Meghann Riepenhoff : State Shift

Long before the term “power couple” found its way into English lexicon, dynamic duos had been making their mark on U.S. history. “Powerful Partnerships: Civil War-Era Couples” sheds light on the stories and faces of five couples whose work and lives shaped the nation around them during tumultuous times. Featuring photography by the iconic Mathew Brady Studio, the exhibition introduces visitors to the exploits of Nathaniel and Mary Banks, John and Jessie Frémont, Ulysses and Julia Grant, George and Ellen McClellan, and Charles and Lavinia Stratton (better known to the public as Mr. and Mrs. Tom Thumb).

Yancey Richardson is proud to present Sawubona, an exhibition bringing together work from five different series made between 2002–2013 by South African artist and visual activist Zanele Muholi. Their fifth exhibition with the gallery, Sawubona reveals both the historical depth and visual complexity of Muholi’s overarching project of empowering the Black LGTBQIA+ community in South Africa through a collaborative process of representation. Sawubona will also be the first gallery exhibition outside of Africa to feature their early work. The exhibition will be on view from April 17 through May 23, 2025. An opening reception will be held on Thursday, April 17 from 6–8PM. For more than twenty years Muholi has studied the multifarious and ever-evolving nature of Black, queer life in South Africa, specifically through a group of projects centered around forms of portraiture both intimate and disarming, personally descriptive and socially incisive. Though widely-known and celebrated for their ongoing series of self-portraiture titled Somnyama Ngonyama (“Hail, the Dark Lioness”), which they began in 2012, Muholi had by that point either completed or begun several other bodies of work that addressed the discrete circumstances and challenges—including for basic civil rights and for visibility and recognition free from stereotypes—being faced by different members of the queer community in South Africa. These early projects, including Only Half the Picture (2002–2006), Being (2006), Beulahs (2006), Faces and Phases (2006–ongoing) and Miss Lesbian (2009), each seek to empower Muholi’s participants and by extension the queer community at large, with images defined by affirmation, dignity and joy rather than struggle, tragedy or trauma. Muholi’s first project, Only Half the Picture, grew out of their work with the Forum for the Empowerment of Women, which works with survivors of hate crimes living across South Africa and its townships and which Muholi co-founded in 2002. Rather than emphasize the visceral details that would attest to the suffering endured by each participant (a term Muholi uses in place of “subject”), these photographs instead show fragments of bodies at rest or in repose and faces that are contemplative rather than vindictive. Muholi often isolates body parts and garments as well, creating pictures that complicate whatever normative assumptions about gender and identity we may hold. The challenge to stereotypical and queerphobic representations was further developed by Muholi with their series’ Being and Beulahs. For the former, Muholi made portraits of queer couples in settings and circumstances at times intimate and domestic, in others casual and public. Each photograph demonstrates the bond of love between two people regardless of personal difference or public challenge. If the Being photographs were largely situated in private spaces, those Muholi made for the series Beulahs were just as often situated outdoors and in public spaces. In South Africa the term “beulah” refers to a gay man that the queer community deems beautiful. The “beulahs” that Muholi photographed demonstrate how malleable masculinity can be—their self-presentation is their own as opposed to being socially prescribed. In their Miss Lesbian series Muholi used the conventions of pageantry as the aesthetic and conceptual framework to critique social definitions of beauty and success. These self-portraits take the staging and presentation used by beauty pageants as a pretext for exploring how they have historically expressed gender as a social construct and how that has defined what “success” or “acceptance” so often looks like. Muholi’s project Faces and Phases is a vast collective portrait that both commemorates and archives the lives of Black LGBTQIA+ people in South Africa. Many of these portraits are the result of long and sustained relationships and collaboration, as Muholi often returns to photograph the same person over time. In the title, “Faces” refers to the person being photographed, while “Phases” can signify the transition from one stage of sexuality or gender expression to another, while also marking the changes to the participants’ daily lives. As with so much of their work, Faces and Phases acts as a living archive that visualizes Muholi’s belief that “we express our gendered, racialized and classed selves in rich and diverse ways.” Zanele Muholi was born in Umlazi, South Africa and currently lives and works in Cape Town, South Africa. They studied Advanced Photography at the Market Photo Workshop in Newtown, Johannesburg and in 2009 completed an MFA: Documentary Media at Ryerson University, Toronto. Their work has been exhibited at the 2020 Biennale of Sydney; the 58th International Venice Biennale; Documenta 13; the South African Pavilion at the 55th Venice Biennale and the 29th São Paulo Biennale. They are currently the subject of a mid-career survey at the Instituto Moreira Salles, Sao Paolo. In 2024 they were the subject of a retrospective exhibition at the San Francisco Museum of Modern Art and in 2020, the Tate Modern mounted a major mid-career survey which traveled to Martin Gropius Bau, Berlin; Maison Européenne de la Photographie, Paris and Bildmuseet, Sweden. Other notable solo exhibitions have taken place at the Tate Modern, London; Sprengel Museum, Hannover; Stedelijk Museum, Amsterdam; Kulturhistorek Museum, Oslo; Schwules Museum, Berlin and Brooklyn Museum, New York. They received an Infinity Award from the International Center of Photography in 2016, a Chevalier de l’Ordre des Arts et des Lettres in 2016, an Honorary Fellowship of the Royal Photographic Society in 2018, and the Spectrum International Prize for Photography in 2021. Their work is included in the collections of the Boston Museum of Fine Arts; the Brooklyn Museum; the High Museum of Art; the Carnegie Museum of Art; the Guggenheim Museum; the Museum of Modern Art, New York; the San Francisco Museum of Modern Art; the Tate Modern, London; the Victoria and Albert Museum, London; Centre Pompidou, Paris; the Art Institute of Chicago and the Museum of Fine Arts, Houston, among many others. Image: Zanele Muholi, Zol, 2002, from the series Only Half the Picture. Gelatin silver print, image: 27 1/2 x 20 inches, paper: 31 1/2 x 24 inches.

"Reflections" marks the first solo exhibition of photographer Rahim Fortune, a Texas native whose work examines the visual and cultural narratives of the American South. Over the past decade, Fortune has blended documentary and personal storytelling to investigate themes of collective history, migration, and identity. This exhibition presents two major series: *I Can't Stand to See You Cry* (2021) and *Hardtack* (2024), offering a deep dive into the landscapes, communities, and traditions that shape his artistic vision. Born in 1994 and a citizen of the Chickasaw Nation of Oklahoma, Fortune uses photography to explore fundamental questions of American identity. His images, often centered on individual families and communities, trace the shifting geographies of migration and resettlement, revealing how history is inscribed onto the landscapes of Texas and the broader South. His 2021 book, *I Can’t Stand to See You Cry*, published by Loose Joints, was shortlisted for the Paris Photo-Aperture Photobook of the Year Award and won the Rencontres d'Arles Louis Roederer Discovery Award in 2022. His latest monograph, *Hardtack* (2024), has received international recognition, earning a nomination for the Deutsche Börse Photography Foundation Prize 2025. Fortune’s work is held in prestigious collections, including the High Museum of Art, LUMA Arles, the Victoria and Albert Museum, and the Museum of Fine Arts, Boston. He is represented by Sasha Wolf Projects in New York. *I Can’t Stand to See You Cry* captures life across Texas and its neighboring states, portraying individuals navigating personal and societal challenges amid environmental and health crises. Fortune’s approach, grounded in intimate encounters, explores the tension between public and private life while reflecting on themes of loss, resilience, and self-discovery. The series is a deeply autobiographical meditation on a transformative period in the artist’s life—marked by a cross-country move, the loss of a parent, and a shifting sense of identity. In *Hardtack*, Fortune examines his community’s historical relationship with photography by drawing from the aesthetics of vernacular and archival imagery. Rather than focusing solely on historic sites, he engages with the cultural and emotional weight these places carry, illustrating the resilience of Black communities in the face of adversity and joy. A key theme in the series is the portrayal of coming-of-age traditions—young bull riders, praise dancers, and pageant queens—all embodying a sense of continuity and pride. Fortune’s lens dignifies these cultural rites, highlighting the discipline, creativity, and intergenerational exchange that sustain them. Through his work, he bridges past and present, revealing the depth and complexity of Black life in the American South. Image: © Rahim Fortune

Renowned artists Marlene McCarty and Donald Moffett present a previously unseen photo series from the early 1990s at the Alice Austen House. McCarty and Moffett's creative partnership began within the AIDS activist collective Gran Fury, which was the graphic arm of ACTUP (AIDS Coalition to Unleash Power). The collective’s public art interventions used the language of advertising and art to expose the AIDS epidemic as both a health crisis and a political disaster. This shared experience sparked the duo to establish Bureau, a cross-disciplinary design studio in New York City that operated from 1989 to 2001. Bureau's work spanned print design, film titles, and educational initiatives. In 1992, McCarty and Moffett were invited by Princeton University School of Architecture to design the university's Lecture Series Calendar. Princeton's long history, dating back to 1746 and its status as one of the original colonial colleges, inspired the artists to reconsider and queer early American history. For their project, McCarty and Moffett, dressed as pilgrims and women, ventured to the North Fork of Long Island with Bureau colleagues for a photo session, using unstable Polaroid 35mm positive film. While only two images were selected for the Princeton calendar, the remainder of the photos, hundreds of slides in total, were stored away. Over time, the film emulsion naturally deteriorated, becoming a dynamic participant in the artwork itself. For the first time since that 1992 photoshoot, new archival pigment prints of ten performative tableaux from the series will be on display at the Alice Austen House Museum, offering a unique glimpse into McCarty and Moffett’s visionary work. Marlene McCarty and Donald Moffett: One Day is supported by New York State Council on the Arts with the support of the Office of the Governor and the New York State Legislature, and public funds from the New York City Department of Cultural Affairs, in partnership with the City Council, Lily Auchincloss Foundation and the Teiger Foundation. Image: © Marlene McCarty and Donald Moffett

Daniel Cooney Fine Art is beyond thrilled to announce our third solo exhibition (our first in Santa Fe) by Christopher Makos titled PARTY. The exhibition features unseen vintage work from the artist’s early career. PARTY features a selection of over 40 unique vintage photographs, that celebrate the artist’s ethos: daring, climactic and outrageous. Makos has spent the past five decades in the company of legendary cultural icons, most famously as confidant to Andy Warhol and as a key member of the Factory from 1976-86. His position in this notorious circle gained him access to everyone that was anyone including models, celebrities and underground royalty. The likes of Divine, Steven Tyler, Debbie Harry, Peter Berlin, Richard Gallo, Georgia O’Keefe and other tantalizing figures mingle on the gallery walls. Never satisfied as just an observer Makos brazenly includes multiple self-portraits in this exhibition. Young surfer boy Makos can be seen in languid repose with long blonde hair, loyal dog “Snake” at his side, sporting a pair of cowboy boots and nothing else. In another image, the photographer is positioned bare-assed between two mirrors, camera in hand, admiring himself from behind. In a photograph titled Self-Portrait I, 1970s, a nude Makos, seen from the chest down “tucks” exploring his androgynous side in a mirrored hotel room. Perhaps even more exciting are numerous one of a kind darkroom compositions including double portraits of hustlers, artists, drag queens, nude muscle boys and more. Equally compelling is the original contact sheet from Makos’s infamous “Andy in Drag” photoshoot revealing the Father of Pop Art in a curly wig and white bedsheet complete with Makos’s mark ups in grease pencil. Makos is the author of 18 books including White Trash (1977), Warhol/Makos In Context (2007), Christopher Makos Polaroids (2009) and Everything: The Black and White Monograph (2014). His work has been published in Interview, Rolling Stone, House & Garden, Connoisseur, New York Magazine, Esquire, Genre and People. His works have been exhibited at the Brooklyn Museum, the Tate Modern, The Whitney Museum of American Art, The Metropolitan Museum of Art, The National Gallery and The Guggenheim Museum, Bilbao.

In Pictures for Charis, American photographer Kelli Connell reimagines the relationship between writer Charis Wilson (pronounced CARE-iss) and photographer Edward Weston by delving into Wilson’s writings and Weston’s iconic images of the Western landscape and the female form. Connell intertwines the stories of Wilson and Weston with her own relationship with her partner at the time, Betsy Odom, offering a fresh, contemporary queer and feminist lens on the couple’s dynamic. Guided by the publications of Weston and Wilson, Connell and Odom recreate portrait and landscape photographs at the locations where the couple once lived, worked, and shared time together. The exhibition contrasts Connell’s new images with Weston's classic figure studies and landscapes from 1934 to 1945, a pivotal period in his career during his relationship with Wilson. The accompanying monograph, Kelli Connell: Pictures for Charis (2024), co-published by Aperture and the Center for Creative Photography, includes Connell’s reflections, portraits of Odom, newly captured landscape views, and original materials from both Wilson and Weston, further expanding on the depth of the exploration. Image: Betsy, Lake Ediza, 2015. Kelli Connell (American, b. 1974). Pigmented inkjet print; 101.6 x 127 cm (40 x 50 in.). High Museum of Art, Atlanta; Purchase with funds from the Friends of Photography © Kelli Connell

Banu Cennetoğlu (Turkey, b. 1970) is known for her cross-disciplinary practice that delves into the collection, circulation, and presentation of data, images, and information. By focusing on the smallest details, she brings a humanizing lens to global geopolitical issues that might otherwise be reduced to mere statistics. In her work 1 January 1970 – 21 March 2018 · H O W B E I T · Guilty feet have got no rhythm · Keçiboynuzu · AS IS · MurMur · I measure every grief I meet · Taq u Raq · A piercing Comfort it affords · Stitch · Made in Fall · Yes. But. We had a golden heart. · One day soon I’m gonna tell the moon about the crying game (2018), Cennetoğlu explores the interplay between personal memory and historical narrative. The video installation H O W B E I T compiles a decade's worth of visual archives, spanning from June 10, 2006, to March 21, 2018. It weaves together stills and moving images sourced from her cell phones, computers, cameras, and hard drives, resulting in what Cennetoğlu describes as an “intro-spective.” The earliest files in the work document the year before Cennetoğlu first shared The List, an ongoing project by UNITED for Intercultural Action, which tracks the deaths of over 60,620 migrants seeking refuge in Europe since 1993. The final files in the series coincide with the lead-up to Nowruz, the Persian New Year, which also marks the production deadline for her first exhibition of this work. Throughout the installation, political themes coexist with everyday moments and vibrant encounters, rejecting boundaries and hierarchies. In doing so, Cennetoğlu invites viewers to reflect on their own experiences of navigating complex realities. HOWBEIT spans more than 127 hours of footage, encompassing 46,685 digital files, presented chronologically. The immersive nature of the work encourages visitors to return multiple times, each time encountering a different segment of the narrative.

Richard Avedon: Among Creatives brings together over 50 works from the collection of the Center for Creative Photography (CCP), celebrating the iconic photographer’s masterful portraits of artists, writers, actors, and other visionaries, alongside his groundbreaking contributions to fashion photography. Born in New York City, Richard Avedon (1923–2004) developed an early passion for photography, first making his mark in the industry through his work for Harper’s Bazaar. Over time, his lens turned toward the most influential cultural figures of his era—capturing fellow creatives across art, literature, music, film, and design. Through his stark, revealing portraits, Avedon stripped away glamour and artifice, urging viewers to confront the nuances between public identity and private self. Avedon, a celebrity in his own right, famously remarked, “My portraits are more about me than they are about the people I photograph.” His images of creative individuals, in particular, reflect his own meditations on fame, mortality, and artistic legacy. Spanning both portraiture and fashion photography, this exhibition highlights Avedon’s singular ability to capture artistry in all its forms—offering an intimate, unfiltered glimpse into the lives of those who shaped culture as much as he did. Image: Richard Avedon, Marian Anderson, contralto, New York, June 30, 1955. Gelatin silver print. Center for Creative Photography, University of Arizona: Purchase, 87.34.1. Copyright © The Richard Avedon Foundation

All About Photo presents It Matters by Jan Janssen, on view throughout May 2025 — a moving journey across Europe capturing the shared moments of humanity that connect us all. It Matters It Matters' or 'Pieces of Europe' is a long-term photography project, started in 2016. In this series, I show the moments I recognise in my fellow human beings. Things that are common to our human existence, such as love, play, growing up, loss and need for contact. Things that are present everywhere in the world, in anyone. Several times a year, I travel to destinations in Central and Eastern Europe. For these photos, I travelled to Turkey, Azerbaijan, and Armenia, among others. Once arrived in the country, I work together with the locals to find entry into these communities. I find it very important that I approach them as an equal, and not as a western outsider just using them to take a photo. I build a bond with my portrayed people by following them for weeks, sometimes months. I may return regularly after my visit or stay in touch with my portraits online or remotely. Through this long-term contact, I get to know their traits and discover when they are at their most beautiful, their most vulnerable or their purest. It is at these moments that the most beautiful photos are created. The series is growing and will culminate in a book of the same name in 2026. Travelling is inseparable from my practice. It is an opportunity to discover who I am. By travelling to other places, I seek precisely the things we have in common. It is also a way for me to remind myself of the gratitude of a simple existence in places elsewhere in the world: things I take for granted in the West.

MAIN STRƎƎT: The Lost Dream of Route 66, is an exhibition of photographs by Pulitzer Prize-winning photographer Edward Keating. The exhibition is accompanied by Keating’s eponymous book of 84 photographs (Damiani, 2018). MAIN STRƎƎT: is the result of 11 years of travel along Route 66 — the 2,400-mile stretch between Chicago and Santa Monica. Called the “mother road” in John Steinbeck's The Grapes of Wrath, Route 66 has inspired countless artists and writers, including Andy Warhol and Jack Kerouac. Following the path of migrant farmers and others, Keating has ventured westward and back along Route 66, documenting the lives of Americans along the way. Keating approaches the route as both a journalist and memoirist. His photographs bring attention to the lives and myths scattered along the stretch of Route 66 and serve as a metaphor for the deterioration of middle-class America. For New York Times journalist Charles LeDuff, “This book is about those who traveled its length and those who settled along the way, wherever their bones and their broken cars dropped them.” His book is also personal mythology, constructed from the artist’s recollections of the road: Keating's mother grew up in Saint Louis along Route 66 where her father owned the city’s first Ford dealership. In his early 20s, he embarked on a cross-country trip on Route 66, but found himself, rock-bottom, in a broken-down motel in Flagstaff, Arizona. In 2000, he returned to Route 66 as a New York Times staff photographer, traversing all 2,400 miles in three weeks. The book is a milestone for an artist who has spent a life wandering along the main streets and back roads of America’s most mythic highway Edward Keating had served as a photojournalist for nearly 40 years for such publications as the New York Times, New York Magazine, Vanity Fair, and Time Magazine. In 2001, Keating received the Pulitzer Prize for Breaking News Photography, as well as the John Faber Award for International Reporting, Overseas Press Club, for his series of photographs on the September 11 attacks. He additionally shared the 2000 Pulitzer Prize for National Reporting with New York Times staff for the series, “How Race is Lived in America,” and was nominated for the Pulitzer Prize for the 1997 series “Vows,” co-authored with Lois Smith Brady. In 2003, Keating joined Contact Press Images photography agency. MAIN STREET was Keating’s sixth monograph. Tragically, Keating died of cancer in Sept 2021, contracted as a result of his long exposure to toxic materials at Ground Zero in the days after 9/11. He was 65. Image: Ed Keating, October, 2018 by Mark Berndt

L’Space Gallery proudly presents TIME CAPSULE, the first U.S. solo exhibition by Israeli artist Ronit Porat, on view from April 10 to May 31, 2025. The exhibition will be accompanied by a curated selection of 1920s-era vintage photographs by Man Ray. TIME CAPSULE opens with a public reception on Thursday, April 10. Porat’s work delves into Germany’s interwar period (1919–1933), a time of intense social transformation and photographic experimentation. Through an intricate process of collecting, layering, and reassembling archival materials—including postcards, newspapers, and historical documents—she constructs poetic collages and immersive installations that blur the boundaries between personal memory and historical narrative. Deeply influenced by the Weimar Republic era, Porat explores a period when photography both empowered and objectified, shaping new representations of the human body in advertising, art, and surveillance. This era’s themes resonate with her own personal history and the communal life of the kibbutz where she was born. TIME CAPSULE draws from her most significant series of the past decade, offering a layered visual dialogue on identity, power structures, and the intersection of personal and collective memory. At the heart of the exhibition is Porat’s exploration of crime photography—specifically, a chilling 1931 murder case in Berlin. A sixteen-year-old girl, Lieschen Neumann, along with two accomplices, killed a watchmaker named Fritz Ulbrich. The investigation revealed that Ulbrich had been operating a secret photography studio in the back of his shop, where he took exploitative images of young women, including Neumann. These photographs, produced in an era when photography was increasingly used for surveillance and social control, serve as a foundation for Porat’s examination of visual manipulation and historical power dynamics. Porat’s artistic practice is inherently fragmented and non-linear, incorporating forensic imagery, historical documentation, and elements of investigative storytelling. Her process begins in photo archives, where she gathers and recontextualizes images, merging disparate histories with personal autobiographical references. She first assembles these into “index sheets,” which then take shape as intricate collages and large-scale mural installations. Rather than recounting history in a traditional sense, Porat seeks to map human behavioral patterns and the shifting roles of victim and perpetrator—where the photographic gaze plays a pivotal role in constructing power and identity. TIME CAPSULE compels viewers to question the truthfulness of images and the narratives they shape. Alongside Porat’s work, the exhibition features a selection of Man Ray’s photographs from the 1920s and 1930s, a period of radical artistic exploration after his move to Paris in 1921. His avant-garde approach to the female form—oscillating between objectification and creative liberation—parallels Porat’s interrogation of gender, power, and representation. Both Porat and Man Ray navigate the complexities of sexuality, identity, and perception. Where Man Ray’s poetic depictions of desire and fantasy examine the fluidity of the human form, Porat’s archival compositions deconstruct the mechanisms that define and control it. Together, their works create a compelling dialogue about the evolving portrayal of women in photography—one that examines the tension between objectification and agency, history and reinvention. Image: Ronit Porat, Untititled, 2023, Photographic Collage © Ronit Porat

The Centurion refers to a fabled and exclusive credit card only available to a select few of the ultra wealthy. It’s also the title of Brian Ulrich’s newest photographic series, which examines the lure of exclusivity in the world of extreme luxury. Ulrich has photographed the American culture of commerce and consumption for over a decade. The Centurion turns to the country’s fascination with wealth and all its promises.