Words & Pictures

From May 07, 2024 to January 31, 2025

1400 Remington Street

Fort Collins, CO 80524

Selected Artists: Leah Abrahams, Asiya Al. Sharabi, Federica Armstrong, Darryl Baird, Lowell Baumunk, Steve Bennett, Bonnie Blake, Marisa Brown, Lindsay Buchman, Xtine Burrough, Susan Kaufer Carey, Rebecca Chappelear, Victoria Crayhon, Jane Waggoner Deschner, Brian Fouhy, Leah Frances, Beth Galton, Amy Gaskin, Maryam (Nilou) Ghasempour Siahgaldeh, Rima Grad, Sharon Lee Hart, Charlotta Hauksdottir, Adriene Hughes, Charles Ingham, Candace Jahn, Lauren Johnson, Michael Joseph, Sherry Karver, Valerie Kim, Melissa Kreider, Judith G Levy, Annie Lopez, Jena Love, Jenny Lynn, Mara Magyarosi-Laytner, Ellen Mahaffy, Andy Mattern, Benita Mayo, Eric McCollum, Jenna Meacham, Julie Mihaly, Venessa Monokian, Kris Moore, Lisa Murray, Marni Myers, Lisa Nebenzahl, Cheryl Newman, Jackson Nichols, Charlotte Niel, Robert Nielsen, Rachel Nixon, Catherine Panebianco, Cyd Peroni, Mehregan Pezeshki, Jeff Phillips, Linda Plaisted, Wendy Ploger, Michael Pointer, Steve Prezant, Jennifer Pritchard, Michael Rainey, Brandon Ralph, Victor Ramos, David Richards, Susan Rosenberg Jones, Joel Rotenberg, Don Russell, Robin Salcido, Bill Saltzstein, Beth Sanders, Kris Sanford, Elizabeth Sanjuan, Deborah Saul, Angela Scardigno, Richard Schramm, Robert Schultz, Becca Screnock, Nicolo Sertorio, Rebecca Sexton Larson, Liz Albert and Shane VanOosterhout, Christine Siracusa, Paul Sisson, Jerry Takigawa, Dean Terasaki, Lacey Terrell, Cydney Topol, Hailey Trejo, Mark Troyer, Jim Turner, Brian Van de Wetering, Harry von Stark, Robert Weil, Francine Weiss, Andrea Wenglowskyj, Thomas Whitworth, Eric Williams, Jon Wollenhaupt, Ian Wright, Douglas Yates, Jennifer Zwick

Jurors Statement

The exhibition, Words & Pictures, is a fantastic representation of how artists are using two mediums to elevate their art making, The narratives featured in this exhibition range from personal and poignant to humorous and creative with words that accompany photographs and appear In and on photographs.

Artists have incorporated text and symbols into their work since the beginning of time, but it was in the 1970’s when text and photography had a significant marriage and was at the forefront of visual culture and semiotic language. Artists such as Duane Michals, Sophie Calle, Jim Goldberg, and Carrie Mae Weems have used text to expand storytelling. Photography has returned to many of the methodologies created half a century ago, and it’s exciting to see the medium become so expansive.

There are qualities that are universal to creating a compelling photograph. The work must have an intangible resonance and a sensitivity that links together images and ideas. The photographs have to be well crafted and have power, sometimes in their simplicity and sometimes in their complexity. Most importantly, the work must have authenticity—it has to convince the viewer that it has come from a genuine place, and it needs to persuade us that there is meaning and purpose behind the effort. The ubiquitousness of photography today requires creative approaches to all genres to shift the norms and reinvigorate the medium, as evidenced by the submissions to this exhibition.

My Juror Selection Award goes to Charles Ingham. He submitted so many stellar images that it was hard to narrow it down. His work in both cinematic and intimate and he is a unique visual storyteller. For Honorable Mentions, I selected works by Angela Scardigno, Lindsay Buchman, Jackson Nichols – each artist elevating and expanding the visual experience with a particular visual persuasion.

A big thank you to all who submitted—it was a pleasure to spent time with your work and though I selected a large number of images, there were still so many photographs that I wish I could have included. Aline Smithson

All About Photo Magazine

Issue #57

Stay up-to-date with call for entries, deadlines and other news about exhibitions, galleries, publications, & special events.

Exhibitions Closing Soon

Griffin Museum of Photography | Winchester, MA

The Pause Between Seeing and Knowing

From April 01, 2026 to June 30, 2026

The Pause Between Seeing and Knowing, presented at the Griffin Museum’s satellite space from April 1 through June 30, 2026, gathers a group of artists committed to the enduring language of analog photography. In a time defined by speed and endless circulation of images, this exhibition insists on a slower rhythm, one grounded in process, tactility, and attention. Each work bears the trace of its making, inviting viewers to consider photography not only as an image but as an object shaped by time, gesture, and intention. Across the exhibition, the artists approach photography as a form of sustained observation. Jacek Gąsiorowski turns toward scenes of everyday life, where fleeting gestures and quiet presences acquire a sense of permanence. His images of leisure and routine unfold gently, revealing a sensitivity to duration and the subtle passage of time. In contrast, Harley Cowan navigates landscapes marked by human intervention, where remnants of industry and habitation linger. His photographs hold a restrained tension, suggesting histories embedded within terrain and architecture without fully disclosing them. Twinkle Banerjee’s work introduces a more analytical dimension, where the photograph becomes both subject and experiment. Through constructed arrangements and geometric relationships, she examines how perception itself takes form. Nearby, the collaborative images of Landry Major and Cash Kasper weave together body and environment, producing layered compositions that feel intimate yet expansive. Their photographs evoke a sense of connection between human presence and the wider natural world, as if gesture and landscape emerge from the same source. Osheen Harruthoonyan’s prints drift toward the edge of abstraction, where botanical forms dissolve into tonal shifts and chemical transformations. Flowers appear as fleeting structures, simultaneously forming and fading, reminding viewers that vision is never fixed but constantly in flux. This sense of instability resonates throughout the exhibition, where clarity and ambiguity coexist. Together, these works shape a contemplative space where images unfold gradually. The exhibition lingers in that suspended interval where perception deepens, encouraging a form of looking that values patience, curiosity, and the quiet complexity of what reveals itself over time. Image: © Jacek Gąsiorowski

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Harper’s East Hampton | East Hampton, NY

Maryam Eisler: Summer of 69

From May 30, 2026 to July 01, 2026

At Harper’s East Hampton, Maryam Eisler: Summer of 69 unfolds as a carefully staged meditation on glamour, memory and the visual codes of late twentieth-century leisure. The exhibition brings together a new series of photographs that draw on the imagery of the late 1960s and early 1970s, revisiting an era often framed through its surfaces—sunlit bodies, designer fabrics, and the promise of freedom—while introducing subtle disruptions beneath that sheen. Eisler, a London-based photographer known for her exploration of femininity and representation, constructs scenes that feel both immediate and distanced. Though produced in the present, the images evoke a stylized past shaped by fashion photography and cinema. References to Emilio Pucci textiles, Palm Beach settings and European erotic film culture appear throughout, creating a visual language that oscillates between homage and reinterpretation. The compositions remain deliberate, with each prop and gesture contributing to a narrative that never fully resolves. What distinguishes this body of work is its interplay between refinement and artifice. Scenes of apparent ease—poolside gatherings, intimate interiors, languid afternoons—are punctuated by incongruous details: discarded objects, traces of excess, or moments that suggest emotional disconnection. The juxtaposition of luxury and banality, from champagne glasses to cereal boxes, introduces a quieter commentary on consumption and desire. Figures within the images appear aware of their own visibility, caught between performance and introspection. Eisler’s practice has often been situated within a lineage of photographers associated with images of the “good life,” yet Summer of 69 complicates that inheritance. Rather than simply reproducing a visual ideal, the work probes its construction, asking how such images shape perceptions of beauty, identity and belonging. The result is a series that operates on multiple levels: as a sensorial evocation of a cultural moment and as a reflection on the enduring power of its myths. In this setting, summer itself becomes less a season than a condition—one defined by light, projection and the fragile boundary between lived experience and its image. Image: Fur, Ferns, & Feline Turns, 2026 © Maryam Eisler, courtesy of Harper’s East Hampton Gallery

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Anton Kern Gallery | New York, NY

Nobuyoshi Araki and Roe Ethridge

From May 12, 2026 to July 02, 2026

Nobuyoshi Araki and Roe Ethridge, on view at Anton Kern Gallery from May 12 through July 2, 2026, brings together two photographers whose practices, while separated by geography and generation, share a fascination with artifice, intimacy, and the unstable nature of photographic meaning. Selected and sequenced by Roe Ethridge himself, the exhibition unfolds less as a conventional dialogue than as a fluid visual conversation built through association, repetition, and contrast. At the center of the presentation are new prints from Ethridge’s Floral Arrangements series, originally produced in the mid-1990s and revisited for this exhibition. Using a pinhole camera, Ethridge photographs bouquets staged against heavily patterned floral fabrics that he alters by hand with acrylic paint before each composition is assembled. The resulting images occupy a curious space between still life, painting, and commercial photography. Soft focus and flattened perspective lend the works a dreamlike quality, while their carefully manipulated surfaces foreground photography as a constructed image rather than a transparent document. Ethridge places these works in conversation with several series drawn from Nobuyoshi Araki’s vast archive, including Flower Cemetery and Tokyo Nude. In Araki’s photographs, flowers become psychologically charged objects, often interrupted by plastic figurines, toys, or traces of decay. Elsewhere, nude bodies appear beside unremarkable Tokyo streets, collapsing the boundaries between the private and public spheres. Throughout his career, Araki has approached photography diaristically, treating the camera as an extension of daily existence, desire, and memory. The exhibition also includes more recent works by Ethridge inspired by luxury fashion commissions, studio interiors, and spontaneous snapshots taken during his travels in Japan. These images extend the exhibition’s broader preoccupation with objects as carriers of emotional and cultural residue. Shelves, flowers, clouds, fabrics, and fragments of architecture become linked through visual rhythm rather than narrative logic. Together, the works reveal how both artists continually blur distinctions between documentation and invention. Whether through Araki’s intensely personal “I-photography” or Ethridge’s layered manipulations of surface and form, the exhibition suggests that photographs never merely record the world—they remake it through memory, desire, and association. Image: Untitled (Flower Cemetery), 2017 © Nobuyoshi Araki, courtesy of Anton Kern Gallery

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Yancey Richardson Gallery | New York, NY

Mary Ellen Bartley: Color Anthology

From May 29, 2026 to July 02, 2026

Mary Ellen Bartley: Color Anthology, on view at Yancey Richardson from May 29 through July 2, 2026, continues the artist’s longstanding investigation into the quiet emotional and sculptural potential of books. For nearly two decades, Bartley has transformed found printed materials into meditative photographic studies that move beyond literature itself, focusing instead on texture, color, balance, and form. In this latest exhibition, the New York-based artist draws from her series Reading November, produced between 2013 and 2021, where aging hardcover books become carefully arranged abstractions shaped by light and atmosphere. The photographs center on books selected for their “top-stain,” the colored treatment applied to the upper edge of pages that became popular in mid-century publishing. Gathered from secondhand shops, bargain bins, and libraries, these forgotten volumes are stacked into compositions that feel at once orderly and fragile. Bartley photographs them during dusk using long exposures and soft, flat light, creating images steeped in stillness and restraint. Muted blues, deep reds, faded greens, and charcoal tones emerge slowly from shadow, recalling both minimalist painting and classical still-life traditions. Rather than emphasizing narrative content, Bartley treats books as physical artifacts carrying traces of time and use. Their worn surfaces, faded cloth covers, and subtle tonal variations become the true subject of the work. The resulting photographs balance precision with intimacy, allowing ordinary objects to assume an almost architectural presence. The images also evoke the slower rhythms of reading and contemplation at a moment increasingly dominated by digital consumption and fleeting visual culture. Born in New York City and educated at Purchase College, SUNY, Bartley has exhibited internationally at institutions including the Walker Art Center, the Morgan Library and Museum, and Museo Morandi in Bologna. Her photographs belong to major public collections such as the Metropolitan Museum of Art and the J. Paul Getty Museum. In Color Anthology, Bartley once again demonstrates how photography can transform the overlooked and familiar into something lyrical, tactile, and profoundly reflective. Image: Mary Ellen Bartley. Reading November #13. 2021. © Mary Ellen Bartley. Courtesy of the artist and Yancey Richardson. New York.

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Yancey Richardson Gallery | New York, NY

Victoria Sambunaris: Fall Line

From May 29, 2026 to July 02, 2026

Victoria Sambunaris: Fall Line, presented at Yancey Richardson from May 29 through July 2, 2026, examines the fragile geography of the American West through a series of monumental landscape photographs focused on the Colorado River system and its diminishing waterways. Known for her long-term exploration of the American landscape, Sambunaris continues her investigation into how infrastructure, industry, and environmental change reshape territories historically associated with wilderness and expansion. The exhibition follows years of travel across the Southwest, where the photographer traced the intersections between water scarcity, human intervention, and the enduring mythology of the West. Working with a five-by-seven wooden field camera, Sambunaris creates highly detailed images that balance grandeur with quiet tension. The photographs move from the drought-stricken edges of the Colorado River to the temporary lake that formed at Death Valley’s Badwater Basin after Hurricane Hilary. Roads, pipelines, electrical lines, and housing developments appear almost imperceptibly within vast desert panoramas, suggesting the steady but relentless imprint of civilization on landscapes often imagined as untouched. The title Fall Line refers both to the movement of water across terrain and to invisible boundaries shaped by geology, settlement, and power. Sambunaris has spent more than twenty-five years crossing the United States on extended road trips, documenting how natural environments become sites of extraction, recreation, and economic ambition. Her photographs echo the visual traditions of 19th-century survey photographers who helped define perceptions of the American frontier, yet her work introduces a contemporary awareness of environmental precarity and climate instability. The images remain patient and observational, often requiring hours of waiting for precise light conditions before exposure. Born in Pennsylvania and based in New York, Sambunaris studied at Yale University School of Art and has exhibited widely at institutions including the Museum of Modern Art, the Whitney Museum of American Art, and the National Gallery of Art. Her recent monograph, Transformation of a Landscape, expands upon the themes explored in Fall Line, combining photographs with maps, journals, and archival material gathered during her travels. The exhibition presents the American West not as a fixed symbol of permanence, but as a landscape increasingly defined by fragility, adaptation, and uncertainty. Image: Victoria Sambunaris, Untitled, (Wahweap marina), Lake Powell, Page, Arizona, 2023. Archival pigment print, 39 x 55 inches.

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Los Angeles Center of Photography (LACP) | Los Angeles, CA

Ali LeRoi: Everybody Hates Exhibitions

From April 02, 2026 to July 02, 2026

Ali LeRoi: Everybody Hates Exhibitions offers an intimate and unexpected return to a cultural landmark that reshaped television history. Rather than revisiting the finished episodes of Everybody Hates Chris, this exhibition turns inward, revealing a deeply personal archive of photographs made quietly behind the scenes. Captured with a single-lens reflex camera, these images sit between memory and invention, exposing moments that existed beyond the frame of performance and comedy. Marking two decades since the series first aired, the exhibition reflects on how popular culture, personal history, and representation intertwine. LeRoi’s photographs are not polished publicity stills; they are fragments of lived experience—pauses between takes, shared glances, exhaustion, laughter, and tenderness. In these intervals, the illusion of television dissolves, replaced by a temporary family assembled through creative labor. The images document not only a production, but the emotional architecture that sustained it. Central to the exhibition is LeRoi’s meditation on memory and visibility. Photography becomes both a tool for preservation and a reminder of absence. The paradox of the SLR camera—blind at the moment of exposure—mirrors the artist’s relationship to his own past. What is captured is understood later, filtered through distance, loss, and reflection. These photographs become acts of recovery, resurrecting moments that were felt but not fully seen. The title, Everybody Hates Exhibitions, gestures toward vulnerability rather than spectacle. The discomfort lies not in showing images, but in revealing the self that has long remained behind the camera. LeRoi’s work speaks to grief, healing, and the quiet necessity of breaking silence. The family portrayed on screen, inspired by Chris Rock’s memories, became a surrogate space where belonging briefly felt possible. Ultimately, this exhibition reframes a beloved sitcom as a site of emotional truth. It honors the fragile, fleeting communities formed through collaboration and care, reminding us that sometimes the families that shape us most are those we encounter unexpectedly, in the unguarded moments when performance falls away and life, briefly, takes over. Image: Photo by Ali LeRoi, Scene Not Heard

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Regen Projects | Los Angeles, CA

Catherine Opie: Holding Blue

From May 28, 2026 to July 03, 2026

Holding Blue, on view at Regen Projects from May 28 to July 3, 2026, brings together a new body of work by Catherine Opie that reflects a sustained engagement with landscape, memory, and the material possibilities of photography. Marking the artist’s twelfth exhibition with the gallery, the presentation unfolds as both a visual and sensory meditation on the Norwegian environment, shaped by extended periods of observation and a deliberate attention to light and atmosphere. At the center of the exhibition is a series of large-scale photographs capturing the mountains of Norway during the elusive “blue hour,” a fleeting moment in polar winter when the landscape is bathed in a deep, saturated hue. Produced during a road trip in early 2024, these images emphasize duration and presence, with Opie approaching each mountain as if it were a portrait subject. The resulting photographs carry a quiet intensity, balancing formal precision with an emotional undercurrent tied to environmental fragility and the passage of time. Complementing the photographic works are ceramic sculptures that translate these landscapes into tactile form. Developed both before and after the journey, the sculptures reflect a process of anticipation and recollection, offering a physical counterpart to the photographic image. Their surfaces and contours suggest a more intimate, almost haptic engagement with place, reinforcing the exhibition’s broader dialogue between perception and memory. Additional photographic series expand this inquiry, juxtaposing natural vistas with elements of the built environment. Images of vernacular architecture and remote settlements situate human presence within a vast and often overwhelming terrain. Throughout the exhibition, Opie draws on a long tradition of landscape representation while quietly reworking its conventions, favoring sustained looking over spectacle. Together, the works in Holding Blue form a cohesive exploration of how photography can register both the physical reality of a place and the internal experience of encountering it. Image: Catherine Opie. Untitled #12 (Norway Mountain), 2024. © Catherine Opie

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Haines Gallery | San Francisco, CA

Once the Ocean Floor

From May 08, 2026 to July 03, 2026

At Haines Gallery, Once the Ocean Floor brings together four distinct photographic practices that place the natural world at the center of image-making. On view from May 8 to July 3, 2026, the group exhibition features works by John Chiara, Linda Connor, David Maisel, and Meghann Riepenhoff. Rather than treating landscape as a passive subject, the exhibition presents nature as collaborator, witness, and force, reshaping the very conditions of photographic production. Chiara’s large-scale Ilfochrome prints, created using hand-built camera obscuras, reveal an approach where process remains visibly embedded in the final image. Light leaks, chemical drips, and physical marks are left intact, emphasizing photography as a material object rather than a seamless illusion. His new works, developed during a 2025 residency in Georgia, move between wooded thickets and open skies, balancing clarity and mystery. These images feel both intimate and monumental, shaped as much by atmosphere as by composition. The exhibition takes its title from Connor’s long-standing series documenting the rocky landscapes of Ladakh in northern India, terrain that once lay beneath an ancient ocean. Her photographs of limestone formations and fossil-rich surfaces evoke geological time on an almost unimaginable scale. Alongside them, Maisel’s aerial views of the Great Salt Lake confront a more urgent environmental reality. His Spiraling series transforms evaporation ponds and industrial sites into abstract fields of color and geometry, where beauty and ecological devastation exist in uneasy tension. Through these images, environmental crisis becomes both visually seductive and deeply unsettling. Riepenhoff extends this dialogue by allowing the landscape to physically inscribe itself onto her cyanotypes. Exposed directly to water, wind, and freezing temperatures, her works carry the marks of environmental contact rather than simple representation. In her State Shift series, crystalline forms and sweeping textures reflect the fragility of ecosystems under pressure. Together, the four artists propose a broader understanding of photography—one in which authorship is shared with the world itself. At Haines Gallery, Once the Ocean Floor becomes not only an exhibition of images, but an invitation to reconsider how art can register our changing relationship with the planet. Image: David Maisel, Spiraling 6, 2024 © David Maisel, courtesy of the Haines Gallery

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Benrubi Gallery | New York, NY

Christopher Payne: 16 Tons

From May 28, 2026 to July 04, 2026

Christopher Payne’s 16 Tons turns industrial photography into a study of structure, scale and repetition. On view at Benrubi Gallery from May 28 through July 2, 2026, the exhibition presents nine large-format photographs drawn from Payne’s wider body of work on American manufacturing, alongside new images shaped by the same long-term interest in how things are made. The photographs move through factory interiors, production lines and highly specialized workspaces where the human figure is often reduced to a partial presence. In some images, hands appear only as points of reference, handling materials such as artificial flowers or guiding processes that are otherwise dominated by machinery. In others, people disappear almost entirely, leaving robots, lifting devices and industrial systems to define the frame. Payne’s attention stays fixed on the visual logic of these spaces: the geometry of repeated forms, the weight of materials, the rhythm of assembly. What gives the exhibition its shape is the way the photographs speak to one another. Rather than standing as isolated records, they are arranged as visual pairs, linked by correspondence rather than explanation. An image of one process echoes another in color, scale or composition, suggesting that different industries can share a similar structure even when their materials and purposes differ. This approach gives the exhibition a quiet coherence and shifts the emphasis from subject matter to formal relationship. The title 16 Tons points back to the 1955 coal-mining song made famous by Tennessee Ernie Ford, a reference that brings labor, debt and physical strain into view. Payne’s photographs do not dwell on nostalgia or critique alone. Instead, they register the conditions behind production: the systems that shape work, the machinery that replaces it, and the patterns left behind when labor becomes part of a larger industrial process. With more than two decades spent documenting American industrial and institutional spaces, Payne has developed a clear visual language built on patience and precision. 16 Tons reflects that method in a distilled form, presenting industry not as spectacle but as a set of enduring forms. Image: Christopher Payne, Untitled (CP130378), 2025 © Christopher Payne

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Smart Museum of Art | Chicago, IL

Beyond Boundaries: Three Decades of Contemporary Chinese Art at the Smart

From March 29, 2026 to July 05, 2026

Beyond Boundaries: Three Decades of Contemporary Chinese Art at the Smart traces a layered history of artistic experimentation and critical inquiry at the Smart Museum of Art from March 29 to July 5, 2026. Rooted in the University of Chicago’s longstanding engagement with contemporary Chinese art, the exhibition reflects a sustained effort to position these practices within a global conversation. Since the late 1990s, curatorial initiatives led by Wu Hung have reshaped how such work is studied and understood, opening new perspectives on transnational artistic exchange. Drawing from the museum’s collection as well as archival material and recent acquisitions, the exhibition unfolds as both a retrospective and a living archive. Early moments of experimentation resonate alongside more recent works, revealing an ongoing negotiation between continuity and change. The reference to Transience, the influential 1999 exhibition, lingers throughout, emphasizing the importance of ephemerality, process, and conceptual risk in shaping the field. What emerges is not a fixed narrative but a constellation of practices that resist singular definition. The artists gathered here engage with boundaries in multiple forms—geographical, political, and material. Figures such as Ai Weiwei and Xu Bing interrogate systems of authority and language, while others like Song Dong and Xing Danwen turn toward personal memory and urban transformation. Across media ranging from installation to photography and video, these works explore how individuals move through rapidly shifting environments. Their approaches often embrace fragmentation, repetition, and displacement, reflecting broader conditions of uncertainty and adaptation. Rather than presenting contemporary Chinese art as a unified category, Beyond Boundaries highlights its internal diversity and its capacity for reinvention. The exhibition invites viewers to consider how artistic practices respond to constraint not only by resisting it, but by transforming it into new forms of expression. In this space, boundaries appear less as limits than as sites of tension and possibility, where meaning remains in flux and history continues to unfold. Image: Wang Wei, 1/30th of a Second Underwater, 1999, chromogenic transparencies on translucent polyester base. Smart Museum of Art, The University of Chicago, Purchase, Gift of Carl Rungius, by exchange, 2001.121d ©Wang Wei

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CPW - Center for Photography at Woodstock | Kingston, NY

Gestures of Care, Resilience, and Connection

From May 30, 2026 to July 05, 2026

The Community Gallery at CPW opens with Gestures of Care, Resilience, and Connection, a group exhibition by the Women Photographers Collective of the Mid-Hudson Valley that brings together sixteen artists working across different photographic approaches. On view from May 30 to July 5, 2026, the show frames photography as a way to register support, attention and shared experience at a time when many people feel isolated or divided. The exhibition focuses on ordinary but revealing moments: family life, local surroundings, small acts of solidarity and collective action. Rather than presenting a single theme or visual style, it brings together distinct voices that speak to one another through common concerns. The result is a portrait of community as something active and unfinished, built through relationships rather than fixed identity. The participating artists include Joan Barker, Ana Bergen, Shari Diamond, Jill Enfield, Judit German-Heins, Karen Ghostlaw, Lori Grinker, Morgan Gwenwald, Maria Fernanda Hubeaut, Kay Kenny, Dana Matthews, Meryl Meisler, Adina Scherer, Carla Shapiro, Kate Warren and Ruth Wetzel. Their work reflects a range of perspectives and subjects, from intimate domestic scenes to broader social observations. Some images are rooted in personal life, while others look outward toward shared spaces and public gestures. The exhibition also marks an important step for CPW’s Community Gallery, a new space dedicated to local groups, artist collectives and nonprofit projects. The gallery is designed as a rotating venue for short-run exhibitions, giving room to voices from different parts of the region. That structure fits the spirit of the show, which places emphasis on exchange, visibility and the value of making work together. By gathering these photographs under one roof, Gestures of Care, Resilience, and Connection presents community not as a slogan, but as a set of everyday actions and relationships that continue to hold shape under pressure. Image: © Kate Warren, courtesy of the Center for Photography at Woodstock

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New Britain Museum of American Art | New Britain, CT

The Museum of the Old Colony: An Art Installation by Pablo Delano

From March 14, 2026 to July 05, 2026

The Museum of the Old Colony: An Art Installation by Pablo Delano, on view at the New Britain Museum of American Art from March 14 to July 5, 2026, is an ambitious, immersive work that challenges how history is constructed, displayed, and absorbed. Conceived as a fictional yet unsettlingly familiar institution, the installation invites visitors to step inside a museum that mirrors the authoritative language of official archives while quietly unraveling their assumptions. Through this layered environment, Delano confronts the enduring realities of colonial power and cultural memory as they relate to Puerto Rico and its complex relationship with the United States. Rather than presenting discrete artworks, Delano assembles a dense constellation of archival photographs, printed matter, moving images, and found objects that function together as a single evolving artwork. Drawing on the visual strategies of ethnographic and historical museums, the installation reveals how narratives are framed, legitimized, and preserved. Humor and irony play a crucial role, softening the surface while sharpening the critique, as familiar museological devices become tools for questioning authority rather than reinforcing it. The title’s double meaning underscores the work’s conceptual depth, referencing both Puerto Rico’s political status as a long-standing colony and a locally produced soft drink embedded in everyday life. This blend of the personal and the political reflects Delano’s own biography and lived experience, grounding broader historical analysis in individual memory. At the New Britain Museum of American Art, the project expands to include materials connected to Connecticut’s Puerto Rican diaspora, weaving regional stories into a global history of displacement, resistance, and cultural persistence. As the largest presentation of the project to date, this installation transforms multiple galleries into a space for reflection and dialogue. It resists closure, encouraging viewers to linger with ambiguity and reconsider what museums choose to show, and what they omit. In doing so, Delano positions art as an active form of historical inquiry—one that does not merely document the past, but interrogates how it continues to shape the present. Image: Previous Installation of 'The Museum of the Old Colony: An Art Installation by Pablo Delano'

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Huxley-Parlour Presents ‘Select Works, 1962-2019’ by Joel Meyerowitz

Huxley-Parlour Gallery is thrilled to announce Select Works, 1962-2019, a major exhibition celebrating the enduring legacy of world-renowned photographer Joel Meyerowitz. Marking the artist’s fourth solo show with the gallery, this carefully curated collection brings together twenty-five seminal photographs. Spanning a remarkable six-decade career, the exhibition tracks the evolution of Meyerowitz's influential photographic voice and his pioneering approach to the medium, offering viewers an intimate look at how one of masters of modern photography transformed the way we view the world.

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CPW Upstate Photography Biennial

This summer, CPW (Center for Photography at Woodstock) will debut the inaugural Upstate Photography Biennial, a major new exhibition celebrating the thriving photographic arts scene across upstate New York. Bringing together the work of 39 artists, the landmark exhibition offers a compelling snapshot of the region’s creative vitality and its growing influence on contemporary photography.

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Beneath the Surface: Mining and American Photography

Beneath the Surface to feature some 150 photographs by 100 artists spanning 185 years of society and industry in the United States

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photo basel 2026 Celebrates the Expanding Language of Photography

Switzerland’s Premier Photography Event Returns for Its 11th Edition. Shifting Frames: Photo Basel 2026 Redefines the Limits of Fine Art Photography A Convergence of Legends: Curating 450 Masterworks

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All About Photo Presents ’Fading Shehuo’ by Chris Yan

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All About Photo Presents 'Fading Shehuo' by Chris Yan

All About Photo is proud to present Chris Yan as the featured artist of our upcoming solo exhibition with his project Fading Shehuo, showcased exclusively on All About Photo. A project preserving the Spirit of Rural China Through Street Photography.

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Belfast Photo Festival 2026: Horizons

The 2026 edition takes visitors towards new ‘Horizons’, a theme that positions photography at a critical threshold in an age of AI-generated imagery, automation and algorithmic seeing. The festival returns as the medium undergoes profound transformation and its claims to truth, trust, authorship and materiality are increasingly being questioned.

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Meryl Meisler: Queer-Friendly Nightlife Now

Nearly five decades after documenting disco-era revelry, photographer Meryl Meisler returns with a bold new body of work capturing the pulse of contemporary queer nightlife—its grit, glamour, and enduring sense of community. Meryl Meisler: Queer-Friendly Nightlife Now premieres the CPW's inaugural Upstate Photography Biennial, a new exhibition series featuring 39 artists from across the region, opening May 30, 2026.

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Prix Pictet Exhibition Makes U.S. Debut at MoCP

The Museum of Contemporary Photography at Columbia College Chicago (MoCP) will present Prix Pictet Storm from May 29 through August 22, 2026, marking the U.S. debut of the internationally touring exhibition dedicated to photography and sustainability. Organized in partnership with Prix Pictet — widely recognized as the world’s leading award focused on photography and sustainability — the exhibition brings together twelve exceptional contemporary photographers whose work explores environmental instability, political unrest, social tension, and the fragile state of the modern world.

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Marilyn Monroe at 100: Landmark Exhibition Opens at National Portrait Gallery

Exploring Monroe’s life, career and legacy , the exhibition will include portraits created by many of the greatest photographers and artists of the 21th and 21st centuries , including Andy Warhol, Pauline Boty and Richard Avedon .

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