Chelsea International Photography Competition Exhibition

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.

Robin Rice Gallery presents HOME, a heartfelt group exhibition by John Dolan, Michele O’Hana, and Jack Dolan—an artistic family whose collaboration transforms personal history into a shared creative expression. The show, running this fall, invites visitors into an intimate world where fine art photography, design, ceramics, textiles, and metalwork intertwine to explore the essence of belonging and the meaning of home. Inspired by the family’s barn studio in Chatham, New York, HOME reimagines the gallery as a warm and tactile domestic space. Michele O’Hana’s design transforms the interior into a layered environment of hand-stained wooden walls, glowing porcelain lights, and woven textiles. John Dolan’s photographs rest quietly within this setting—capturing the serenity of landscapes and the intimacy of lived spaces—while Jack Dolan’s hand-forged knives stand as sculptural reminders of labor, craftsmanship, and lineage. Together, their works evoke both memory and materiality, creating a sensory experience that feels deeply grounded and profoundly human. The exhibition poses a timeless question: what makes a home? Is it built from the materials we touch, the memories we share, or the acts of creation that connect us? For this family, home is all of these—an evolving place shaped by collaboration, movement, and love. Through wool, wood, porcelain, and steel, each artist contributes a distinct voice to a collective narrative rooted in care and authenticity. John Dolan’s meditative photographs reflect decades spent observing life’s quiet moments, while Michele O’Hana’s handcrafted objects reveal her reverence for natural materials and enduring design. Jack Dolan, trained in blacksmithing in Ireland, forges steel into elegant forms that bridge the functional and the poetic. Together, their works form a living dialogue—a portrait of family, craft, and connection. In HOME, the ordinary becomes extraordinary, and the handmade becomes the heartbeat of art itself. Image: John Dolan, Dunlough, West Cork, Ireland, 1996 @ John Dolan

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

Gallery Luisotti presents the first solo exhibition of Los Angeles–based artist Arlene Mejorado, a body of work that intertwines memory, geography, and identity into a poetic reflection on belonging. The exhibition gathers eleven framed photographs, a sculptural installation of grass, and a luminous hanging made of printed film strips. Together, these works trace the artist’s evolving relationship with the landscapes and layered histories of Los Angeles—a city that is both origin and ongoing subject. The exhibition opens with a diptych that sets the tone for what follows. A fabric backdrop, positioned on a grassy median along a busy street, functions as both stage and screen. Against it, the city flickers between presence and illusion, while the artist’s shadow appears and fades like a memory suspended in motion. By situating this cinematic device within an everyday urban site, Mejorado bridges the artificial and the lived, the interior and the exterior, offering a meditation on visibility and place. Throughout the series, curtains, mirrors, and familial portraits recur as symbols of connection and distance. Mejorado rephotographs worn images from her father’s archive directly on the skin—her own and her partner’s—folding generations into a single frame. This act of re-inscription turns photography into an embodied ritual, merging private lineage with the broader topography of the city. The domestic and the public collide, blurring where home begins and where it dissolves. In her black-and-white silver prints, Mejorado deepens this spatial interplay through reflective glass and layered imagery. The mirrored surfaces collapse time and perspective, implicating both artist and viewer in the reconstruction of memory. Arlene Mejorado’s work is ultimately a form of cultural restoration—a delicate weaving of absence, inheritance, and renewal within the ever-changing landscape of Los Angeles. Image: Crista and Fenix at the Median in North Hills, 2023 Archival color pigment print 35 x 28 in. Edition of 5 + 2 AP © Arlene Mejorado

Luke Shannon’s Replacement Character explores the intersection of surveillance, identity, and technology through a strikingly physical yet digital installation: the plotter-scanner. This custom-built device merges a large-scale plotter with a traditional document scanner to form a life-sized scanner bed. Within this hybrid machine, Shannon reimagines how the act of recording and observing the self is transformed in the digital age, turning documentation into both performance and reflection. The plotter-scanner functions as an instrument of duality—both surveillance and witness. The scanner’s mechanical precision evokes detachment, yet the process it enables demands closeness, intimacy, and bodily presence. Each image produced holds the human form at life scale, fragmented and reassembled across lines and grids. Shannon likens this experience to the online self: dispersed across screens, profiles, and feeds, perpetually updated yet never whole. In engaging directly with his machine, the artist performs a kind of living self-portrait—one that is processual, time-based, and inherently unstable. The title Replacement Character refers to the symbol “?” the digital placeholder that appears when a system cannot recognize a character. This symbol becomes a metaphor for contemporary identity—a reminder of how our representations are constantly breaking, reloading, and reforming in a landscape dominated by data and visibility. Shannon’s installation reflects on the fragility of selfhood in an era where constant documentation leads not to permanence but to replacement. Through this merging of body, image, and code, Shannon prompts viewers to consider what it means to be perceived by machines. His work exposes the paradox of a world in which technologies see us everywhere, yet never fully understand us, offering a meditation on presence, absence, and the evolving shape of the human image in digital life. Image: Luke Shannon, Sunday, August 31, 2025 at 1:42 PM (Sleeping) Unique print (+1 AP) Archival pigment print, signed on verso + Ethereum token. 
58.5 × 34 in. · 148.6 × 86.4 cm © Luke Shannon

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

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

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

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.”

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