Rania Matar: Where Will I Go?

Foto Féminas: 10-Year Anniversary marks a significant milestone in the ongoing effort to amplify the voices of Latin American and Caribbean women and non-binary photographers. Founded by Verónica Sanchis Bencomo, Foto Féminas has spent the past decade building a bridge between regions, generations, and visual languages—creating a space where underrepresented artists can share their perspectives on identity, memory, and belonging. This anniversary exhibition stands as both a celebration and a reflection on ten years of creative exchange, resilience, and community. Bringing together multiple artists from the Foto Féminas network, the exhibition showcases a wide range of photographic styles and stories that span continents and cultures. From intimate portrayals of everyday life to bold documentary projects, the featured works embody the diversity of experience that defines Latin America and the Caribbean today. Accompanying the exhibition is a reading library of publications that further contextualize the artists’ practices and the evolving dialogue around gender and visual representation in contemporary photography. Since its founding in 2015, Foto Féminas has hosted monthly online features and organized exhibitions across the globe—in Argentina, China, Guatemala, Peru, Chile, and Mexico—demonstrating the platform’s far-reaching influence. Curated by Verónica Sanchis Bencomo, this special anniversary exhibition honors not only the artists themselves but also the collective effort to challenge visibility barriers within the art world. Supported by the New York State Council on the Arts, the Office of the Governor, the New York State Legislature, and the NYC Department of Cultural Affairs, Foto Féminas: 10-Year Anniversary serves as a testament to the power of photography as an agent of connection and change. It invites viewers to look beyond borders and discover how women and non-binary image-makers continue to reshape the visual narratives of the Americas. Image: In January 2017, at the Poli-Valencia detention facility in Venezuela, a transgender woman reveals her wounds and scars through the bars of her cell. © Ana María Arévalo Gosen

Greetings from Niagara at Leica Gallery reframes the familiar postcard image of Niagara Falls into a landscape of memory and consequence. Natalia Neuhaus combines documentary investigation and archival research to reveal how wartime industry transformed parts of Niagara Falls, NY, into sites contaminated by uranium refining during the Manhattan Project. Her photographs trace radioactive byproducts embedded in sidewalks, buildings, and homes—everyday surfaces that quietly record a history of secrecy and environmental neglect. A graduate of the Leica x VII Agency Mentorship Program, Neuhaus fuses journalistic rigor with visual sensitivity. Her images shift between intimate domestic scenes and evidence of industrial harm, showing children at play, neighborhood streets, and the misted grandeur of the falls alongside the less visible traces of contamination. The result is a body of work that resists easy binaries: beauty and danger coexist, memory and erasure overlap, and photography serves as both witness and accusation. Neuhaus insists that these are not distant footnotes of history but living conditions that demand attention and redress. Greetings from Niagara embodies Leica’s commitment to photography as civic inquiry. By bringing archival documents, scientific context, and carefully observed images into one project, Neuhaus asks viewers to reckon with the long shadows of technological progress. Her work calls for awareness and justice for residents whose lives have been shaped by industrial decisions beyond their control. In these photographs, a celebrated landscape becomes a layered record—beautiful, haunted, and impossible to ignore. Image: © Natalia Neuhaus

The 2024 WPOW Photography Exhibition celebrates the creative vision and storytelling power of women in visual journalism. Curated by a Pulitzer Prize-winning photojournalist for the Women Photojournalists of Washington (WPOW), this annual showcase features remarkable work from twenty-three photographers who have documented the world with courage, empathy, and precision. Each image offers a distinct perspective on the human experience, reflecting the diversity of both subject matter and voice that defines contemporary photojournalism. Founded as a volunteer-driven non-profit, WPOW is dedicated to advancing the role of women—and those who identify as women—in photography, video, and multimedia reporting. The organization serves as both a professional resource and a community, bringing together over four hundred members, from seasoned photojournalists to emerging talents and students. Through grants, mentorship, and educational initiatives, WPOW provides vital support to those shaping the visual record of our times. Each year, the organization curates a traveling exhibition highlighting the most powerful and representative works created by its members. The 2024 edition presents images from a distinguished group of contributors, including Katina Zentz, Amy Toensing, Maansi Srivastava, Erin Schaff, Ana Elisa Sotelo van Oordt, Allison Robbert, Astrid Riecken, Amanda Andrade-Rhoades, Valerie Plesch, Rosa Pineda, Leah Millis, Jacquelyn Martin, Melina Mara, Anna Rose Layden, Olga Jaramillo, Evelyn Hockstein, Carol Guzy, Tierney Cross, Arwen Clemans, Bonnie Cash, Allison Bailey, Jocelyn Augustino, and Céline Apollon. The exhibition stands as both a celebration and an act of advocacy. It reminds audiences that the work of women photojournalists is essential not only for its artistic merit but for the depth of understanding it brings to the stories that shape our world. Through their collective lens, WPOW members continue to expand the narrative of who tells history—and how it is seen. Image: © Carol Guzy

Leica Gallery Los Angeles is pleased to present Moonstruck, a compelling solo exhibition by Mona Kuhn, opening September 3 through November 2, 2025. The evening’s vernissage, held from 6:00 PM to 8:00 PM, will introduce visitors to a new body of work commissioned in collaboration with Leica. Moonstruck evolves Mona Kuhn’s enduring exploration of the human form by merging it with abstraction, inspired directly by musical improvisation and atmospheric light conditions in Southern California and beyond Artist Mona Kuhn reflects, “Madly in love and partially insane, I fell for a glimmer, a gesture, a vanishing trace. I had been struck by the moon.” In Moonstruck, Kuhn continues her twenty-five-year practice of intimate photographic approaches to the nude, but takes a more abstract and painterly direction. Through refined techniques and collaborative improvisations, she dissolves distinctions between figure, landscape, and abstraction, crafting dream‑like compositions that evoke both the ethereal and the corporeal Born in São Paulo in 1969, Mona Kuhn has lived and worked in Los Angeles since 2005. She has exhibited widely, including retrospective exhibitions titled Works (Los Angeles, New York, London, and Shanghai in 2021), Kings Road (Paris, 2023), and Between Modernism and Surrealism (New York, 2024) Kuhn’s work is known for its deeply expressive representation of the body and subtle interplay of light, form, and atmosphere. In Moonstruck, she harnesses the precision and sensitivity of the Leica SL3 to explore new horizons in abstraction and gesture

In the Apsáalooke (Crow) language, the word Áakiwilaxpaake (People of the Earth) describes Indigenous people living in North America, pointing to a time before colonial borders were established. In this exhibition, curated by the Apsáalooke artist Wendy Red Star, artists from throughout what is now called North America—representing various Native nations and affiliations—offer diverse visions, building on histories of image-making. Some of the artists presented in Native America: In Translation are propelled by what the historian Philip J. Deloria describes as “Indigenous indignation”—a demand to reckon with eviction from ancestral lands—while others translate varied inflections of gender and language, as well as the impacts of climate change, into inventive performance-based imagery or investigations into personal and public archives. “The ultimate form of decolonization is through how Native languages form a view of the world,” Red Star notes. “These artists provide sharp perceptions, rooted in their own cultures.” Wendy Red Star (born 1981, Billings, Montana) is a Portland, Oregon–based artist raised on the Apsáalooke reservation. Her work is informed both by her Native American cultural heritage and by her engagement with many forms of creative expression, including photography, sculpture, video, fiber arts, and performance. An avid researcher of archives and historical narratives, Red Star seeks to recast her research, offering new and unexpected perspectives that are inquisitive, witty, and unsettling. Red Star holds a BFA from Montana State University, Bozeman, and an MFA in sculpture from the University of California, Los Angeles. Red Star’s first major monograph, Delegation, is copublished by Aperture and Documentary Arts. This exhibition is adapted from “Native America,” the Fall 2020 issue of Aperture magazine, guest edited by Wendy Red Star. It is organized by Aperture and made possible, in part, with generous support from the National Endowment for the Arts. Image: Rebecca Belmore, "matriarch," 2018, from the series "nindinawemaganidog (all of my relations)." Photograph by Henri Robideau. Courtesy of the artist.

Robin Rice Gallery presents HOME, a heartfelt group exhibition by John Dolan, Michele O’Hana, and Jack Dolan—an artistic family whose collaboration transforms personal history into a shared creative expression. The show, running this fall, invites visitors into an intimate world where fine art photography, design, ceramics, textiles, and metalwork intertwine to explore the essence of belonging and the meaning of home. Inspired by the family’s barn studio in Chatham, New York, HOME reimagines the gallery as a warm and tactile domestic space. Michele O’Hana’s design transforms the interior into a layered environment of hand-stained wooden walls, glowing porcelain lights, and woven textiles. John Dolan’s photographs rest quietly within this setting—capturing the serenity of landscapes and the intimacy of lived spaces—while Jack Dolan’s hand-forged knives stand as sculptural reminders of labor, craftsmanship, and lineage. Together, their works evoke both memory and materiality, creating a sensory experience that feels deeply grounded and profoundly human. The exhibition poses a timeless question: what makes a home? Is it built from the materials we touch, the memories we share, or the acts of creation that connect us? For this family, home is all of these—an evolving place shaped by collaboration, movement, and love. Through wool, wood, porcelain, and steel, each artist contributes a distinct voice to a collective narrative rooted in care and authenticity. John Dolan’s meditative photographs reflect decades spent observing life’s quiet moments, while Michele O’Hana’s handcrafted objects reveal her reverence for natural materials and enduring design. Jack Dolan, trained in blacksmithing in Ireland, forges steel into elegant forms that bridge the functional and the poetic. Together, their works form a living dialogue—a portrait of family, craft, and connection. In HOME, the ordinary becomes extraordinary, and the handmade becomes the heartbeat of art itself. Image: John Dolan, Dunlough, West Cork, Ireland, 1996 @ John Dolan

Luke Shannon’s Replacement Character explores the intersection of surveillance, identity, and technology through a strikingly physical yet digital installation: the plotter-scanner. This custom-built device merges a large-scale plotter with a traditional document scanner to form a life-sized scanner bed. Within this hybrid machine, Shannon reimagines how the act of recording and observing the self is transformed in the digital age, turning documentation into both performance and reflection. The plotter-scanner functions as an instrument of duality—both surveillance and witness. The scanner’s mechanical precision evokes detachment, yet the process it enables demands closeness, intimacy, and bodily presence. Each image produced holds the human form at life scale, fragmented and reassembled across lines and grids. Shannon likens this experience to the online self: dispersed across screens, profiles, and feeds, perpetually updated yet never whole. In engaging directly with his machine, the artist performs a kind of living self-portrait—one that is processual, time-based, and inherently unstable. The title Replacement Character refers to the symbol “?” the digital placeholder that appears when a system cannot recognize a character. This symbol becomes a metaphor for contemporary identity—a reminder of how our representations are constantly breaking, reloading, and reforming in a landscape dominated by data and visibility. Shannon’s installation reflects on the fragility of selfhood in an era where constant documentation leads not to permanence but to replacement. Through this merging of body, image, and code, Shannon prompts viewers to consider what it means to be perceived by machines. His work exposes the paradox of a world in which technologies see us everywhere, yet never fully understand us, offering a meditation on presence, absence, and the evolving shape of the human image in digital life. Image: Luke Shannon, Sunday, August 31, 2025 at 1:42 PM (Sleeping) Unique print (+1 AP) Archival pigment print, signed on verso + Ethereum token. 
58.5 × 34 in. · 148.6 × 86.4 cm © Luke Shannon

Pamela Hanson’s photography captures a world where fashion feels natural, personal, and full of life. Unlike the staged glamour often found in glossy magazines, her images reveal genuine emotion and friendship between photographer and model. Laughter, play, and spontaneity define her work, reflecting a time when beauty felt effortless. Beginning her career in Paris during the 1980s, Hanson lived among models and absorbed their world—their ambitions, daily routines, and creative energy. This closeness helped her develop a unique visual language, one that celebrated authenticity at a moment when fashion photography was dominated by carefully constructed ideals. Her exhibition and the release of her book The ’90s (Rizzoli) pay tribute to a decade that transformed the fashion industry. Many of the images featured have never been seen before, offering an intimate look into a time defined by freedom and self-expression. Hanson describes the collection as “a love letter to the decade that changed everything,” a reflection of an era when style was spirited, relaxed, and human—qualities that continue to resonate in today’s cultural landscape. Born in London and raised in Switzerland, Hanson’s cosmopolitan background shaped her vision early on. After attending the American School in Lugano and the University of Colorado, she began her professional journey assisting the celebrated photographer Arthur Elgort. Her rise was swift, with photographs of emerging supermodels such as Christy Turlington, Linda Evangelista, and Kate Moss appearing in leading magazines including VOGUE, Harper’s Bazaar, GQ, and Vanity Fair. Beyond editorial work, she created campaigns for major brands like Dior, Ralph Lauren, and Estée Lauder, and directed public service films supporting causes such as juvenile diabetes research and drug prevention. Today, Pamela Hanson’s photographs stand as both cultural icons and personal narratives—testaments to an artist who captured fashion’s most human side. Image: Pamela Hanson, Nadja Auermann, Paris, 1994 © Pamela Hanson

Gallery Luisotti presents the first solo exhibition of Los Angeles–based artist Arlene Mejorado, a body of work that intertwines memory, geography, and identity into a poetic reflection on belonging. The exhibition gathers eleven framed photographs, a sculptural installation of grass, and a luminous hanging made of printed film strips. Together, these works trace the artist’s evolving relationship with the landscapes and layered histories of Los Angeles—a city that is both origin and ongoing subject. The exhibition opens with a diptych that sets the tone for what follows. A fabric backdrop, positioned on a grassy median along a busy street, functions as both stage and screen. Against it, the city flickers between presence and illusion, while the artist’s shadow appears and fades like a memory suspended in motion. By situating this cinematic device within an everyday urban site, Mejorado bridges the artificial and the lived, the interior and the exterior, offering a meditation on visibility and place. Throughout the series, curtains, mirrors, and familial portraits recur as symbols of connection and distance. Mejorado rephotographs worn images from her father’s archive directly on the skin—her own and her partner’s—folding generations into a single frame. This act of re-inscription turns photography into an embodied ritual, merging private lineage with the broader topography of the city. The domestic and the public collide, blurring where home begins and where it dissolves. In her black-and-white silver prints, Mejorado deepens this spatial interplay through reflective glass and layered imagery. The mirrored surfaces collapse time and perspective, implicating both artist and viewer in the reconstruction of memory. Arlene Mejorado’s work is ultimately a form of cultural restoration—a delicate weaving of absence, inheritance, and renewal within the ever-changing landscape of Los Angeles. Image: Crista and Fenix at the Median in North Hills, 2023 Archival color pigment print 35 x 28 in. Edition of 5 + 2 AP © Arlene Mejorado

Yossi Milo is pleased to announce Samuel Fosso’s debut solo exhibition with the gallery, which opens to the public on Wednesday, September 3, 2025, with a reception from 6-8 PM. This is Fosso’s first solo exhibition in New York in more than two decades, and spans more than thirty years of his practice, showcasing works from his series 70s Lifestyle and African Spirits. The exhibition follows the unveiling of an installation of the artist’s photographs in the Metropolitan Museum of Art’s newly renovated Michael C. Rockefeller Wing earlier this year; the exhibition also precedes the artist’s inclusion in Ideas of Africa: Portraiture and Political Imagination, a survey of African studio photography at the Museum of Modern Art curated by Oluremi Onabanjo and opening on December 14, 2025. Over his decades-long career, Cameroonian-Nigerian photographer Samuel Fosso (b. 1962; Kumba, Cameroon) has deployed self-portraiture to innovate on storied traditions of studio photography from West Africa and beyond. Since the debut of Fosso’s work on a global stage when he was awarded First Prize at the Rencontres de la Photographie in Bamako, Mali in 1994, the artist has used his practice as a conduit for questions central to identity: How can self-representation reclaim African identity from colonial imagery? How is Fosso’s personal history reflected in collective history? And, critically, how does photography assist in resisting erasure? Collector and author Artur Walther writes in his foreword for AUTOPORTRAIT, a 2020 monograph of the artist’s work: “Since the days of his experimental self-portraits, made as a teenager in the 1970s in a commercial studio in Bangui, the Central African Republic, [Fosso] has constantly explored the mythmaking potential of the camera. In his self-portraits, he amplifies himself and yet becomes someone else entirely.” Across all his work, and beginning with his earliest series 70s Lifestyle (1975-78), Fosso intuitively pulls back the curtain, collapsing subject and subjectivity by depicting himself, the photographer. 70s Lifestyle was incepted in 1975 at Photo Studio Nationale, the photography venture the artist opened at just thirteen, three years after fleeing from Nigeria’s civil war to Bangui, the Central African Republic. After hours busy with customers taking headshots, portraits, and passport photos, Fosso would photograph himself with the last few frames in a roll of film to send to his grandmother in Nigeria. Over time, the practice took on the capricious qualities of a true artist’s process. In an interview with the late Okwui Enwezor, curator of the 56th Venice Biennale, Fosso shared: “Sometimes when I made photographs I was not satisfied with, where I didn’t feel beautiful inside, I would cut up the negatives instead of printing them… I did not know I was making art photography. What I did know is I was transforming myself into what I wanted to become.” Fosso’s early interest in photography was driven by his own exclusion from photographic record: as a child, Fosso, partially paralyzed, disabled, and displaced, was not pictured until he was ten years old. Eventually, this erasure would spell out the social value of representation to the artist, and self-portraiture would show a way to enter himself into an archive with agency. In the vintage black-and-white self-portraits of 70s Lifestyle, Fosso shows his keen understanding of the fashion of the time, of his body, and of the formal qualities of the photographs themselves. Every image varies despite their consistent elements: figure, outfit, backdrop, lights. The trappings of the studio are transfigured by Fosso into shapes influenced by imported magazines and popular African singers. The artist screens himself behind dividers, dresses up and down, holds props, and, most critically, looks directly into his camera’s lens. This produces a gestalt that reflects a pop sensibility and uses the commercial as a site of metamorphosis. 70s Lifestyle makes the processes inherent to studio photography self-aware and selfreferential, and brings Fosso and the viewer into a mutual contract of observation. Fosso would continue this reflexive notion of spectatorship would continue in the following decades, which over time would continue to expand in the scope of its inquiry. The artist’s landmark series African Spirits (2008) orients his practice of self-depiction towards a politically-minded act of channeling. Across fourteen stark monochrome images, Fosso casts himself as figures key to African and diasporic histories. By inhabiting visages like Angela Davis, Miles Davis, Martin Luther King, Jr., Patrice Lumumba, Nelson Mandela, Tommie Smith, Malcolm X, and more, the artist connects a web of historical movements into a unified arc of Black liberation on a global scale. The series was initially conceived as an investigation into the global impact of slavery, and grew into an inspirational review of figures committed to human dignity and the reclamation of culture. Ultimately, it sought to correct a problem of institutional underrepresentation. Though concerned with history, each of these images is only a partial restaging of its source, a détournement from icon into iconography. Fosso strips away the backgrounds behind each subject, lending each composition a graphic quality. Streamlined and simplified, these figures become the symbolic forms they take in collective memory. Fosso’s oeuvre becomes an evaluation of the deep significance of photography in the modern era, from the historic to the contemporary; from the documentary to the constructed. A thread emerges in tracing the evolution from 70s Lifestyle through African Spirits: an emergence of the self-portrait as something more, an advancement of concern from the personal to the historical. In an almost atavistic process, Fosso harnesses this essential power of photography to show collective and historic truths. Works by Samuel Fosso are held in permanent collections around the globe, including the Solomon R. Guggenheim Museum; Metropolitan Museum of Art; Museum of Modern Art; Studio Museum in Harlem; Los Angeles County Museum of Art; J. Paul Getty Museum; San Francisco Museum of Modern Art, and the Museum of Fine Arts, Houston; as well as the Musée des Beaux-Arts; Tate Modern; Victoria & Albert Museum; Musée National d’Art Moderne; Centre Pompidou; Fondation Louis Vuitton, and Deutsche Bank, among others. Fosso has mounted solo exhibitions at institutions including the Walther Collection; National Portrait Gallery; Princeton University Art Museum; Museum der Moderne; Museo de Canal, and Jack Shainman Gallery, among others. In 2023, the Menil Collection, presented a solo exhibition of Fosso’s entire African Spirits series. Fosso has exhibited work in prominent group exhibitions internationally, including at the International Center of Photography; Art Institute of Chicago; Fotomuseum; Barbican Art Gallery; Museum of Contemporary Art; Kiasma Museum of Contemporary Art; Museum of Contemporary Art; Stephen Friedman Gallery, and Gagosian Gallery. The artist has been awarded prizes such as the Prix Afrique en Creations in 1995; First Prize for photography at the Dak’Art Biennale de l’Art Africain Contemporain, Dakar, Senegal in 2000, and Deutsche Börse Photography Foundation Prize in 2023. Fosso lives and works between Bangui, Central African Republic and Paris, France. Image: Samuel Fosso, Autoportrait, From the series 70’s Lifestyle, 1975–1978 © the artist and courtesy Yossi Milo, New York

Fahey/Klein Gallery is pleased to present Paul Outerbridge: Photographs, a landmark exhibition celebrating the visionary work of Paul Outerbridge (1896–1958), one of the most resourceful and provocative photographers of the twentieth century. This exhibition brings together a rare selection of Carbro prints, Silver Gelatin Photographs, and Platinum Prints, tracing the evolution of a modernist whose daring vision helped redefine the possibilities of photography through Cubist experimentation and radical abstraction. Outerbridge emerged in the 1920s as a bold innovator, transforming ordinary objects, such as milk bottles, collars, eggs, into fractured Cubist constructions of light and form. His platinum and silver gelatin prints reduced subjects to intersecting planes and geometric rhythms, revealing a structural beauty aligned with the avant-garde movements of his time. These works positioned him among artists and contemporaries such as Marcel Duchamp, Man Ray, and Edward Steichen, and demonstrate his embrace of Cubism’s challenge: to fracture reality and reassemble it as pure abstraction. In the 1930s, Outerbridge turned to the technically demanding Carbro process, creating some of the most vibrant and enduring color photographs of the era. Here too, abstraction was his guiding principle. Color became a tool not just for description, but for reimagining form, flattening, faceting, and animating planes into startling compositions that rival the abstract canvases of Picasso and Kandinsky. His photographs were hailed as both artistic and technical sensations. As Outerbridge observed: “One very important difference between monochromatic and color photography is this: in black and white you suggest; in color you state.” Outerbridge’s practice blurred the boundaries between fine art and commercial photography. His Ide Collar (1922), published in Vanity Fair, was more than an advertisement. It was celebrated as both functional and formally radical. A chessboard of fractured black-and-white squares disrupted by the crisp curve of a collar. Duchamp himself hung the photograph in his Paris studio, recognizing its affinity with the readymade and its radical modernist edge. Throughout his career, Outerbridge pursued abstraction as both a visual language and an artistic philosophy. His still lifes, nudes, and commercial commissions all demonstrate his preoccupation with fractured planes, geometric tension, and the transformation of the commonplace into the extraordinary. Paul Outerbridge’s work appeared in Vanity Fair, Harper’s Bazaar, House Beautiful, and McCall’s, and in exhibitions worldwide. After relocating to Southern California in 1943, he continued to write about and practice photography until his death in 1958. Today, his technical virtuosity, daring subject matter, and relentless pursuit of beauty secure his place as a pioneer who expanded the medium’s expressive range. Image: Girl with Fan, c. 1936 Vintage Color Carbo Photograph 17 x 13 inches © Paul Outerbridge

Photographer and artist Matthew Rolston, in partnership with Fahey/Klein Gallery, Los Angeles, ArtCenter College of Design, Daido Moriyama Museum / Daido Star Space, and Leica Gallery, Los Angeles, present a multi-venue Los Angeles exhibition of his latest series Vanitas: The Palermo Portraits, alongside the release of a special limited-edition monograph on Nazraeli Press. In production for well over a decade, Vanitas represents a cumulative effort by Rolston to aesthetically capture the fraught human relationship to death through the medium of photography, a profound narrative, as seen through the decaying faces of mummified individuals in Palermo, Sicily’s Catacombe dei Cappuccini. These vivid, painterly compositions bring forth an interwoven meditation on beauty, mortality and art through Rolston’s uniquely photographic lens. The monumentally scaled, richly hued Vanitas prints will be framed in patinated gold leaf, in a manner suggestive of and in tribute to the works of Francis Bacon, and, in a significant departure from typical edition practice, they will be offered as unique objects, more in the tradition of painting than photography. Four individual works will be on view in a solo exhibition at Fahey/Klein Gallery, Los Angeles, which will display the most extensive presentation of the Vanitas series, including the monograph’s cover photograph. At ArtCenter College of Design, Rolston will further present a triptych of the Vanitas work as a wall-sized installation at the College’s South Campus, curated by Julie Joyce, Director, ArtCenter Galleries and Vice President, Exhibitions. This presentation will be the only triptych on exhibition; the central panel appears on the clamshell cover of the forthcoming Vanitas monograph, a signature of the series. These three works, hung in ArtCenter’s Mullin Transportation Design Center, comprise two images of mummified children flanking one of an elderly adult, brought together in the style of an altarpiece, where the sacred and mundane, youth and elder age, collide. A single work will be shown at a solo exhibition that will open with a book launch and artist signing at Daido Star Space in downtown Los Angeles on September 30, 2025. Organized in collaboration with the Daido Moriyama Photo Foundation in Tokyo, the presentation echoes the institution’s interest in cross-cultural approaches to photography. Leica Gallery, Los Angeles, will present another solo exhibition of an additional single work from Vanitas, accompanied by a public artist talk and book signing. At a venue rooted in the technical and material traditions of photography, this presentation will highlight the painterly, craft-driven aspects of Rolston’s Vanitas project. Together, these four distinct presentations introduce Vanitas as a ‘mostra diffusa’, an exhibition intentionally distributed among multiple venues. This multi-venue presentation across Los Angeles reflects a conscious departure from the contemporary conventions of exhibition production, recalling art historical traditions in which singular works were presented in isolation. All works, regardless of exhibition venue, will be available exclusively through Fahey/Klein Gallery, Los Angeles, which will also offer an artist-signed edition of the exhibition’s accompanying monograph. For more information about Matthew Rolston and Vanitas: The Palermo Portraits, please visit: www.vanitasproject.com. Image: Untitled (Scream), Palermo, 2013 (From the series Vanitas: The Palermo Portraits) Archival Pigment Print, Ed. of 1 Signed, titled, dated, numbered on label verso 46 1/4 x 61 3/4 inches If framed: 50 3/4 inches x 66 1/4 inches x 3 inches On exhibition at Fahey/Klein Gallery as of September 25, 2025 © Matthew Rolston