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Christopher Russell: The Spangle Maker

From January 01, 2022 to February 28, 2022
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Christopher Russell: The Spangle Maker
41 East 57th Street
New York, NY 10022
Gitterman Gallery is proud to present an exhibition of recent work by Christopher Russell. Russell challenges the traditional conception of photography as producer of evidence by limiting the functionality of his lens to make fuzzy or hazy color photographs. The resulting images, abstract and ambiguous, form the foundation for drawings of the artist's imaginary vistas. Russell draws by scratching through the emulsion with a razor, revealing the white fiber base of the print. Each artwork is at once a photograph, a drawing, and a bas-relief.

Russell is based in the Pacific Northwest and has long been taken with the majesty of its landscape. His new body of work has a theme of water running through it (pun intended). Russell is captivated by the idea of water as an unreliable narrator. Reflections upon its surface mirror its surroundings, but are easily destabilized, suggesting fragility in the familiar and offering a sense that things may not be what they seem. In a similar manner, a droplet of water on one's glasses or camera lens offers a distorted view, suggesting possibilities lurking within our own certainty. The droplet, and water itself, can be a reminder of the vast perspectives that exist outside of our own.

Russell uses historical plant and floral patterns from the Arts and Crafts era of the late 19th and early 20th Century as source material for his drawing. The patterns are significant to Russell in that they evoke a time in which nature itself became a ubiquitous subject in art and literature, and also a metaphor through which all manner of cultural issues were explored. The stylized patterns that Russell draws from are examples of the desire to tame the wild, to create repeating patterns that are ostensibly infinite, holding the force of nature in the stasis of aesthetic pleasure.

Though he pushes conceptual and art historical boundaries, Russell remains a Romantic, and his artwork is a way for the viewer to experience the wonder that he has found, and that continues to inspire him.

Christopher Russell was born in Sacramento in 1974 and received a BFA from The California College of Arts and Crafts and an MFA from the Art Center College of Design. He has had a solo exhibition at the Hammer Museum in Los Angeles and his work has been featured in group exhibitions at The J. Paul Getty Museum, Los Angeles County Museum of Art, Norton Museum of Art, Armory Center for the Arts, White Columns, Tokyo Institute of Photography, and De Appel Arts Center in The Netherlands, among others. Russell has produced and published numerous literary and photobooks. His photobook Landscape (Kolapsomal Press) was included in Phaidon's The Photobook: A History, Vol. 3, edited by Martin Parr. His work is included in numerous museum collections including the Brooklyn Museum; The J. Paul Getty Museum; Hammer Museum; Los Angeles County Museum; Museum of Contemporary Art, Antwerp; Museum of Contemporary Art, Los Angeles; Museum of Contemporary Art, San Diego; Museum of Fine Arts, Houston; Rhode Island School of Design Museum; and the Tokyo Metropolitan Museum of Photography.
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Exhibitions Closing Soon

The Kids Are All Right
Timothy Taylor | New York, NY
From June 27, 2025 to August 01, 2025
Timothy Taylor is pleased to announce The Kids Are Alright, a group exhibition curated by Helen Toomer. Opening in New York on 27 June, this presentation will feature contemporary and historical works that explore cultural conceptions of childhood. The exhibition includes work by Ann Agee, Diane Arbus, Michaël Borremans, Louise Bourgeois, Cecily Brown, Zoë Buckman, Dominic Chambers, Joana Choumali, Larry Clark, Mark Cohen, R. Crumb, Gehard Demetz, Kim Dingle, Madeline Donahue, Marcel Dzama, William Eggleston, Lloyd Foster, LaToya Ruby Frazier, Julia García, Elizabeth Glaessner, Jay Lynn Gomez, Titus Kaphar, Jonathan Lasker, Louise Lawler, Charles LeDray, Sherrie Levine, Sally Mann, Marape, Elizabeth McIntosh, Joel Meyerowitz, Annie Morris, Ragen Moss, Anya Paintsil, Gordon Parks, Erin M. Riley, Kenny Rivero, Antonia Showering, David Shrigley, Ruby Sky Stiler, Katie Stout, Alison Elizabeth Taylor, and Rhys Ziemba. The Kids Are Alright brings together a multigenerational group of artists whose work engages with the realities and mythologies of childhood. Through painting, sculpture, photography, works on paper, and textiles, the exhibition reflects on how childhood is shaped, remembered, politicised, and imagined, and considers what it means to see the world through the eyes of children today. In the hand-embroidered painting fall among the voices (2024), Zoë Buckman pictures her child, from behind, sitting on a bed facing a window. Among the comfort of stuffed animals and pillows, the child holds their neck gently, vulnerably, as if lost in a moment of difficult rumination. Another textile work, Anya Paintsil’s tapestry Weepsville, North Wales (2023) intersects traditions of the artist’s Ghanaian and Welsh heritage: hair braiding and rug hooking. In the richly textured work, a woman embraces a crying child. The figures seem to bleed into each other; both held tight by the woman’s embracing arm. The earliest work in the exhibition, Gordon Parks’s photograph Untitled, Alabama (1956), pictures two young dressed-up girls playing tea party in a puddle on a muddy street. The work belongs to Parks’s seminal series Segregation in the South, which documented the wake of the 1955 bus boycott in Montgomery, Alabama. Here, in the context of a tragically racially divided region, two little girls use play to learn about social mores. LaToya Ruby Frazier’s photograph Andrea Holding Her Daughter Nephratiti Outside the Social Network Banquet Hall, Flint, Michigan (2016–17) is likewise part of a larger documentary series, the lauded Flint is Family, which traces a public health crisis caused by government neglect and corporate greed. Frazier’s image centres on a bride and her mother in tender embrace, lovingly holding each other up. Several times in her career, Louise Lawler has returned to the lines that make up the title of the work Once There Was a Little Boy and Everything Turned Out Alright. THE END. (1993), recontextualizing the text each time. Here, the work comprises a small blue text appearing on a light pink wall, subtly referencing childish stereotypes of gender. Though the work constructs a simplified agreeable fiction, it is easy to invent complex contexts for this emphatically reduced story. Elsewhere, Sherrie Levine’s cast bronze sculpture Hobby Horse (2014) is a replica of a wooden toy found in New Mexico and removed from its role as plaything. The work functions on another symbolic level—in French, the word for hobbyhorse is Dada, the art movement from which Levine draws her appropriative practise. Madeline Donahue will create a new painting for the exhibition. In exuberant hues and patterns, her compositions picture mothers and children caught up in various activities, often revealing the chaotic intimacy of caregiving with vivid optimism and humour. A new, totemic sculpture from Annie Morris’s ongoing Stack series features a vertical arrangement of irregularly shaped spheres in vibrant colours. The anthropomorphic structure appears poised to come undone, but it remains in precarious balance. The work abstracts embodied experiences related to childbirth and motherhood into a form that is uplifting in its delicate unwieldiness. Suspended from the ceiling, Ragen Moss’s sculpture Passerby (2023), is a cocoon-like polyethylene form. In visceral red enwrapped by glossy black and white ribbing, the work distils notions of interiority, lifeforce, and evolution.
Staff Picks: Sign of the Times
Howard Greenberg Gallery | New York, NY
From May 29, 2025 to August 01, 2025
What makes a photograph emblematic of its time? A new exhibition at Howard Greenberg Gallery, exploring photographs from 1932 to 2012 that are rooted in their particular eras, will be on view from May 28 through July 31, 2025. Sign of the Times will present more than 30 works from major photographers including Bob Adelman, Edward Burtynsky, William Gedney, Frank Gohlke, Henry Gruyaert, Danny Lyon, Nathan Lyons, Vivian Maier, Mary Ellen Mark, Steve Schapiro, Ed Van Der Elsken, and Weegee. Sign of the Times serves as a poignant visual chronicle, freezing specific moments within the flow of history. Initially snapshots of their eras, these images have gradually accrued layers of significance, their meanings deepening and evolving with the passage of time. Collectively, the photographs on view coalesce into powerful and iconic reflections on the enduring struggles and triumphs of civil rights, the burgeoning waves of feminism, the stark realities of poverty, climate change, and other pivotal social and cultural forces that have shaped our world. Some images whisper the story of their time through subtle yet telling details – the sleek lines of a particular automobile, the distinctive character of a typeface on a storefront, or the unmistakable silhouette of a hairstyle. These visual cues act as quiet markers, anchoring the photographs firmly within their historical context. Other images, however, deliver their messages with a far more direct and assertive voice. Consider, for instance, Vivian Maier's 1971 photograph of a newsstand where an issue of LIFE boldly proclaims on its cover: "Saucy Feminist that Even Men Like" – a statement that encapsulates the shifting social dynamics and evolving perceptions of women during that era. Intriguingly, many of the messages embedded within these historical frames continue to resonate with profound relevance in our present day. In a stark 1963 photograph by Bob Adelman, the word "Equality" is etched onto the frosted window of a Freedom Riders bus. Similarly, a 1966-67 shot by William Gedney captures a couple seated on the trunk of a car in a seemingly ordinary parking lot, yet their silent protest is amplified by a hand-held sign emblazoned with the stark truth: "Under Paid." Anxieties and uncertainties echo in Steve Schapiro's 1966 photograph, where a woman reclines, engrossed in a newspaper whose screaming headline declares with chilling foreboding, "The Worst is Yet to Come." As curator David Campany has written, “A photograph can be a document and an imagining, a record and a possibility, all at the same time.” Sign of the Times is curated by the gallery staff with each member making a specific selection of three works. Image: The Worst is Yet to Come, New York, 1966 © Steve Schapiro
Focus on Lexington
The Art Museum at the University of Kentucky | Lexington, KY
From February 18, 2025 to August 02, 2025
The five groups of photographers in this exhibition worked collectively to capture the unique people, landscapes, and pace of life that distinguish Lexington, Kentucky. Maurice Strider collaborated with his students at Dunbar High School between 1934 and 1966 to create a rich archive of Black Lexington. Ida Nelson and Robert J. Long established Lafayette Studios in downtown Lexington to produce images for a range of commercial purposes between 1923 and 1959. The Lexington Camera Club was founded in 1936 and met regularly, often in room 208 at the UK Fine Arts Building, to encourage amateur photographers to develop more subjective uses for the medium. Their meetings continued for over thirty years with more than fifty members, and the club made its mark on photographic history with images that blend memory and imagination. In 2004, Marcie Crim, Jonathan Rodgers, David Schankula, and Richie Wireman began the Lexicon Project, a documentation of diverse communities in the city. Kurt Gohde and Kremena Todorova posted photographs and narratives on Facebook between 2020 and 2021 to facilitate connection in a time of social distancing.   This exhibition is presented in honor of Lexington’s 250th birthday celebration and features work from our Museum collection, University of Kentucky Special Collections, and the Kentucky Room at the Lexington Public Library.  Image: Ralph Eugene Meatyard, Christopher and the Rebuilding of America from Portfolio Three: The Work of Ralph Eugene Meatyard, 1959 (printed 1974), gelatin silver print. Collection of the UK Art Museum, Robert C. May Bequest.
Susan Meiselas: 44 Irving Street 1970 – 1971
Higher Pictures | Brooklyn, NY
From May 27, 2025 to August 02, 2025
Higher Pictures presents Susan Meiselas’ earliest series of photographs, 44 Irving Street 1970 – 1971, following its exhibition at Harvard Art Museums. This is the artist’s fourth solo exhibition with the gallery. In 1970, while still a student at the Harvard Graduate School of Education, Susan Meiselas was living in a boarding house at 44 Irving Street in Cambridge, Massachusetts. Boarding houses, like the one at 44 Irving Street, often began as large, single-family homes in cities or college towns. As average family sizes decreased and the socioeconomic makeup of neighborhoods changed, these homes were then divided up into smaller units while maintaining a shared kitchen, bathrooms, and common areas. As a result, each of the rooms at 44 Irving Street retained some of the home’s original single-family character. At Harvard, Meiselas enrolled in a photography course and chose to photograph her neighbors for a class project. Though she didn’t know any of them, she began knocking on their doors and asking to take portraits of them in their rooms. “The camera was this way to connect,” Meiselas remembers. Once she had developed the film, she would make contact sheets to share with her neighbors, initiating a dialogue about how they saw themselves. Their written responses, which Meiselas presented alongside the photographs, provide insights into their lives and how they felt the pictures did or did not capture them. By incorporating their perspectives into the work itself, Meiselas draws out a crucial tension between socially engaged photography as a historical genre and the subjects it purports to depict. The photographs and letters on view in this exhibition are the fruits of those exchanges. Though boarding houses are often transitory living spaces, Meiselas was drawn to the individuality and self-expression she discovered in each room. This comes across in the images themselves, which show her subjects at home and in situ, surrounded by their personal effects. In return, the letters they wrote are sometimes strikingly honest and revelatory, a written punctum—Roland Barthes’ term for something that pierces the viewer—as a counterpoint to the photographs. This series helped Meiselas develop her conception of “photography as an exchange in the world.” “It wasn’t about the formalism of photography,” she says, “It was about the narrative and the connectivity.” The exhibition is accompanied by the first monograph of 44 Irving Street, 1970-1971 by Susan Meiselas published in partnership with TBW books + Higher Pictures. The dates for the opening and book signing are to be announced during the run of the show. Stay tuned! Susan Meiselas (b. 1948) received her BA from Sarah Lawrence College and her MA in visual education from Harvard University. She was a 1992 MacArthur Fellow and is the recipient of a Guggenheim Fellowship (2015) and the Deutsche Börse Photography Foundation Prize (2019), among other awards. Mediations, a retrospective exhibition of Meiselas’ work, was initiated by the Jeu de Paume, Paris, in 2018 and traveled to eight venues including SFMOMA, San Francisco (2018); Instituto Moreira Salles, São Paulo (2020), Kunst Haus Wien, Vienna (2021); and C/O Berlin (2022). She has been a member of the photographic collective Magnum Photos since 1976 and has been the president of the Magnum Foundation since 2007. She lives and works in New York City.
Annual Member´s Show
Colorado Photographic Arts Center CPAC | Denver, CO
From June 27, 2025 to August 02, 2025
To see a highly selective survey of the best contemporary photography from Colorado and across the country, don’t miss CPAC’s 62nd Annual Juried Members’ Show. This tradition showcases CPAC’s talented community of over 700 members and provides artists with an important exhibition opportunity. Juror Anne Leighton Massoni, Executive Director of the Houston Center for Photography in Texas, selected photographs by 37 CPAC members to exhibit. She also selected 19 additional works for inclusion in the exhibition catalog and a tv slideshow in the gallery as a Special Mention subset. Members were selected from a pool of 206 photographers who submitted more than 1,000 images. At the Opening Reception and Awards Ceremony on June 28th, Anne will present her selections for Best in Show and two Honorable Mentions. The Best in Show winner will receive $400 and the image will be added to our Permanent Collection. The Director’s Choice winner will receive $150, presented by Samantha Johnston, CPAC Executive Director & Curator. All award winners will also receive an exhibition catalog. Dupuy Bateman IV, Josh Bergeron, Mat Bobby, Ross Borgida, Lynne Breitfeller, Jo Ann Chaus, Giles Clasen, Ron Cooper, Sophia Poppy Ericksen, Bryan Florentin, Susan R. Goldstein, Rob Hammer, Alexander Heilner, Kevin Hoth, Patricia Howard, Constance Jaeggi, Michael Allan Jones, Erin M. Karp, Katie Kindle, Alison Lake, Brady LaVigne, Ernie Leyba, Rodney Gene Mahaffey, Zach Miners, James Montague, Heather Oelklaus, James Olson, Jason Pendleton, Linda Plaisted, Allison Plass, Bob Rosinsky, Erin Schoepke, John Shelton, Steven Silvers, JP Terlizzi, Frank Varney, and Torrance York. SPECIAL MENTIONS John Bonath, Lynne Breitfeller, Thomas Carr, Jo Ann Chaus, Michael Chioran, Teri Figliuzzi, Nicola Huffstickler, Alison Lake, J. K. Lavin, Zoe Congyu Liu, Anthony Maes, Jason Pendleton, Sage Sankofa, John Shelton, Steven Silvers, Laurie Smith, David Thoutt, and Sherry Wiggins and Luís Branco. Image: Couple, BanHo, Vietnam, © Ron Cooper
A-Tisket, A-Tasket 
The Art Museum at the University of Kentucky | Lexington, KY
From February 18, 2025 to August 02, 2025
This exhibition celebrates Black girls’ complex emotional lives as portrayed in a range of artworks, from portraits painted in the 1930s to twenty-first-century photographs. Resistance, hope, anger, defiance, curiosity, joy, anxiety, vulnerability, and exhaustion are some of the feelings seen on the faces of children who have been on the front lines of profound social changes such as the Great Migration, Civil Rights movement, Women’s March, and Black Lives Matter movement. Inexpression can also be a strategic refusal that makes space for freedom in an often-dangerous world. Artists featured include Jean-Baptiste Carpeaux, Frank Döring, Larry Fink, Edward Franklin Fisk, Baldwin S. Lee, Ralph Eugene Meatyard, RaMell Ross, Lorna Simpson, Alexandra Soteriou, Kara Walker, and Carrie Mae Weems. The Commonwealth Institute for Black Studies, part of African American and Africana Studies at the University of Kentucky, will host their 30th Annual Black Women’s Conference, “WE ARE THE CULTURE: A Symposium on Black Girls and Girlhood,” on March 7 – 8, 2025. Works on view are visual counterpoints to many of the themes studied as part of the symposium such as play, innovation, technical excellence, and global cultural connections. Image: Carrie Mae Weems, Mayflowers from the series May Days Long Forgotten, 2002, chromogenic print. Collection of the UK Art Museum, purchase: The Robert C. May Photography Fund.
8th Annual Latin American Foto Festival
Bronx Documentary Center | The Bronx, NY
From July 10, 2025 to August 03, 2025
The Bronx Documentary Center (BDC) will hold its 8th annual Latin American Foto Festival (LAFF) from July 10 – August 3, featuring large-scale photographs by both emerging and established, award-winning photographers. This year, the festival exhibitions will be on view at the Bronx Documentary Center and throughout the Melrose neighborhood in the South Bronx from July 10-20. Select outdoor exhibitions will then travel to additional community spaces across Manhattan, Queens, and Brooklyn where they’ll be on view through August 3. El Bronx Documentary Center (BDC) celebrará su 8º Festival Anual de Fotografía Latinoamericana (LAFF) del 10 de julio al 3 de agosto, con exposiciones de gran formato de fotógrafos emergentes y consolidados, muchos de ellos galardonados. Este año, las exposiciones del festival podrán verse en el Bronx Documentary Center y en todo el vecindario de Melrose, en el sur del Bronx, del 10 al 20 de julio. Algunas de las exposiciones al aire libre se trasladarán después a espacios comunitarios en Manhattan, Queens y Brooklyn, donde estarán en exhibición hasta el 3 de agosto. Image: Miradas. Angeles Torrejón, 1994. © Bats’i Lab
Navigating the Waves: Contemporary Cuban Photography
The Museum of Fine Arts Houston (MFAH) | Houston, TX
From September 29, 2024 to August 03, 2025
Navigating the Waves: Contemporary Cuban Photography traces the evolution of photography in Cuba from the 1960s to the 2010s. The exhibition looks at contemporary Cuban photography from its role in promoting the Cuban Revolution after Fidel Castro’s 1959 overthrow of the Batista government to engaging in social and political critique following the 1991 collapse of the Soviet Union. In subsequent years, Cuban photographers created powerful personal expressions by exploring individual identity, the body and spirit, Afro-Cuban heritage, and the margins of society, all while navigating the changing prescriptions and proscriptions of official cultural policy. Showcasing 100 images, Navigating the Waves: Contemporary Cuban Photography celebrates the Museum's acquisition of some 300 photographs from Chicago-based collectors Madeleine and Harvey Plonsker. Image: Alberto Korda, Heroic Guerrilla (Guerillero heroico), 1960, printed 1995, gelatin silver print, the Museum of Fine Arts, Houston, museum purchase funded by Dan and Mary Solomon. © Estate Alberto Korda
Imagining Black Diasporas: 21st-Century Art and Poetics
Los Angeles County Museum of Art - LACMA | Los Angeles, CA
From December 15, 2024 to August 03, 2025
Imagining Black Diasporas: 21st-Century Art and Poetics explores artistic connections among 60 contemporary artists across Africa, Europe, and the Americas. As one of the first exhibitions and catalogues to survey nearly 25 years of Black artistic production, this project introduces new LACMA acquisitions and broadens the Pan-African exhibition narrative—historically centered on the Black Atlantic—by highlighting artists from the Pacific Rim. Featuring nearly 70 works spanning painting, sculpture, photography, works on paper, and time-based media, the exhibition is structured around four key themes: speech and silence, movement and transformation, imagination, and representation. The accompanying catalogue includes original poetry, continuing the longstanding tradition of poetry as a vital force in Pan-African discourse. While diaspora is often framed as a displacement from origins, this exhibition redefines it as a dynamic space of reinvention and creativity. Through their aesthetic choices, the artists in Imagining Black Diasporas offer profound reflections on identity, existence, and the power of artistic expression. Image: Arielle Bobb-Willis, New Jersey, 2019, Los Angeles County Museum of Art, Ralph M. Parsons Fund, photo © Museum Associates/LACMA
Second Nature: Photography in the Age of the Anthropocene
Cantor Arts Center | Stanford, CA
From February 26, 2025 to August 03, 2025
Just over 20 years ago, scientists introduced the term Anthropocene to denote a new geological epoch marked by human activity. Comprised of 44 photo-based artists working in a variety of artistic methods from studios and sites across the globe, Second Nature: Photography in the Age of the Anthropocene explores the complexities of this proposed new age: vanishing ice, rising waters, and increasing resource extraction, as well as the deeply rooted and painful legacies of colonialism, forced climate migration, and socio-environmental trauma. Since its emergence, the term “Anthropocene” has entered the common lexicon and has been adopted by disciplines outside of the sciences including philosophy, economics, sociology, geography, and anthropology, effectively linking the Anthropocene to nearly every aspect of post-industrial life. Organized around four thematic sections, “Reconfiguring Nature,” “Toxic Sublime,” “Inhumane Geographies,” and “Envisioning Tomorrow,” the exhibition proposes that the Anthropocene is not one singular narrative, but rather a diverse and complex web of relationships between and among humanity, industry, and ecology—the depths and effects of which are continually being discovered. Artists include: Sammy Baloji, Adrián Balseca, Matthew Brandt, Edward Burtynsky, María Magdalena Campos-Pons, James Casebere, João Castilho, Elena Damiani, Gohar Dashti, Sanne De Wilde, Andrew Esiebo, Gauri Gill, Noémie Goudal, Todd Gray, Acacia Johnson, Mouna Karray, Robert Kautuk, Rosemary Laing, Sze Tsung Nicolás Leong, Anna Líndal, Inka Lindergård and Niclas Lindergård, Pablo López Luz, Dhruv Malhotra, Laura McPhee, Gideon Mendel, Hayley Millar Baker, Joiri Minaya, Aïda Muluneh, Léonard Pongo, Meghann Riepenhoff, Cara Romero, Anastasia Samoylova, Camille Seaman, David Benjamin Sherry, Toshio Shibata, Sim Chi Yin, Thomas Struth, Danila Tkachenko, Rajesh Vangad, Letha Wilson, Will Wilson, Yang Yongliang, Zhang Kechun. Image: Todd Gray, Cosmic Blues (Makes Me Wanna Holler), 2019. Four archival pigment prints in artist’s frames, UV laminate; 60 1/4 x 84 1/4 inches (153 x 214 cm). Collection of Bill and Christy Gautreaux, Kansas City, Missouri. © Todd Gray 2019. Courtesy of the artist and David Lewis, New York. Photo by Phoebe D’Heurle.
Meryl Meisler: On the Money
Bank Art Gallery | Newburgh, NY
From July 19, 2025 to August 03, 2025
“The Dollar Has Its Worst Start to a Year Since 1973”, New York Times, 6/30/2025 Yikes! Meryl Meisler's solo spotlight exhibition, "On the Money," is part of the wider "A Collector's Vision" show at The Bank Art Gallery. Meisler's photographs are installed inside the luxurious parlor room of a 100-year-old historic building that once housed the Newburgh Savings Bank. Money talks, and in Meryl Meisler's case, it wisecracks, reflects and reveals. In "On the Money". Meisler's work, dating from 1976 to 2025, many of which have never been seen before, takes us on a fast-paced ride through idioms, attitudes, and absurdities surrounding money. From "dirty money" to "funny money," her images and wordplay dig beneath the clichés to ask: What are our relationships with money? And why is it still taboo to talk about it? This tongue-in-cheek mini-solo explores what we value, how we spend, and the price we pay – served with wit, wisdom, and a wink. Talking about money might be impolite, but Meisler is doing it anyway, and she's making it funny, fabulous, and impossible to ignore. Image: Stacey Walking Down Playmate’s Stairs with tips in her Stockings NY, NY, 1978 © Meryl Meisler
Marc McVey: Paris in B&W and Color
LightBox Photographic Gallery | Astoria, OR
From July 12, 2025 to August 06, 2025
“Paris is a city that has ignited the passions of artists for centuries. From painters and sculpturers, to writers, dancers, and musicians, Paris rewards all forms of efforts to memorialize her. From the early 1900s, the camera has allowed a new breed of artists to add their voice to describe this world city. I have been lucky to “see” Paris over three decades and twenty plus visits. With my camera and a good pair of walking shoes, I am attempting to add my efforts to take you to this city and show you a few frames of what I have seen. My photographs reflect my personal vision and perhaps will inspire a smile or a pause in your day and a conversation later. Take a small journey with me, find a story or two with my images.” ~ Marc McVey
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