signature accomplishment in relation to Man Ray’s larger body of work of the 1910s and 1920s. Drawing from the collections of The Met and more than 50 U.S. and international lenders, the exhibition will feature approximately 60 rayographs and 100 paintings, objects, prints, drawings, films, and photographs—including some of the artist’s most iconic works—to highlight the central role of the rayograph in Man Ray’s boundary-breaking practice. “Before my eyes an image began to form, not quite a simple silhouette of the objects as in a straight photograph, but distorted and refracted … In the morning I examined the results, pinning a couple of the Rayographs—as I decided to call them—on the wall. They looked startlingly new and mysterious.” — Man Ray The exhibition is made possible by the Barrie A. and Deedee Wigmore Foundation. Major funding is provided by Linda Macklowe, the Horace W. Goldsmith Foundation, The Daniel and Estrellita Brodsky Foundation, The International Council of The Metropolitan Museum of Art, Andrea Krantz and Harvey Sawikin, and Schiaparelli. Additional support is provided by the Vanguard Council. The catalogue is made possible by the Mellon Foundation. Additional support is provided by James Park, the Carol Shuster-Polakoff Family Foundation, and Sharon Wee and Tracy Fu.

For the Ngurrara people of Western Australia, Country represents far more than geography—it is the living essence of kinship, connection, and identity. Within the vast expanse of the Great Sandy Desert, the Aboriginal communities of the Walmajarri, Wangkajunga, Mangala, and Juwaliny language groups have long understood Country as a network uniting land, water, and sky. This relationship, maintained through stories and ceremony, has shaped their way of life for countless generations. Tuan Andrew Nguyen’s film We Were Lost in Our Country reflects on this enduring bond while tracing the Ngurrara people’s historic struggle to reclaim their ancestral lands. At the heart of Nguyen’s film lies the extraordinary Ngurrara Canvas II, a monumental artwork created in 1997 by forty-four Ngurrara artists. Painted entirely from memory and oral tradition, the canvas maps 29,000 square miles of desert—each line and color encoding ancestral knowledge passed down through generations. More than a representation of territory, it served as tangible proof of belonging, a visual affirmation of the community’s unbroken relationship with the land. Its creation became a landmark event, blending artistry and advocacy to secure legal recognition of Indigenous land rights. Through a combination of archival recordings and newly filmed material, Nguyen revisits this story of resilience and reclamation. He includes the voices of surviving artists and younger generations who, having grown up distant from their ancestral lands, are now rediscovering what Country means. We Were Lost in Our Country becomes a meditation on displacement and remembrance, showing how collective creativity can bridge the past and present. Nguyen’s film suggests that to remember Country is to heal—to reclaim not only place but identity itself. In doing so, it honors the Ngurrara people’s conviction that art and storytelling remain vital acts of resistance and renewal. Image: Still from We Were Lost in Our Country, 2019 Tuan Andrew Nguyen The Art Institute of Chicago, Benefactors of Architecture, Samuel A. Marx, and Major Acquisitions Centennial funds

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.

This exhibition brings together works by Roni Horn in a range of mediums—sculpture, photography, drawing, and bookmaking—offering the first presentation devoted entirely to her exploration of water. Among the featured works are You are the Weather, Part 2 (2010–11), a series of one hundred photographs depicting a woman immersed in Iceland’s geothermal pools; a group of newly unveiled cast glass sculptures whose luminous surfaces suggest the stillness and depth of liquid; and volumes from To Place, Horn’s ongoing series of artist books begun in 1989, which probe the intricate ties between self, landscape, and perception. For Horn, water is both subject and metaphor—a material through which she examines the mutable nature of identity and emotion. In her writing, she describes water as shifting endlessly between states: calm and turbulent, pure and opaque, soft and hard. This language of paradox underscores her larger inquiry into how something that appears constant is, in fact, perpetually in flux. The qualities she attributes to water—its weight, transparency, and volatility—mirror the contradictions inherent in human experience, where clarity and uncertainty often coexist. In the context of the American West, this focus acquires a deeper resonance. Water has long been regarded as a dependable and abundant element, yet climate change and population growth are revealing its fragility. Horn’s meditations on water, therefore, speak not only to inner transformation but also to ecological vulnerability. Her art becomes an invitation to look more closely at what sustains us—materially and spiritually—and to recognize the precarious balance between stability and change. Through these works, Horn transforms water into a lens for understanding both our environment and the shifting contours of identity itself. Image: Installation view, Roni Horn: Water, Water on the Wall, You’re the Fairest of Them All, Museum of Contemporary Art Denver, September 12, 2025 — February 15, 2026. Photos by Wes Magyar.

Time Travelers: Photographs from the Gayle Greenhill Collection invites viewers to journey through photography’s rich and evolving history, exploring how images can transport us across time, place, and imagination. Each photograph on view functions as both a document and a dream—an open doorway into the moments, ideas, and emotions that have defined the medium since its inception. From its earliest experiments to contemporary visions, the exhibition offers a meditation on photography’s enduring power to connect us to worlds both real and imagined. Spanning nearly two centuries, the selection traces photography’s transformation from scientific innovation to expressive art form. William Henry Fox Talbot’s pioneering studies of light and shadow meet the ethereal portraits of Julia Margaret Cameron, while Edward Steichen’s atmospheric compositions reveal the painterly potential of the camera. Works by László Moholy-Nagy and Jan Groover push the boundaries of perception, using abstraction to question how we see and what we know. Meanwhile, JoAnn Verburg’s immersive landscapes invite viewers into spaces where time seems to expand and dissolve, offering quiet moments of reflection within nature’s rhythm. The photographs presented here—ranging from portraits and landscapes to experimental and documentary works—demonstrate the many ways artists have used the camera to observe, interpret, and invent the world around them. Each image holds a conversation between the past and the present, between the photographer’s vision and the viewer’s imagination. Honoring a generous gift from Robert F. Greenhill to The Museum of Modern Art in memory of his wife, Gayle Greenhill, Time Travelers celebrates a life lived through art and the enduring human desire to reach beyond the moment. As photographer Emmet Gowin once reflected, “For me, pictures provide a means of holding, intensely, a moment of communication between one human and another.” Image: Tod Papageorge. Central Park. 1989. Gelatin silver print, 15 5/16 × 22 13/16" (38.9 x 57.9 cm). The Museum of Modern Art, New York. The Gayle Greenhill Collection. © 2025 Tod Papageorge

Pao Houa Her’s photographic practice delves into the intertwined histories and possibilities of landscape and portrait traditions, exploring how desire, memory, and displacement shape the idea of homeland. Her work draws deeply from the Hmong community’s lived experiences and oral histories, positioning women as the primary transmitters of cultural knowledge and continuity. Through her carefully composed images, Her examines how belonging and identity are constructed, using photography to navigate the layered relationship between place, imagination, and inherited memory. Pao Houa Her: The Imaginative Landscape spans more than two decades of the artist’s career, offering a fluid and unconventional survey of her evolving vision. Seen through the lens of the titular series, the exhibition weaves together connections between earlier projects, recent works, and pieces still in progress. Her photographs move seamlessly between geographies—California’s agricultural valleys, the dense jungles of Laos, and the poppy fields of Minnesota—each location transformed into a symbolic terrain that reflects both personal and collective narratives of migration and resilience. In San José, Her’s images extend beyond the museum walls, appearing throughout the downtown area in both outdoor and indoor settings, on walls and digital screens. This spatial dispersion echoes the resilience and adaptability of diasporic communities, suggesting that cultural identity is not confined to one place but continually reimagined across shifting landscapes. Her’s approach to photography—both grounded and poetic—invites viewers to reconsider how homeland can be simultaneously real and imagined, distant yet intimate. Co-organized by Lauren Schell Dickens of the San José Museum of Art and Jodi Throckmorton of the John Michael Kohler Arts Center, this dual presentation embodies the spirit of collaboration and continuity that defines Her’s practice and the enduring vitality of the stories she brings to light. Image: Pao Houa Her, untitled (Erik laying outside with ziplock bags) from “The Imaginative Landscape” series, 2018. Archival pigment print, 32 x 40 inches. Courtesy of the artist and Bockley Gallery.

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

MoMA PS1 presents the first solo exhibition in the United States by photographer Inuuteq Storch, titled Soon Will Summer Be Over, on view from October 9, 2025, through February 23, 2026. The exhibition traces more than a decade of Storch’s work, capturing the emotional and physical landscapes of Kalaallit Nunaat (Greenland). Centered on his hometown of Sisimiut, a small Arctic community north of the polar circle, his photographs explore moments of tenderness, daily routine, and quiet grandeur. Using analog cameras passed down by friends and family, Storch creates a deeply personal visual language that reflects the complexities of Greenlandic life—where ancient Inuit traditions intersect with colonial histories and the effects of a rapidly changing climate. The natural world, ever-present in its extremes, shapes Storch’s vision. His early series Keepers of the Ocean (2019) captures the essence of life in Sisimiut over four years, juxtaposing the intimacy of domestic scenes with the immensity of the surrounding sea and sky. Later works, including Soon Will Summer Be Over (2023), evoke the fragile rhythms of life in Qaanaaq, one of the northernmost towns on Earth, while What If You Were My Sabine? (2025) reveals the emotional resonance of a personal relationship. Through each project, Storch’s camera becomes both a witness and participant, preserving the fleeting interplay between people, memory, and landscape. A deep engagement with Greenland’s photographic past runs through Storch’s practice. In Porcelain Souls, he revisits family photographs from the 1960s to 1980s, uncovering tender records of everyday life. His video installation Anachronism (2015–2020) layers archival footage of Inuit modernization, questioning how identity is constructed and remembered. By merging historical fragments with contemporary imagery, Storch restores agency to his community’s self-representation, crafting a vision of Greenland that is as poetic as it is political. Image: Inuuteq Storch. Keepers of the Ocean. 2019. Photograph. Courtesy the artist and Wilson Saplana Gallery, Copenhagen © Inuuteq Storch

Black Spaces: Reclaim & Remain explores the intertwined narratives of displacement, resilience, and renewal within Black American communities of Oakland and the East Bay. This exhibition unfolds as both a testament and a dialogue—revealing how generations have reimagined belonging amid the shifting landscapes of urban change. Through newly commissioned works in art, architecture, and archival storytelling, it honors the ingenuity and persistence that have shaped these communities’ pursuit of home and identity. Drawing from the histories of West Oakland and Russell City, Black Spaces: Reclaim & Remain reflects on neighborhoods once rich in cultural life yet scarred by cycles of erasure and renewal. The exhibition interlaces pieces from the Oakland Museum of California’s collection with loans from local archives to trace the rise, displacement, and reclamation of these spaces. Through the eyes of artist Adrian Burrell, architect June Grant of blinkLAB architecture, and the Archive of Urban Futures in collaboration with Moms 4 Housing, the show examines the many ways Black residents have resisted systemic forces and reshaped their environments into acts of defiance and creation. Developed alongside East Bay residents who have directly experienced the weight of displacement, the exhibition becomes more than a reflection—it is an act of collective remembering. Each installation speaks to the power of reclaiming space, not only in a physical sense but also within the cultural and emotional landscapes that sustain a community. Black Spaces: Reclaim & Remain stands as both an homage and a promise: a recognition of the creativity and strength that continue to define Black life in the Bay Area and beyond. It reminds viewers that even amid loss, the act of remaining can itself be a radical form of resistance and renewal. Image: Keith Dennison, Untitled [Sherman tank prepares to destroy homes for post office site], 1960, Gelatin silver print, The Oakland Tribune Collection, Oakland Museum of California, Gift of ANG Newspapers

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.

Encounter an artist who changed the face of portrait photography. Seydou Keïta: A Tactile Lens is the most expansive North American exhibition of the legendary Malian photographer’s work to date. Nearly 275 works include iconic prints, never-before-seen portraits, textiles, and Keïta’s personal artifacts, all brought to life with unique insights from his family.. Organized by the Brooklyn Museum, the exhibition brings us to Bamako from the late 1940s to early 1960s, an era of profound political and social transformation. Collaborating closely with his sitters, Keïta recorded Mali’s evolution through their choices of backdrops, accessories, and apparel, from traditional finery to European suits. These bold yet sensitive photographs began to circulate in West Africa nearly 80 years ago. In the early 1990s, they reached Western viewers, rocking the art world and cementing Keïta as the premier studio photographer of 20th-century Africa—a peer of August Sander, Irving Penn, and Richard Avedon.. Witness the power of photography through these richly layered images, which reveal not only Malians’ emotional landscapes but also the textures of life in a rapidly changing country.. A fully illustrated catalogue accompanies the exhibition, offering new insights into the photographer, his work, and Malian material culture. The publication features a biography by Catherine E. McKinley based on extensive interviews with Keïta’s heirs, as well as essays by prominent scholars and curators including Drew Sawyer, Howard W. French, Duncan Clarke, Awa Konate, Sana Ginwalla, and Jennifer Bajorek. Image: Seydou Keïta, Untitled, ca. 1952–55 © SKPEAC/the estate of Seydou Keïta and courtesy The Jean Pigozzi African Art Collection

Tacita Dean: Blind Folly is the first major museum survey in the United States of work by British European visual artist Tacita Dean (b. 1965). The exhibition, organized in close collaboration with Dean, spotlights her career-defining approach to creating art through unmediated and chance-based drawing processes across a variety of mediums, from film to printmaking. Blind Folly, the show’s title, reflects Dean’s desire to let the behavior of her mediums dictate the results of her work. For the artist, the playful and old-fashioned phrase connoting foolishness, “blind folly,” represents the role chance and fate play in the creative act. Blind Folly brings together several of Dean’s monumental blackboard drawings along with rarely shown drawings from her studio on paper, found postcards, albumen photographs, and 16mm films. This selection includes several newly created works, some of which were inspired by Dean’s residency at the Menil Collection’s Cy Twombly Gallery, a Renzo Piano-designed building devoted to the work of late American artist Cy Twombly (1928–2011). Tacita Dean: Blind Folly is curated by Michelle White, Senior Curator, The Menil Collection, Houston, and presented at the Columbus Museum of Art in collaboration with Daniel Marcus, Curator of Collections and Exhibitions, and Rae Root, Roy Lichtenstein Curatorial Fellow. The exhibition is accompanied by the book Blind Folly or How Tacita Dean Draws, written by Michelle White (co-published by the Menil and MACK). The text, illustrated with more than forty images, is based on seven years of conversation between the author and the artist.

Crafting Sanctuaries: Black Spaces of the Great Depression South seeks to change how we envision the Great Depression and its ‘other Southern half.’ Between 1935 and 1944, a group of photographers working for the Farm Security Administration created a massive photo-documentation portrait of the living conditions of American agricultural workers in the rural South. The images that were selected for mass publication, many of which have become icons of this period of American history, offered a narrow view of these Southern regions and their inhabitants. Spanning the work of Russell Lee, Walker Evans, Marion Post Wolcott, Arthur Rothstein, Jack Delano, Dorothea Lange, and Ben Shahn; and six Southern states (Alabama, Georgia, Louisiana, Florida Mississippi, and Missouri), this exhibition foregrounds photos of private dwellings and public gathering spaces of Black Southerners. Crafting Sanctuaries reveals how these Depression-era Black Southerners worked to construct and reflect a sense of home and self by imagining, designing, and adorning their interior worlds and communal spaces. Farming houses, humble shacks, churches, schoolhouses, and barbershops are refashioned into havens of expression, comfort, and refuge. Organized by Art Bridges. Curated by Tamir Williams, Curatorial Associate, with support from Ashley Holland, Curator and Director of Curatorial Initiatives, Isabel Ouweleen, Curatorial Research Assistant, and Javier Rivero Ramos, Assistant Curator. Image: Russell Lee (1903-1986), Southeast Missouri Farms. Sharecropper’s child combing hair in bedroom of shack home near La Forge project, Missouri, 1938, printed 2024, silver gelatin print, 8 x 10 in. Library of Congress, Prints & Photographs Division, FSA/OWI Collection, LC-DIG-fsa-8b20258

The Unending Stream is a two-part exhibition that showcases the thriving community of photographers living and working in New Orleans. The title of the exhibition pays homage to a Clarence John Laughlin photograph of the same title, which is a part of the permanent collection at Ogden Museum of Southern Art. Considered “the Father of American Surrealism,” Laughlin was perhaps the most important Southern photographer of the mid-twentieth century. His seminal work, created between the 1935 and 1965, is an important chapter in the long-storied relationship between New Orleans and photography. Following in Laughlin’s visionary footsteps, this exhibition focuses on contemporary photographers who are visually defining the Crescent City in the twenty-first century. The Unending Stream celebrates of the city of New Orleans’ continuing role as one of America’s most important cultural capitals while also highlighting the role the arts have played in revitalizing the region over the past twenty years since Hurricane Katrina. The Unending Stream highlights the work of six photographers who investigate themes similar to Laughlin’s of memory, place, time and identity while capturing the mysterious beauty of America’s most unique city. Each photographer brings a contemporary twist to the exhibition, creating work that provokes thought and conjures emotion. The Unending Stream: Chapter II features photographers (Casey Joiner, Eric Waters, Virginia Hanusik, Giancarlo D’Agostaro, Steve Pyke and Clint Maedgen) who work in both analogue and digital photography. Casey Joiner uses the camera to explore themes of family and grief; Eric Waters documents the complex culture of New Orleans’ Black masking traditions; Virginia Hanusik captures Louisiana’s disappearing coastline in a time of climate change; Giancarlo D’Agostaro makes moody nocturnal photographs of Mardi Gras parades; Steve Pyke records the lush urban forest contained within City Park; and Clint Maedgen fuses multiple images and self-portraiture to create scroll-like collages informed by his musical background. New Orleans has been both muse and home to some of the most important and celebrated photographers of the ninetieth and twentieth century. The Unending Stream sheds light on the current trajectory of photography being created in New Orleans today. Image: Eric Waters, Victor Harris “Mandingo Warriors” FiYiYi, 2015, Pigment Print, 30 x 24 inches, Collection of the Artist

Invented in France by Louis-Jacques-Mandé Daguerre in the 1830s, the daguerreotype rapidly became the first widely practiced photographic process worldwide. By 1853, photographers in the United States produced an estimated three million a year, mostly portraits. But between 1840 and 1860, an innovative language of scenic outdoor daguerreotypes developed despite the technical challenges of the process. Surviving examples of these jewel-like scenic daguerreotypes number in the few thousands. This exhibition looks at eighty three, most selected from an important private collection. Included are two of the earliest American landscape photographs, extraordinary full-plate daguerreotypes made in 1840-41 by Samuel Bemis (1789–1881) and never before exhibited in public, and a street scene in Cincinnati made around 1851 by James Presley Ball (1825–1904). Gain an incredible view into mid-nineteenth-century American life and the beginnings of American landscape photography that emerged concurrently with the Hudson River School of painters. These forgotten but pioneering daguerreotypes laid the foundation for the scenic and urban landscape tradition that would dominate American photography in the twentieth century. Image: St. Anthony Falls, Minneapolis, Minnesota, Attributed to Alexander Hesler (1823-1895) and Joel Whitney (1822-1886). Sixth plate daguerreotype. Greg French Collection.

In celebration of the centennial of Robert Rauschenberg (1925–2008), and in partnership with the Robert Rauschenberg Foundation, the Museum of the City of New York (MCNY) presents Robert Rauschenberg’s New York: Pictures from the Real World, a major exhibition opening on September 12, 2025. This dynamic show explores Rauschenberg’s innovative integration of photography and found objects into his art, reflecting his deep engagement with “the real world” and his complex relationship with New York City. Widely regarded as one of the most influential artists of postwar New York, Rauschenberg’s irreverent approach to art-making pushed the envelope for an entire generation, reshaping the art world in New York and around the world. At the heart of his practice was a desire to incorporate the tangible world around him into his art. Gathering materials and inspiration from his surroundings, he often brought found objects and images sourced or reproduced from magazines and newspapers into his paintings and sculptures. But Rauschenberg was not merely a user of found imagery; he was also a photographer with a bold creative vision— an essential aspect of his artistic practice that is the focus of the exhibition. The show is organized into three sections—Early Photographs, In + Out City Limits, and Photography in Painting—tracing the evolution of Rauschenberg’s photographic practice and its interplay with painting, sculpture, and assemblage. His earliest images are largely intimate portraits and experiments with formal elements such as framing, light and shadow, and flattening the picture plane. The centerpiece of the exhibition is In + Out City Limits, a three-year (1979–81) photographic survey conducted across the United States—a project Rauschenberg had originally conceived decades earlier as a student at Black Mountain College in North Carolina. His New York photographs from this project reveal his fascination with the signs and symbols of human culture, even in the most humble or discarded remnants of the city. Together, these photographs emphasize his observational rigor and his constant effort to channel the fleeting, ineffable moments of life into his work—revealing a deep sensitivity to the social landscape. In addition, the exhibition presents a selection of works created between 1963 and 1994 that combine Rauschenberg’s New York City photographs with images taken around the world, illustrating how he re-contextualized his photographic imagery through his innovative creative process. Image: Robert Rauschenberg, Wet Flirt (Urban Bourbon), 1994. Courtesy Robert Rauschenberg Foundation

Elliot & Erick Jiménez: El Monte is the first solo museum exhibition of the artist duo Elliot & Erick Jiménez. The photographers, identical twin brothers, present an entirely new body of work inspired by the spiritual tradition of Lucumí—a syncretic Afro-Caribbean religion that emerged in late nineteenth-century Cuba bringing together elements of Yoruba, Catholicism, and Spiritism—and by Lydia Cabrera’s seminal text El Monte. First published in Cuba in 1954, El Monte is a foundational study of Afro-Cuban religions that was translated into English for the first time in 2023, significantly broadening access to its insights on Caribbean spiritual practices. This exhibition highlights the Jiménez twins’ bicultural upbringing as Cuban Americans raised in the Lucumí tradition. At the center of the exhibition is a large structure that dominates the gallery space, its interior evoking both a chapel and a forest. The installation references syncretic Caribbean religions, their Catholic counterparts, and the Cuban monte (forest or wilderness)—a site associated with mystery, transformations, and spiritual encounters. Various works explore the artists’ relationship as identical twins, the structure itself symbolizing the shared space of the womb. Other works reimagine well-known art historical compositions through the lens of Lucumí, examining its intersections with colonialism and the Western art historical canon. While the exhibition primarily features photographs, it also includes sculptural elements interspersed throughout the gallery. Together, these works invite visitors to engage with themes of wonder, mystery, self-reflection, and discovery. Image: Elliot & Erick. El Monte (Ibejí), 2024. Archival pigment print

Internationally renowned artist Ann Hamilton is best known for large-scale ephemeral installations, performances, and civic monuments, but the use of photography and video runs throughout her 35-year career and has become increasingly important to her practice over the past decade. This exhibition juxtaposes past works with new creations, including some related to the museum and its collections. Explored in all this work is the relationship between touch, sight, and language. Hamilton’s interest in tactility recalls her origins as a textile artist. A central theme of her practice is the connection between feeling, understanding, and sensory experience, especially touch. Born in Lima, Ohio, and living in Columbus, Hamilton is Ohio’s most influential and best-known living visual artist. Among her many honors are the National Medal of the Arts, Heinz Award, MacArthur Fellowship, United States Artists Fellowship, NEA Visual Arts Fellowship, Louis Comfort Tiffany Foundation Award, Skowhegan Medal for Sculpture, and the Guggenheim Memorial Fellowship. Hamilton represented the United States in the 1991 Sao Paulo Bienal and the 1999 Venice Biennale and has exhibited extensively around the world. Image: sense • stone, 2022. Ann Hamilton (American, b. 1956). Archival pigment print on Japanese gampi paper

Can a photographic portrait inspire political imagination? Ideas of Africa: Portraiture and Political Imagination examines how photographers and their sitters contributed to the proliferation of Pan-African solidarity during the mid-20th century. Embracing the international spirit of the time, the exhibition gathers striking pictures by photographers working in Central and West African cities. They created images of everyday citizens, dazzling music scenes, and potent manifestations of youth culture that reflected emerging political realities. Photographs by Jean Depara, Seydou Keïta, Malick Sidibé, and Sanlé Sory portray residents across Bamako, Bobo-Dioulasso, and Kinshasa at a time when the winds of decolonial change swept the African continent in tandem with the burgeoning US Civil Rights movement. The exhibition also spotlights James Barnor and Kwame Brathwaite—photographers living in Europe and North America who contributed to the construction of Africa as a political idea. Contemporary works by artists such as Samuel Fosso, Silvia Rosi, and Njideka Akunyili Crosby show the enduring relevance of these themes. Brimming with possibility, Ideas of Africa: Portraits and Political Imagination embraces the creative potential of the photographic portrait and its political resonance across the globe. Image: Sanlé Sory. Traveller (Le Voyageur). 1970–85.

Every photograph carries with it a decision—what to include, what to exclude, and how to shape what is seen. In their first solo museum exhibition in Seattle, Duwamish artist Camille Trautman reclaims that act of framing as a tool of resistance. Through photography and video, Trautman interrogates the ways colonial narratives have obscured Indigenous presence, offering instead images that assert identity, memory, and visibility. The exhibition centers on selections from Trautman’s ongoing series The North American LCD, a haunting body of work that merges the personal and the political. Each photograph presents a spectral self-portrait of the artist set within varied natural landscapes. Their form—partially hidden behind luminous LCD screens—speaks to the tension between self-revelation and concealment, a reflection of the artist’s journey through gender transition and self-recognition. In these works, the screen becomes both barrier and mirror, a metaphor for how technology and representation can simultaneously empower and distort. Trautman’s images challenge the conventions of landscape photography, exposing how the genre has long served as a colonial tool while offering new ways to envision connection with land and self. Part of the Frye Art Museum’s Boren Banner Series, this exhibition extends Trautman’s practice beyond the gallery walls. A monumental 16-by-20-foot vinyl banner faces Boren Avenue, transforming public space into a site of encounter and reflection. This gesture, emblematic of the museum’s ongoing support for Pacific Northwest artists, brings Trautman’s work into dialogue with the urban landscape of their hometown. In The North American LCD, the act of framing becomes a form of reclamation—a way to rewrite visibility on one’s own terms. Through layered imagery and embodied presence, Camille Trautman invites viewers to consider how identity, land, and history intertwine within the ever-shifting lens of representation. Image: Camille Trautman. The North American LCD no. 26, 2025. Archival pigment print. 30 x 40 in. Courtesy of the artist

Focal Point: The David Hall Photography Collection brings together forty remarkable works from the extensive holdings of Tampa-based photographer and collector David Hall. Comprising more than four hundred pieces, the collection reflects a lifelong fascination with the art and history of photography. The selection on view traces the medium’s transformation throughout the twentieth century—from its early documentary purpose to its recognition as a vital and expressive art form. Hall’s particular passion for photographs made between World War I and World War II, a period of immense artistic experimentation, is evident throughout the exhibition. The presentation unfolds through themes that recur across Hall’s collection, featuring iconic works such as Ruth Orkin’s American Girl in Italy, August Sander’s Young Farmers, and Ansel Adams’s celebrated view of Half Dome in Yosemite. These images, once circulated in influential publications like LIFE, Harper’s Bazaar, and Vogue, highlight a generation of photographers—among them Richard Avedon, Alfred Eisenstaedt, and Philippe Halsman—whose work shaped modern visual culture. The exhibition also honors the pioneering spirit of Group f/64, whose members including Adams, Ruth Bernhard, and Edward Weston pursued a vision of “pure photography” that rejected pictorialism in favor of sharp focus and formal precision. Women play a defining role within Hall’s collection, both behind and in front of the camera. The works of Berenice Abbott, Diane Arbus, and Lillian Bassman exemplify a generation of women who redefined the possibilities of the medium despite limited recognition in their time. Their portraits of women—muses, artists, sisters—embody strength, elegance, and humanity. Focal Point also includes pieces by Hall’s contemporaries and friends from California, a nod to his years in the Bay Area. More than an exhibition, this presentation stands as a heartfelt tribute to David Hall’s enduring legacy as a collector, photographer, and champion of the arts in Tampa and beyond. Image: Judy Dater (American, b. 1941), Self-Portrait at Salt Flats, 1981. Gelatin silver print. David Hall Collection.

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.

The Metropolitan Museum of Art announces a significant promised gift from Artur Walther and the Walther Family Foundation, recognized worldwide for their commitment to advancing the study of photography. This extraordinary collection of approximately 6,500 works includes photographs, albums, and time-based media spanning continents and centuries. It encompasses modern and contemporary art from Africa, China, Japan, and Germany, as well as vernacular photographs from the 19th and 20th centuries taken in the United States, Europe, Colombia, and Mexico. Together, these works trace the evolution of photography as both an artistic language and a cultural mirror, revealing how image-making shapes our understanding of the world. Selections from the collection will debut in the Michael C. Rockefeller Wing when it reopens in May 2025, featuring iconic African photographers such as Seydou Keïta and Samuel Fosso. A subsequent exhibition in fall 2025 will present a broader international overview, while a comprehensive survey of the collection is planned for 2028. The Met also intends to integrate photographs and video works from the gift into future installations in the Tang Wing, the museum’s new home for modern and contemporary art opening in 2030. These presentations will explore how artists use the camera to capture changing social, cultural, and physical landscapes—moments where observation becomes both record and reflection. Artur Walther’s vision was to challenge and expand the boundaries of photographic practice. Over more than three decades, he assembled a collection that brings together celebrated masters and lesser-known voices, forming a dialogue across geography and history. The exhibition View Finding: Selections from The Walther Collection introduces this transformative gift, celebrating the diversity of global perspectives. From city streets to intimate interiors, these images reveal photography’s enduring ability to question, connect, and redefine how we see ourselves and the world around us. Image: Luo Yongjin (Chinese, born 1960), Oriental Plaza, Beijing (detail), 1998–2002. Inkjet print. The Metropolitan Museum of Art, New York, Promised gift of The Walther Family Foundation © Luo Yongjin

Over the past five decades, photographer Mimi Plumb has constructed a striking and deeply personal record of the American West, capturing both its enduring beauty and its quiet disquiet. Her images reveal the intricate relationship between people and the landscapes they inhabit—spaces marked by change, resilience, and the shifting tides of modern life. In her first solo museum exhibition, the High Museum of Art presents three major bodies of her work, bringing together over one hundred photographs taken in and around San Francisco and throughout the Western United States. Plumb’s work chronicles an evolving America—one shaped by environmental transformation, political upheaval, and economic uncertainty. From the vast, open deserts to the fringes of suburban sprawl, her photographs reflect the contradictions of a region defined by both opportunity and decline. Her lens captures the quiet drama of everyday existence: teenagers gathered at the edge of town, dust settling over a parched field, the melancholic glow of a neon sign flickering against the twilight. These moments, though ordinary, convey a profound sense of fragility and endurance. The exhibition invites viewers to consider how the Western landscape has mirrored the changing hopes and fears of American life since the 1970s. Through Plumb’s precise compositions and empathetic eye, the familiar becomes mysterious, and the distant past feels eerily present. Her photographs are less about nostalgia than about reckoning—an attempt to understand how humans move through, alter, and are shaped by their environments. Following its debut at the High, the exhibition will travel to the Herbert F. Johnson Museum of Art at Cornell University, the Norton Museum of Art, and the Museum of Contemporary Photography at Columbia College Chicago, extending Plumb’s meditative exploration of place and time to new audiences across the country. Image: Mimi Plumb (American, born 1953), Boys and Tires, Sears Point, 1976, pigmented inkjet print, Gift of Lucas Foglia, 2025.87. © Mimi Plumb.

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

For a century, Lehigh University Art Galleries has stood at the intersection of creativity and innovation, reflecting the rich artistic and industrial heritage of the Lehigh Valley. From the ingenuity of the Lenape people to the region’s steel and railroad industries, and now its high-tech manufacturing, the area has long been a site of experimentation and craftsmanship, a spirit embraced by both artists and engineers alike. This creative ethos has been embedded in Lehigh University since its founding by Asa Packer, a carpenter and boat-builder who valued a comprehensive education. Built on this foundation, LUAG has championed the transformative power of art since 1926, the year the first art exhibition was held on campus. Over the decades, the galleries have offered visitors access to artworks from internationally recognized institutions and the university’s own collection of over 20,000 pieces, providing a space where art, education, and community converge. To celebrate its centennial, LUAG presents Here and Now: 100 Years of LUAG, 100 Local Artists, a juried exhibition showcasing one hundred artists from the region. On view from September 2, 2025, through May 22, 2026, the exhibition highlights the vibrancy and diversity of contemporary artistic practice in the Lehigh Valley. Selected from nearly 300 applicants and 800 submitted works, these pieces will activate the galleries while serving as a catalyst for receptions, lectures, workshops, and special events, connecting audiences with the local art ecosystem. The exhibition also coincides with an initiative to acquire significant works by local artists for LUAG’s permanent collection, further cementing the institution’s dedication to regional creativity. Featuring artists such as Lydia Panas, Francisco Aguilar, Katie Arnold, Rain Black, Amy Burke, Dylan Collazo, Angela Fraleigh, Julia Lundy, and many others, Here and Now celebrates a century of artistic engagement while looking forward to the next hundred years of innovation, community, and inspiration through art. Image: Red Still Life with Tatiana's Hand and Blood Oranges, 40 x 40" 2020 © Lydia Panas

Trisha Brown and Robert Rauschenberg: Glacial Decoy revisits a groundbreaking collaboration that forever altered the relationship between dance and visual art. In 1979, choreographer Trisha Brown—renowned for her site-specific works performed on rooftops, walls, and in city parks—invited her longtime friend and collaborator Robert Rauschenberg to join her in creating Glacial Decoy. Commissioned by the Walker Art Center, this piece marked Brown’s first choreography for a traditional proscenium stage and opened a new dialogue between movement, space, and image. The exhibition brings together Rauschenberg’s original décor and costumes with archival photographs, prints, and film documenting both the original and more recent performances. His projected backdrop of black-and-white photographs—featuring images of tires, melting ice, and freight trains—moves steadily across the stage, echoing the fluid motion of Brown’s choreography, in which dancers continually enter and exit without pause. The result is a hypnotic rhythm between image and body, between stillness and motion. Rauschenberg’s diaphanous costumes, designed to reveal and conceal the dancers as they move, further blur the boundaries between presence and absence, reality and illusion. Glacial Decoy stands as a poetic meditation on perception and transformation, a reflection of two artists’ shared fascination with the fleeting nature of experience. The exhibition not only honors their pioneering collaboration but also situates it within a broader conversation about interdisciplinary creation at the close of the twentieth century. Opening a yearlong celebration of Rauschenberg’s centennial, the presentation launches the program Rauschenberg\@100: Merce Cunningham, Trisha Brown, Kyle Abraham. Throughout November 2025, live performances and a residency with the Trisha Brown Dance Company will explore the enduring influence of these visionary figures and the continuing resonance of their work at the intersection of movement and art. Image: Trisha Brown Dance Company, Glacial Decoy, 1979. Photo: Boyd Hagen. Courtesy Walker Art Center.

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

Face Value invites us to take a close look at the celebrity-making machinery of the 20th-century Hollywood star system. For decades, film studios produced photographic portraits to promote the glamour of the actors they had under contract. This exhibition examines how these images were manipulated for public consumption in the decades before digital tools, AI technology, and social media revolutionized the process. For MoMA’s founding film curator, Iris Barry, building an archive of images that documented the history of motion pictures was second only to collecting films. Barry’s initiative eventually led to the acquisition of editorial archives of two leading fan magazines, Photoplay (1911–80) and Dell (1921–76). More than 60 photographers and filmmakers—from studio staffers to Andy Warhol—are represented in the exhibition, which combines untouched images with those that show evidence of the hands-on alterations that readied them for the press. Silhouetting, in-painting, masking, sectioning, and collage were applied not only to photographs of entertainers but also to those of sports figures, socialites, and politicians. Highlighting the radical editing practices, stylized motifs, and gender stereotypes inherent in the studio system, this exhibition offers a demystifying look at the early constructions of celebrity. Organized by Ron Magliozzi, Curator, with Katie Trainor, Senior Collections Manager, and Cara Shatzman, Collection Specialist, Department of Film. Image: Jean Harlow, c. 1933. Photographer unidentified. Gelatin silver print. The Museum of Modern Art film stills collection

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.