Baldwin Lee

Robert LeBlanc in collaboration with Carhartt WIP announces TIN LIZARDS a photography monograph. Tin Lizards celebrates the timeless romance of train travel. Immersed in a monochromatic dreamscape of surrealism. In this evocative world crafted by Robert LeBlanc, reality blurs with fiction, as memories crystallize in silver halides, transforming the world into a canvas of wonder and introspection. From the quiet solitude of a sleeper car to the whispered charm of small towns, LeBlanc’s lens captures the poetry of diverse landscapes, revealing beauty in life’s quietest moments. Each destination in this collection was reached by train. Propelled by the rhythmic hum of steel on tracks, LeBlanc distills the spirit of exploration, crafting a series of photographs that dance between stillness and motion. His work invites viewers on a soulful journey, where the heart of America’s quieter corners unfurls through the gentle cadence of the train. LeBlanc partnered with Carhartt WIP and fine-art publisher Nazraeli Press to unveil the Tin Lizards monograph. Accompanying this is a limited-edition capsule collection exclusive to Carhartt WIP Los Angeles. Image: Tin Lizards, Untitled #65, 2022

THE DOG & PONY SHOW! 1. A group photography exhibition that celebrates two endearing species that offer us unconditional friendship and support in times of need. 2. Some artful, and occasionally comedic relief from intelligent and creative human beings. 2 (alt.) Some artful, and occasionally comedic relief from the actual s***show that’s going on in Washington. Photographers: Elliott McDowell, Tony Bonanno, Glen Wexler, Patricia Galagan, Eric McCollum, Renee Lynn, Yvette Roman, Mark Berndt, Victoria Stamm, Brad Stamm, Jennifer Schlessinger, Kate Lindsey, Walter Nelson, Jane Phillips, John Chiodo, Dolores Smart, and Scott Wilson.

All About Photo presents 'Reverie of the Unseen' by Rory J Lewis, on view throughout June 2025. REVERIE OF THE UNSEEN From the antlers of a stag beetle, to the multi-directional flight of a dragonfly, or the iconic markings of a ladybird beetle, there are very few forms not afforded the arthropod by evolution. Reverie of the Unseen is a collection of my works from the last 3 years, which seeks to elevate these oft overlooked animals by capturing the unseen ‘personality’ so many of these beautiful creatures appear to possess. Through specific angles, lighting techniques or capturing certain behaviours, these tiny invertebrates can suddenly seem so much more relatable to us, as if waving good morning, playing games with one another, or tilting their head in silent communication- like perhaps, the pet puppy we once had. All of the images are of live and completely unharmed subjects, taken in the wild, as being able to photograph them at their most vibrant is what provides so much of the magic, If there is an unnaturally colourful backdrop in the image, it is purely created by placing a physical object behind the subject. so shooting during the night or very early hours of the morning, as they’re sleeping or just waking up, is nearly always imperative. This also helps in keeping their disturbance to an absolute minimum, ethics are also as important to me as the art itself, as I seek to do nothing more than celebrate these remarkable animals, and I invite others through this work, especially those that may find them fearful, to celebrate them with me.

CLAMP is pleased to present “My Life as a Flower,” an exhibition of unique Polaroids produced by Dietmar Busse nearly twenty-five years ago, at the turn of the 21st century in Greenpoint, Brooklyn. Coated from head to toe in matte, chalky pigments, Busse transforms his own body into a living canvas. Onto his skin he carefully pressed petals, blossoms, stems, and leaves, crafting self portraits that feel both fantastical and haunting. These images, rich with texture and fragility, suggest a deep intimacy with nature and a performative merging of subject and medium. Busse assembles parts from a wide range of botanical species—anemone blossoms paired with carnation leaves on a stalk of aloe—to create impossible new blooms that exist solely within his imagination. Once complete, these fleeting arrangements are photographed before they vanish, emphasizing the ephemerality at the heart of the work. Through this singular series, Busse collapses the boundaries between painting, sculpture, photography, and performance. His process foregrounds impermanence and transformation while quietly invoking our shared dependency on the natural world—an uneasy tether made more precarious in an age increasingly defined by technological acceleration and impending climate catastrophe. “My Life as a Flower” coincides with an exhibition at FIERMAN of Busse’s camera-less chemical paintings as well as newer digital floral self portraits running from May 8 – June 22, 2025. Dietmar Busse (b. 1966) lives and works in New York. He was born in Stolzenau, Germany, and as a young man learned the world of photography in Madrid before relocating to New York in 1991. His recent solo museum exhibition titled “Dietmar Busse | Fairy Tales 1991-1999” at Amant, Brooklyn, NY, was reviewed in the New York Times, The New Yorker, Cultured, The Guardian, and Paper Magazine. His work has been included in solo and group exhibitions at Rachel Uffner Gallery, New York; CLAMP, New York; FIERMAN, New York; Halsey McKay Gallery, New York; the Museum Schloss Moyland, Bedburg-Hau, Germany; Wereldmuseum, Rotterdam; Invisible-Exports, New York; Museum Sinclair Haus, Bad Homburg; the Leslie Lohman Museum, New York, among other venues. His work has been publicized in The New Yorker, TIME, The London Independent, New York Times Magazine and Interview, among other publications.

The Fahey/Klein Gallery is proud to present Lauren Greenfield: Social Studies, a new photographic exhibition that revisits the terrain of youth culture and identity formation in the digital age. Expanding on her acclaimed five-part docuseries of the same name, Social Studies (FX/Hulu) marks Greenfield’s return to a subject she has explored since her groundbreaking 1997 debut, Fast Forward: Growing Up in the Shadow of Hollywood. Shot during the 2021–2022 school year across Los Angeles—a city synonymous with image and aspiration—Social Studies follows a diverse group of teens navigating high school, home life, and relationships under the influence of ever-present social media. This new body of work builds on Greenfield’s legacy as a visual sociologist, capturing the tensions between online performance and private identity, aspiration and anxiety, vulnerability and self-curation. Lauren Greenfield’s photographic approach parallels her immersive filmmaking: both document a reality that is evolving in real-time. Lauren Greenfield: Social Studies is a continuation and an evolution of the artist’s decades-long interrogation of American culture. Through the raw honesty of her subjects and the clarity of her vision, Greenfield creates a powerful meditation on adolescence, what she calls “comparison culture”, and the search for authenticity in a curated world. As she continues to investigate the themes of status, beauty, identity, and power, this new series reflects her ongoing commitment to making the invisible visible—revealing how young people see themselves and how we construct and consume those images. Lauren Greenfield is an Emmy-award-winning photographer and filmmaker and has been a preeminent chronicler of youth culture, gender, and consumerism for over twenty-five years. Her documentary The Queen of Versailles won the Best Documentary Director Award at Sundance in 2012 (coming to Broadway as a musical this fall, starring Kristin Chenoweth with music by Stephen Schwartz), and her films The Kingmaker, Generation Wealth, and THIN have garnered Emmy, Critics Choice, WGA, & DGA recognition. Greenfield’s award-winning books include Fast Forward (1997), Girl Culture (2002), THIN (2006). In recent years, she directed the ambitious documentary Generation Wealth (2018) and published a retrospective monograph, a global investigation of materialism and social status that synthesizes decades of her photographic work. In partnership with the Annenberg Foundation, who also collaborated with Greenfield on the Social Studies docuseries, the Generation Wealth exhibition toured museums around the world opening at the Annenberg Space for Photography, and traveling to the ICP, the Nobel Peace Center, Deichtorhallen Hamburg, the Hague Fotomuseum, the Louisiana Museum of Modern Art (Copenhagen), and Fotografiska. Greenfield’s photographs—including entire bodies of work such as Fast Forward, Girl Culture, THIN, and Generation Wealth—are held in major institutional collections, including the Harvard Art Museums, the Center for Creative Photography (Tucson), Art Institute of Chicago, Los Angeles County Museum of Art, the J. Paul Getty Museum, the San Francisco Museum of Modern Art, the Smithsonian National Museum of American History, the International Center of Photography, and the Museum of Fine Arts Houston, among others. Image: Kylie Jenner Lip Challenge, 2025 © Lauren Greenfield, courtesy of Fahey/Klein Gallery, Los Angeles

Zanele Muholi, a pioneering visual activist and artist, has spent two decades using photography, film, and sculpture to document and celebrate Black Queer lives in South Africa and beyond. Their work challenges gender stereotypes, elevates personal narratives, and underscores the urgent need for visibility, respect, and recognition within the LGBTQIA+ community. This exhibition highlights several key series from Muholi’s prolific practice. *Somnyama Ngonyama (Hail the Dark Lioness)*, an ongoing self-portrait series, features striking black-and-white images in which the artist assumes various personas. Using everyday objects like clothespins, rugs, and plastic bags as adornments, Muholi transforms the ordinary into potent symbols of personal and political commentary. Also on view are selections from *Brave Beauties*, a series that captures trans women and nonbinary individuals in bold, empowered poses, and *Faces and Phases*, a living archive of Black lesbians, gender-nonconforming individuals, and trans men. Initiated in response to the discrimination and violence faced by these communities in South Africa, *Faces and Phases* serves as both documentation and defiance. A never-before-seen selection of portraits from *Somnyama Ngonyama*, presented in lightbox format, intensifies the interplay of light and shadow, further amplifying the series’ dramatic impact. Across these bodies of work, Muholi redefines Black Queer representation, disrupting dominant narratives while offering a powerful and deeply human perspective. Image: Zanele Muholi, "Phila I, Parktown," 2016, edition of 8 + 2 artist’s proofs. Courtesy of Southern Guild and Yancey Richardson. © Zanele Muholi

Nearly 60 years after The Beatles performed their final concert at Candlestick Park, Beatlemania is back in the Bay. Featuring more than 250 personal photographs by Paul McCartney, along with video clips and archival materials, this exhibition offers a behind-the-scenes look at the meteoric rise of the world’s most celebrated band. The images capture the period from December 1963 through February 1964 and the band’s journey to superstardom, from local venues in Liverpool to The Ed Sullivan Show and worldwide acclaim. Photographs of screaming crowds and paparazzi show the sheer magnitude of the group’s fame and the cultural change they represented. More intimate images of the band on their days off highlight the humor and individuality of McCartney and bandmates John Lennon, George Harrison, and Ringo Starr. Rediscovered in the artist’s personal archive in 2020, these images offer new perspectives on the band, their fans, and the early 1960s, as seen through the eyes of Paul McCartney. Paul McCartney Photographs 1963–1964: Eyes of the Storm is organized by the National Portrait Gallery, London, in collaboration with Paul McCartney. It is curated by Paul McCartney with Sarah Brown for MPL Communications and Rosie Broadley for the National Portrait Gallery, London. The presentation at the de Young museum is organized by Sally Martin Katz.

Conversations at a party in Oakland in 1932 changed the history of photography. At that gathering, several now-iconic Bay Area figures — including Ansel Adams, Imogen Cunningham, and Edward Weston — banded together to form Group f.64, a collective dedicated to “true” photography and the rejection of the prevailing style of Pictorialism, which mimicked painting. The group’s name was technical, referring to the camera lens setting that permits the greatest depth of field, but their mission was creative: to make photographs of startling clarity and beauty that rivaled art made in other mediums. Although Group f.64 lasted for less than a year, its legacy endured, marking the Bay Area as an epicenter for modernist photography. Around Group f.64: Legacies and Counterhistories in Bay Area Photography takes the work of this influential collective as a nexus from which to examine other local developments in the medium. The exhibition begins with a selection of pictures in the gauzy Pictorialist style, which every member of Group f.64 practiced before turning to the crisp, sharply focused compositions for which they are best known. The second gallery includes work by all eleven members of the collective made around the time they joined together. Beyond that, the exhibition branches off in related but varied directions, including an exploration of the link between Group f.64 members and the poet Langston Hughes and a presentation of contemporary artist Tarrah Krajnak’s work in dialogue with that of Weston and Adams. The final gallery serves as a visual and thematic counterpoint to those that precede it, featuring street photography from the 1970s to the present that reveals the wilder side of San Francisco. Image: Jim Jocoy, Muriel with bruised knees, 1980, courtesy of the artist and Casemore Gallery

Portraits are more than images of people—they're reflections of connection, presence, and intention. At their best, they capture not just appearance, but emotion, identity, and the quiet dynamics between photographer and subject. ​ In Portraits and Persons, Cynthia Freeland identifies three core elements of portraiture: a visible body, a sense of inner life, and the act of self-presentation. Together, these form the foundation for how we see—and are seen. ​ Praxis Gallery welcomes photographic portraits that explore these dimensions through craft, concept, and character—portraits that reveal something personal, poetic, or profoundly human. Guest Curated Exhibition by Sandrine Hermand-Grisel

"I have spent my entire career photographing children all over the world. The last several years I have focused my eyes on the Irish Traveller that live in caravans on the side of the road or in open fields throughout Ireland. The Traveller community are an Irish nomadic indigenous ethnic minority. There is no recorded date as to when Travellers first came to Ireland. This is lost to history, but Travellers have been recorded to exist in Ireland as far back as history is recorded. Even with their great history they live as outsiders to society and face unbelievable racism growing up. As a mother of two daughters, I became so interested in the culture and traditions and lives of these children. I have spent many years traveling back and forth to Ireland to document these incredible children." "The experience I had photographing the grit and beauty, that is the everyday life of a Traveller child, is one that inspires me every day. Their deep respect for family and cultural values is refreshing, one that can be quite difficult to find in an age with the convince of social media. Not always immediately accepting of an outsider holding a large camera, I took my time getting to know and understand these faces that represent the new generation. My ever-growing fascination with the children of today has led me all over the world, capturing their innocence or in some cases loss of, in its most raw form." "Unlike most children they are unable to refer to a history book to learn about their ancestors, a part of this journey was being able to document an era that is so different to any other I have photographed. It is one that is and will always be rapidly changing, every time I visit it is a whole different world yet with the relationships, I have been lucky enough to make, it seems to feel like I never left. I am exponentially grateful to the young people documented and that I have encountered over my years." "It is with an honest heart I hope to show that these beautiful children who have great hopes and goals and work every day to reach their dreams no matter how hard they must fight racisms and stereotypes placed on them for centuries. A child is an innocent, happy, precious part of the world that should be loved and accepted and encouraged no matter where or how they live."

Over the last four decades, image-editing software has radically transformed our visual world. The ease with which images and text can be digitally generated and altered has enabled new forms of creative experimentation, while also sparking philosophical debates about the very nature of representation. Digital Witness: Revolutions in Design, Photography, and Film examines the impact of digital manipulation tools from the 1980s to the present, for the first time assessing simultaneous developments and debates in the fields of photography, graphic design, and visual effects. Featuring over 150 works, the exhibition traces the emergence of distinctive digital aesthetic strategies, relationships to realism, and storytelling modes. The nearly 200 artists, designers, and makers in Digital Witness illuminate today's visual culture where digital editing tools are easier to access than ever before.

“Giants: Art from the Dean Collection of Swizz Beatz and Alicia Keys” is a groundbreaking exhibition that marks the first major showcase of the Dean Collection, owned by renowned musicians and cultural icons Swizz Beatz (Kasseem Dean) and Alicia Keys. Organized by the Brooklyn Museum, “Giants” highlights nearly 100 significant works by Black diasporic artists, including Gordon Parks, Jean-Michel Basquiat, Lorna Simpson, Amy Sherald, and more. The exhibition reflects the Deans’ passion for supporting established and emerging artists while fostering important dialogues about art, culture, and identity. “Giants: Art from the Dean Collection of Swizz Beatz and Alicia Keys” is organized by Kimberli Gant, Curator, Modern and Contemporary Art, and Indira A. Abiskaroon, Curatorial Assistant, Modern and Contemporary Art, Brooklyn Museum. Image: Kwame Brathwaite. Untitled (Model Who Embraced Natural Hairstyles at AJASS Photoshoot), circa 1970, printed 2018. Pigmented inkjet print. The Dean Collection, courtesy of Swizz Beatz and Alicia Keys. © Kwame Brathwaite. (Photo: Joshua White / JWPictures.com)