Fashion: Cathleen Naundorf

The Griffin Museum of Photography presents Perennial Impressions, an exhibition featuring the works of Meg Griffiths and Frances Jakubek. Both practicing artists and co-founders of A Yellow Rose Project, Griffiths and Jakubek bring together their distinct yet deeply connected practices to reflect on growth, preservation, and legacy through the language of photography. After uplifting the voices of more than one hundred women through A Yellow Rose Project, the two artists turn the lens toward themselves—toward the very act of making space, nurturing creativity, and sustaining artistic lineage. Their collaboration becomes a dialogue about time, transformation, and the emotional resonance that images carry when grounded in empathy and care. Frances Jakubek’s series Archive of the Ego offers a meditation on identity and self-observation. Through intimate self-portraits, she examines how the body and its representation evolve—from one defined by outside gaze to one reclaimed through self-possession and reflection. Her work reimagines the self-portrait not as an act of exposure, but as an ongoing process of becoming. Meg Griffiths, inspired by early women pioneers in photography such as Anna Atkins, uses the cyanotype process to imprint botanical forms onto paper. Her series Bluest Flos captures the beauty of nature’s impermanence while preserving it through light and chemistry. The resulting images resemble scientific specimens and poetic relics, bridging the line between documentation and devotion. Together, their works trace a conversation between body and nature, art and endurance. Perennial Impressions reminds viewers that both human and floral lives leave their marks in fleeting but profound ways—impressions that, though ephemeral, root deeply in memory and time. Image: © Frances Jakubek

Soho Photo Gallery proudly presents its annual Alternative Processes Competition, a celebration of photography’s most inventive and time-honored techniques. This exhibition honors the art of making images by hand, showcasing processes that trace their origins to the earliest days of the medium while embracing contemporary innovation. From albumen and cyanotype to tintype and photogravure, the show brings together artists who explore photography as both science and poetry. Each work in the exhibition embodies a dialogue between history and experimentation. Traditional processes such as platinum/palladium printing, gum bichromate, or salt printing reveal the tactile beauty of craftsmanship, while newer techniques like liquid emulsion, image transfers, and chemigrams open the door to unexpected textures and tones. The inclusion of handmade prints created from digital negatives demonstrates how ancient methods can meet modern tools, producing images that transcend time. This year’s winners—First Place: Barbara Hazen, Second Place: Lynne Buchanan, and Third Place: Peter Moxhay—reflect the diversity and creativity of contemporary alternative photography. Honorable Mentions were awarded to Sally Chapman, Shari Diamond, Michael Korol, and Mark Zimmerman, alongside an inspiring selection of photographers from around the world. Each artist approaches the process with a unique sensibility, transforming chemistry, light, and material into visual poetry. At its core, Alternative Processes is not about nostalgia but about rediscovery. It celebrates the imperfections, unpredictability, and intimacy of making images by hand—qualities often lost in today’s digital world. Whether through the delicate blues of cyanotype or the warm depth of Van Dyke brown, these photographs invite viewers to slow down and appreciate the alchemy of light and matter. Through this exhibition, Soho Photo continues its mission to champion the enduring craft of photography, reminding us that innovation often begins by revisiting the roots of the medium. Image: Barbara Hazen, Unspoken Words; Photogravure; First Place © Barbara Hazen

The exhibition Sharing the Space invites viewers to reflect on how the landscapes of the Hudson Valley continue to inspire generations of artists. Bringing together historic paintings from the Woodstock Byrdcliffe Guild’s permanent collection with fifty contemporary landscape photographs by sixteen women photographers, the presentation creates a conversation that bridges more than a century of creative vision. Each work, whether painted or photographed, speaks to a shared reverence for the natural world and the enduring pull of this storied region. The artists featured in the exhibition—Gail Albert, Joan Barker, Ana Bergen, Nancy Donskoj, Jill Enfield, Mary Ann Glass, Lori Grinker, Maria Fernanda Hubeaut, Kay Kenny, Dorothea Marcus, Dana Matthews, Meryl Meisler, Susan Phillips, Carla Shapiro, Kelly Sinclair, and Ruth Wetzel—bring distinct perspectives shaped by personal experience and contemporary concerns. Yet their images echo themes that have resonated in the Hudson Valley since the earliest days of Byrdcliffe’s artistic community: a desire for stillness, a search for meaning in the land, and an appreciation for the quiet resilience of nature. Curator Anne Arden McDonald reminds us that retreating to the outdoors is a timeless human instinct. While each era expresses its longings differently, the impulse to seek beauty and tranquility remains constant. When the founders of Byrdcliffe arrived in 1902, they sought an escape from the pressures of industrial change, imagining a place where creativity and craftsmanship could flourish amid unspoiled surroundings. Their belief in nature as a source of clarity and renewal continues to shape the artistic spirit of the region. In Sharing the Space, past and present meet in a shared landscape. The works on view reveal how artists continue to turn to the Hudson Valley not only for inspiration but also for grounding, connection, and wonder. Together, they celebrate a place that remains both refuge and muse, offering a sense of continuity rooted in the enduring power of the land. Image: Meryl Meisler, Esopus Creek Skinny Dip, 2006 © Meryl Meisler

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 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

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

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.

The Griffin Museum proudly presents A Yellow Rose Project, a compelling photographic exploration of women’s voices, rights, and resilience in America. Co-founded and curated by Frances Jakubek and Meg Griffiths, this collaborative exhibition brings together work from over one hundred women across the United States, responding to, reflecting on, and reacting to the centennial of the 19th Amendment. The project transforms historical memory into a living conversation about equality, activism, and artistic expression. Over a century ago, women in Tennessee stood shoulder to shoulder wearing yellow roses, symbols of courage and determination, as men cast their votes for or against women’s right to participate in government. That single act represented the culmination of decades of struggle, risk, and sacrifice—facing oppression, imprisonment, and even hunger—to demand inclusion in the democratic process. While the 19th Amendment secured voting rights for many women, full enfranchisement was delayed for women of color due to systemic barriers and state-imposed restrictions. A Yellow Rose Project aims to honor these histories while fostering contemporary dialogue. Participating artists examine the intersections of past and present, using photography to interrogate the meaning of civic participation, social justice, and the continuing fight for equality. Their works reflect a range of approaches—some contemplative, some critical, and others celebratory—offering a nuanced lens on women’s evolving roles in society. The exhibition underscores the power of women to shape public perception and the ongoing necessity of advocacy. By connecting historical acts of courage with modern interpretations, A Yellow Rose Project invites viewers to consider both how far society has come and how much work remains. Through these images, the artists bridge generations, using their perspectives to honor legacy, challenge complacency, and inspire continued vigilance in the pursuit of justice and equality. This exhibition is not just a reflection on history; it is a living testament to women’s resilience, creativity, and the enduring significance of their voices in shaping the cultural and political landscape of America. The artists featured in this show are: Keliy Anderson-Staley, Kalee Appleton, Tami Bahat, Deedra Baker, Nancy Baron, Lindsey Beal, Sheri Lynn Behr, Katie Benjamin, Julia Bennett, Sara Bennett, Anne J Berry, Christa Bowden, Edie Bresler, Lily Brooks, Ellen Carey, Patty Carroll, Tracy L Chandler, Elizabeth M Claffey, Ashleigh Coleman, Tara Cronin, Frances F Denny, K.K. DePaul, Rebecca Drolen, Yael Eban & Brea Souders, Odette England, Carol Erb, Tsar Fedorsky, Ellen Feldman, Marina Font, Preston Gannaway, Anna George, Susan Kae Grant, Meg Griffiths, Sarah Hadley, Alice Hargrave, Carla Jay Harris, Chehalis Deane Hegner, Ileana Doble Hernandez, Bootsy Holler, Sarah Hoskins, Letitia Huckaby, Cindy Hwang, Megan Jacobs, Frances Jakubek, Ina Jang, Farah Janjua, Jordana Kalman, Priya Kambli, Marky Kauffmann, Ashley Kauschinger, Kat Kiernan, Heidi Kirkpatrick, Sandra Klein, Katelyn Kopenhaver, Molly Lamb, Kathya Maria Landeros, Rachel Loischild, Sara Macel, S. Billie Mandle, Rania Matar, Lisa McCarty, Noelle McCleaf, Jennifer McClure, Mary Beth Meehan, Yvette Meltzer, Leigh Merrill, Diane Meyer, Jeanine Michna-Bales, Laura E Migliorino, Hye-Ryoung Min, Alyssa Minahan, Greer Muldowney, Colleen Mullins, Carolyn Mcintyre Norton & Betty Press, Emily Peacock, Toni Pepe, Rachel Pillips, Sarah Pollman, Greta Pratt, Thalassa Raasch, Larissa Ramey, Astrid Reischwitz, Tamara Reynolds, Paula Riff, Susan Rosenberg Jones, Claudia Ruiz Gustafson, Serrah Russell, Gail Samuelson, Kris Sanford, Kyra Schmidt, Maude Schuyler Clay, Manjari Sharma, Emily Sheffer, Aline Smithson, Joni Sternbach, Kristine Thompson, Amy Thompson Avishai, Sasha Tivetsky, Maria Triller, Malanie Walker, Claire A Warden, Rana Young, Cassandra Zampini, and Karen Zusman. Image: Kayla, Roxbury, Massachusetts @ Rania Matar

Bryan Adams, known across the world for his legendary music, reveals another side of his artistry through the lens of his camera. The exhibition #SHOTBYADAMS invites visitors to explore his refined photographic vision, where light, composition, and emotion merge into an elegant and revealing portrait of contemporary fame. Adams’s work as a photographer is marked by a rare sensitivity. His images capture more than the surface of celebrity—they uncover the subtle humanity behind familiar faces. Whether depicting icons from the worlds of art, fashion, or entertainment, his portraits reveal a quiet dialogue between photographer and subject, a moment suspended between vulnerability and strength. In these photographs, glamour coexists with introspection. Adams does not seek to idealize; instead, he observes with empathy and precision. His compositions play with shadow and expression, transforming each sitter into both symbol and individual. Through this, he offers a vision of fame that feels personal, reflective, and unexpectedly tender. The exhibition invites viewers to step closer, to look beyond the veneer of celebrity and encounter the shared emotions that unite us all—joy, fragility, confidence, and doubt. Each image, whether a stark black-and-white study or a color portrait suffused with warmth, demonstrates Adams’s understanding of the photographic act as both revelation and connection. With #SHOTBYADAMS, Bryan Adams continues his lifelong exploration of storytelling—this time not through sound, but through stillness. His lens becomes an instrument of truth, translating rhythm into light and music into form. The result is a body of work that celebrates beauty, irony, and the human presence that endures behind every image, reminding us that art, in any medium, begins with the courage to see. Image: © Bryan Adams

Scott Offen’s series Grace is a sustained photographic collaboration that interrogates authorship, gender, aging, and representation. Created alongside his partner and co-author, Grace, the work unfolds as a dialogue between subject and artist, where each image is constructed through a process of mutual creation and negotiation. Scenes in the series operate at the intersection of reality, symbolism, and psychology, blending everyday experience with archetypal resonance. The rural landscapes of New England serve not merely as backdrops but as active participants in the narrative. Fields, forests, and waterways interact with Grace’s presence, blurring distinctions between interior and exterior, human and nonhuman, figure and ground. Within these spaces, Grace embodies roles that are often solitary and enigmatic, challenging conventional notions of femininity, visibility, and domesticity. Her presence transforms ordinary environments into sites of contemplation and narrative complexity. Central to Grace is Offen’s commitment to collaboration and repetition. Over time, the artist and Grace have cultivated a shared visual language that subverts traditional hierarchies between photographer and muse. Through this lens, the aging female body—frequently marginalized in both art and popular culture—emerges as a locus of authority, mystery, and creative agency. Each photograph becomes an exploration of co-presence, transformation, and the interplay of identity and environment. Drawing from mythology, psychoanalysis, and landscape theory, the series integrates material traces of daily life with poetic staging. Indoors, Grace’s touch lingers in shadows, objects, and the subtle impressions of her body. Outdoors, she inhabits spaces shaped by light, season, and terrain, inviting reflection on how human identity forms in dialogue with nature. Grace stands as a meditation on collaboration, experimentation, and the relationship between life, place, and photographic form. Offen’s work immerses viewers in a liminal world—where the rural landscapes of New England evoke both enchantment and uncanny resonance, and where human presence transforms the ordinary into the profoundly symbolic. Image: © Scott Offen

Behind the Curtain: Vulnerabilities Exposed brings together the work of recipients from CENTER’s annual awards and grants, offering a profound reflection on the urgent social, political, and environmental challenges shaping our world today. The exhibition spans deeply personal narratives and global crises, engaging with issues such as school violence, immigration detention, and the fragility of our planet’s ecosystems. Among the featured projects, Chloé.A’s Yellow Tiger on Blue Background examines the complex process of coming of age in Taiwan, a nation marked by both natural and political turbulence. Following the devastating earthquake of April 2024 and its countless aftershocks, the photographer turns her lens toward a generation navigating instability and identity under geopolitical pressure. Through quiet portraits and nuanced storytelling, she captures how young Taiwanese reconcile personal dreams with the shifting ground of national belonging. Greg Constantine’s Seven Doors: An American Gulag confronts the human cost of the U.S. immigration detention system, where more than 46,000 people are held daily across an expanding network of facilities. After seven years of research and travel through nine countries, Constantine builds a visual and auditory record of these places—combining panoramic photographs, oral testimonies, and data to reveal the psychological and social toll of mass detention. His work invites viewers to step inside an unseen world of endurance and injustice, amplifying the voices of those too often silenced. Alongside these powerful narratives, projects by Mitsu Maeda, Debmalya Ray Choudhuri, Sarah Sudhoff, and Alex Welsh extend the exhibition’s reach, from explorations of memory and trauma to reflections on landscape and loss. Together, they unveil the vulnerabilities that lie just beyond the surface of modern life—reminding us that art remains one of the most vital means of witnessing and understanding the human condition. Image: “Untitled” from the series Yellow tiger on blue background © Chloé.A, 2025 Project Development Grant