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Olympia 1936: Vintage Photographs by Leni Riefenstahl

From June 19, 2025 to July 31, 2025
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Olympia 1936: Vintage Photographs by Leni Riefenstahl
41 East 57th Street
New York, NY 10022
Keith de Lellis Gallery is pleased to announce Olympia Through the Lens, an exhibition featuring 25 original vintage exhibition quality prints by Leni Riefenstahl (1902-2003) from the 1936 Berlin Olympic Games. Known for her groundbreaking documentary two-part Olympia (released in 1938), Riefenstahl also produced a striking body of still photography during the Games. Her images captured athletes in motion and repose, employing innovative techniques that helped define modern sports photography.

This exhibition explores Riefenstahl’s visual legacy within the full historical and ethical context of the era. While her mastery of light, form, and composition is undisputed, her work remains controversial due to her ties to the Nazi regime and the propagandistic role her imagery played.

The 1936 Berlin Olympics were one of the most politically charged events in modern history. Held under Adolf Hitler’s regime, the Games were designed to promote the supposed superiority of the Aryan race and the power of the Third Reich. Despite international calls for a boycott due to the regime’s overt racism and antisemitism, the Games went ahead with broad global participation. To maintain a favorable international image, the Nazis temporarily suppressed antisemitic displays and propaganda during the event.

Amid this charged atmosphere, Jesse Owens (1913–1980), an African American track and field athlete, emerged as the hero of the Games. He won four gold medals—in the 100 meters, 200 meters, long jump, and 4x100 meter relay—directly undermining Nazi claims of racial superiority. Owens’ achievements were celebrated internationally and remain a powerful symbol of athletic excellence and human dignity. However, upon returning to a segregated United States, he continued to face systemic racism and was not formally recognized by President Franklin D. Roosevelt or invited to the White House.

Despite being commissioned by the Nazi regime, Riefenstahl insisted her work was apolitical, yet her stylized portrayals of athletes and grand spectacle were deeply intertwined with Nazi ideals. Her earlier film, Triumph of the Will (1935), a depiction of the 1934 Nuremberg Rally, explicitly served Hitler’s ideological messaging and remains a stark example of state propaganda in cinematic form.

“Riefenstahl’s photographs are technically masterful and historically significant,” says curator Keith de Lellis. “But they also raise urgent questions about art, politics, and responsibility. This exhibition encourages viewers to engage critically with those issues.”

Also, of note is Riefenstahl, a new German documentary film by director Andres Veiel, which examines Riefenstahl’s legacy. As of this writing, the film is unavailable for viewing in the United States. This film has been widely shown in international film festivals, and the next screening in the United States will be shown simultaneously at Film at Lincoln Center and Quad Cinema from September 5-11.

Join us for a thought-provoking journey through a defining moment in 20th-century visual culture, as seen through the lens of one of its most controversial figures.

Image: Leni Riefenstahl (German, 1902-2003), 16 - The Best American Gymnast during the Olympia Games (Consetta Caruccio- Lenz straddling on the balancing beam), 1936, Vintage Gelatin Silver Print, 9” x 11”
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Exhibitions Closing Soon

Symbiosis: Ruben Tomas
Picto New York | Brooklyn, NY
From May 23, 2025 to August 22, 2025
Picto New York is pleased to present Symbiosis, a solo exhibition by photographer Ruben Tomas. Known for his intimate and atmospheric imagery, Tomas offers a contemplative visual journey that explores the profound connection between humanity and nature. Through carefully composed frames, rich textures, and a deep sensitivity to light, Symbiosis captures the subtle yet powerful moments where the human form merges with its surroundings — not as a separate entity, but as part of a larger, interconnected whole. Tomas’s work transcends traditional portraiture and landscape photography. Each image in the exhibition feels like a quiet meditation — an invitation to pause and witness the delicate balance that exists between vulnerability and strength, isolation and belonging, movement and stillness. Whether set against the backdrop of open skies, flowing water, or dense foliage, his subjects seem to dissolve into the environment, blurring the lines between the physical and the emotional, the real and the imagined. With Symbiosis, Ruben Tomas encourages us to reconsider our relationship to the world around us — to see not only with our eyes but with a heightened sense of awareness. The exhibition is both a celebration of beauty and a call to mindfulness, reminding us that we are not separate from nature, but deeply embedded within it. The exhibition will be on view at Picto New York, inviting audiences to experience this powerful exploration of connection, presence, and unity.
SHAPING THE LAND: José Ibarra Rizo
Filter Photo | Chicago, IL
From July 11, 2025 to August 23, 2025
Filter Photo is pleased to present Shaping the Land, a solo exhibition of work by José Ibarra Rizo. Shaping the Land is part of an ongoing series documenting the Latinx/e migrant experience in the American South. Through intimate portraits and landscapes, this body of work explores how these communities establish familiarity and stability in shifting environments—whether through work, leisure, or acts of cultivation. This exhibition considers the evolving relationship between people and place, revealing migration as not just transition but an ongoing process of making home. Rather than offering a singular narrative, Shaping the Land invites viewers to reflect on the layered realities of migration—where histories, labor, and aspirations intersect in everyday life. About the Artist José Ibarra Rizo (American, born Mexico) is a lens-based artist living and working in Atlanta, GA. His work examines cultural memory, identity, and the migrant experience in the American South. He was awarded the inaugural Emerging Artist Fellowship by the Atlanta Center for Photography, named a finalist for the 2022 Aperture Portfolio Prize, recognized as one of three recipients of the 2022 Atlanta Artadia Awards, and selected as a 2023–2024 Working Artist Project winner by MOCA GA. José's work is part of the permanent collections of the High Museum of Art, the Virginia Museum of Fine Art, and the Michael C. Carlos Museum. His clients include Rolling Stone, TIME Magazine, and The New York Times.
Groups Collective: Bloomington, Indiana
Pictura Gallery | Bloomington, IN
From June 06, 2025 to August 29, 2025
These pictures are part of an ongoing series of group portraits by the collaborative duo, Jon Tonks (UK) and Roman Franc (Czech Republic). Their portraiture documents civic life in their hometowns and in communities further afield. Both artists have participated in past exhibitions in Bloomington where they came to love the city and its special character. Bloomington is to be the first city in America to be featured in the project. The photographs on the wall were made during an intensive seven-week visit and were brought to life with a good dose of friendly local help. And though they capture a variety of the town’s dimensions and its treasures, it’s only a slice of the rich cultural life in this city. In a time where group identity is used to polarize and situate people against one another, group portraits can be a force in the opposite direction, celebrating unity and camaraderie. The photographs offer a unique moment, where the act of coming together is preserved in a timelessly fascinating image.
James Bidgood: Dreamlands
Clamp | New York, NY
From July 10, 2025 to August 29, 2025
CLAMP presents “James Bidgood | Dreamlands,” an exhibition of photographs marking the launch of the monograph of the same title from Salzgeber, in addition to recent screenings of the artist’s cult classic film, “Pink Narcissus,” at theaters across the United States and Europe. The book combines iconic motifs from the artist’s oeuvre with many previously unpublished images. The exhibition at CLAMP includes twelve of these new photographs selected from the estate archives, along with a large-scale print of “Pan”—the monograph’s cover image. “Pink Narcissus,” James Bidgood’s film from 1971, described as a “kaleidoscopic fever dream of queer desire,” was recently restored by the UCLA Film & Television Archive, and has been playing at theaters since late 2024, including MoMA (New York), Hammer Museum (Los Angeles), BAM (New York), Metrograph (New York), and other screens in London, Bologna, San Francisco, Seattle, Provincetown, Tucson, St. Louis, etc. James Bidgood passed away in 2022 at the age of 88. A New Yorker for over 70 years, he was adored and admired by generations of artists and cinephiles alike. When Bidgood first came to New York from Wisconsin in the 1950s, he worked as a drag performer and occasional set and costume designer at Club 82 in the East Village. After studying at Parsons School of Design from 1957 to 1960, Bidgood found jobs as a window dresser and costume designer. He then went on to work as a photographer for men’s physique publications and began creating his own personal photographs and films that greatly benefited from his talents in theater design and costume construction. It was during this period in the early 1960s that Bidgood began working on his masterpiece—the 8mm opus “Pink Narcissus.” In his tiny apartment in Hell’s Kitchen, he handcrafted sets using humble materials to create a theatrical dreamland in which artifice became transcendent. With hand-tailored clothing, saturated lighting, and lots of glitter, Bidgood built a cosmos of queer belonging, populated with angelic figures of male beauty—including Cupid, Pan, and other mythological gods, along with harlequins, soldiers, firemen, hustlers, drag queens, altar boys, and more. Bidgood’s confined domestic production speaks to both necessity and liberation—"a queer creative spirit refusing to be constrained by material limitations." In fact, the artist and his models would eat, sleep, and frolic within the sets until it was time to tear them down and begin building the next scene. Within this space, and in front of his lens, the homosexuals that were ostracized by larger society could be beautiful, glamorous, complex, silly, or simply themselves.
Jed Devine
Benrubi Gallery | New York, NY
From June 12, 2025 to August 29, 2025
Benrubi Gallery is honored to present a memorial exhibition for our beloved Jed Devine. Born on August 31, 1944, Jed grew up in Pleasantville, NY, the middle of three brothers. He attended Pleasantville High School, Deerfield Academy, and Yale, where he captained the baseball team and received his BA in fine arts and MFA in graphic design. After graduate school, Jed focused on photography, notably the black-and-white palladium prints for which he is known, and later for his color digital prints. He exhibited with Daniel Wolf and then with our founder Bonni Benrubi from 1987 on. Jed has been an integral part of our gallery's story and legacy, shaping how we have seen pictures since our very inception as an organization. In 1986, Jed received a Guggenheim Fellowship for his photographs of Central Park’s Bethesda Terrace. Jed’s work is in the permanent collections of numerous museums, including the Metropolitan Museum of Art, the Victoria and Albert Museum, the Art Institute of Chicago, the Museum of Modern Art, the Eastman House, the Brooklyn Museum of Art, the Addison Gallery, the Aldrich Contemporary Museum of Art, the Cleveland Museum of art, the San Francisco Museum of art and the Martha’s Vineyard Hospital, among other private and public collections. Jed Devine—photographer, teacher, husband, father, and grandfather—passed away on October 29, 2024. He died at home on Martha’s Vineyard, surrounded by his wife Barbara Kassel, his son Jesse Devine, and his daughter Siobhan Devine. We invite you to join us for this celebration of life and throughout the summer as Jed fills our gallery with his eternal sense of humor, love and poetry. Image: Jed Devine, Untitled (Pears, Woodblocks, And Face)
Narrative Implied
Robert Koch Gallery | San Francisco, CA
From August 04, 2025 to August 30, 2025
Featuring work by: Holly Andres, Trent Davis Bailey, Matt Black, Chris Dorley-Brown, Nadav Kander, Josef Koudelka, Mimi Plumb, Amy Stein, Alex Webb, Rebecca Norris Webb, and Michael Wolf The Robert Koch Gallery is pleased to present Narrative Implied, an exhibition that brings together work from eleven artists whose photographs explore narrative concepts, spanning clearly defined stories to more subtle and indirect approaches. The photographs are characterized by what they disclose and what they withhold. Open to interpretation, the included photographs welcome viewers to enter a realm of mystery and uncertainty. Narrative Implied presents a broad range of visual approaches. Some artists capture elements from their surroundings, operating within established documentary practices, while others develop intentionally staged or fabricated scenes, or work with appropriated imagery. Each examines the emotional and psychological aspects of narrative construction, especially the dynamic between what appears visible and what exists beyond the frame's boundaries. Image: Josef Koudelka, Spain, 1971
Jasmine Murrell: The Serpent, the Medicine, and the Invisible Devil
Alice Austen House Museum | Staten Island, NY
From May 31, 2025 to August 30, 2025
This summer, the Alice Austen House proudly presents The Serpent, The Medicine, and The Invisible Devil, a new site-specific installation by visual artist Jasmine Murrell. Renowned for her interdisciplinary, community-rooted practice, Murrell transforms both the museum’s contemporary galleries and the surrounding Alice Austen Park into immersive spaces of ritual, healing, and transformation. Collaborating with artists, farmers, botanists, and performers, Murrell unveils a series of photographs featuring her wearable sculptures and handwoven garments crafted from organic materials and natural dyes. During the run of the exhibition, Murrell will also create a living sculpture in the waterfront park, constructed from earthen plasters, medicinal plants. This evolving piece serves as both sanctuary and sculpture, incorporating plant species meaningful to the local community. Inside the museum, her installation includes photography, sculpture, and film, all centered around the voices of “plant whisperers”—Black and Brown herbalists, healers, and elders who draw on ancestral plant knowledge to sustain and care for their communities.
Life with Photographs: 75 Years of the Eastman Museum
George Eastman Museum | Rochester, NY
From October 05, 2024 to August 31, 2025
“Life without photographs is no longer imaginable. They pass before our eyes and awaken our interest; they pass through the atmosphere, unseen and unheard, over distances of thousands of miles. They are in our lives, as our lives are in them.” – Lucia Moholy, A Hundred Years of Photography, 1839–1939 After opening its doors to the public in 1949, the George Eastman Museum quickly became known as one of the most important venues dedicated to the collection and care of photographs. At the time of its opening, it was one of only two American museums to establish a photography department, and this early commitment to the medium has inextricably bound the institution to the history of photography itself. Life with Photographs: 75 Years of the Eastman Museum explores the many ways in which photographic objects have come to shape our everyday lives. The exhibition encompasses broad cultural histories and image-making practices, from pre- photographic experimentation to critical advances that challenge our conceptions of the medium. While the objects on view highlight certain strengths in the museum’s holdings, lesser-known works are included to illuminate unexpected pathways into this rich and diverse collection. The museum’s holdings have been formulated through decades of gifts and purchases, and its distinguished exhibition history reflects the varied interests of its curators over the past seventy-five years. This presentation nods to this history while offering distinct perspectives on the medium from the vantage point of the twenty-first century. Curated by Jamie M. Allen, Phil Taylor, Daniel Peacock, and Louis Chavez, Department of Photography. Major support for 75th Anniversary exhibitions provided by the Rubens Family Foundation. Image: Acid Rain © Ming Smith
All that Jazz: Photographs by Carl Van Vechten and George T. Henry
Cedar Rapids Museum of Art | Cedar Rapids, IA
From May 17, 2025 to August 31, 2025
In recognition of the 50th anniversary of KCCK-FM, Iowa’s only jazz radio station, the CRMA brings together photographs of jazz musicians taken by Cedar Rapids natives, Carl Van Vechten and George Henry. Carl Van Vechten moved to New York City in 1906; he became a well-known critic of music and modern dance and wrote about Harlem and the black artists he encountered there. Van Vechten would end up photographing many of the creatives that formed his large circle of famous friends and acquaintances. In contrast, George Henry would remain in Cedar Rapids for most of his life, working as Coe College’s visual historian and photographing countless important moments. This exhibition highlights the work of Van Vechten and Henry and their approaches to capturing jazz greats on film. This exhibition and accompanying educational programming have been made possible in part by members of the Cedar Rapids Museum of Art and contributors to the Museum's Annual Fund. Annual educational programming has been supported in part by Transamerica.
Our Town: Birds Eye View Frank Siteman
The Griffin @ The Jenks Center | Winchester, MA
From May 22, 2025 to August 31, 2025
The Griffin is pleased to showcase the works of Frank Siteman as part of our summer public art project, Vision(ary). Frank Siteman is a resident and chronicler of life in Winchester. His images soar above the streets to capture the light, movement and changes of the town. We are so grateful to partner with the Jenks Center of Winchester to bring this exhibition to the community. About Frank Siteman Frank Siteman was born in St. Louis in 1947. He attended Tufts University, where he majored in chemistry. Already immersed in photography, he shot portraits of the entire college faculty in exchange for his tuition. He soon received an assignment to photograph an annual report for a Boston area rehab hospital, and taught in a Boston youth project. Following his graduation from Tufts, where he launched the photography department through the Experimental College, he began teaching at the Roxbury Latin School, the Orson Welles Film School, Simmons College, and the Art Institute of Boston. During this time, he discovered the world of stock photography. Over the next several decades, he worked steadily shooting stock and completing commercial assignments, shooting the world while traveling. His photographs found their way into agencies, which sold them for a myriad of uses in magazines, advertising, annual reports, multi-media shows and textbooks. He continues to photograph the world and the people around him, living alternately in Winchester, MA and the White Mountains of NH.
Joan Fitzsimmons: Into What World?
Dennos Museum Center | Traverse City, MI
From June 20, 2025 to August 31, 2025
Into What World? is a solo exhibition by Joan Fitzsimmons and a personal investigation into landscape as a place of dreams and imagination. It consists of selections from three of her photographic series called The Woods, Blue Moon, and Plant Life. ARTIST STATEMENT I have walked as long as I can remember. My Father would gather me, and my siblings, and we would walk for miles. We would walk to our grandparents' home. In summers, we walked here, in the Michigan woods, in search of evidence of past histories. When I walk, I dream. I don't start with that intent. I just want to move, but my mind moves with my body. It moves in time to places of memory and imagination. My early landscape work began with a walk in the woods, a place for me, of both fear and fantasy. Some of the fantasy was Disneyesque, some took a dark turn. The Woods, my resulting series, was inspired by my experience of frequently being lost therein. It invited new formal challenges. In an attempt to create a sense of the dense environment, I broke from the traditional small photographic rectangle, choosing to respond to the vastness of the woods with the use of scale. Hand-made photograms speak to imagined creatures, The lines created by the spare branches resemble the flow of gesture drawings. Their intricate weaving constructs a tightly knit interior space. Thoughts turned from the earth to the sky in the Blue Moon series. I never knew what a blue moon was. I loved the song. I knew the phrase, “Once in a blue moon”. A few years ago, a blue moon occurred, a fairly rare occurrence, two full moons in one month. The media gave a full explanation. I realized the photograms I was making, of simple bowls of yogurt, looked like moons. They could be blue moons. Each image is a uniquely hand-toned. Plant Life is a still-life documentation of my attempts at gardening. Some years ago, I began photographing my ongoing efforts to grow things. Having little horticultural ability, I primarily recorded my failures. During Covid, I read an article about generating scallions from cuttings. I returned to this series with a limited degree of success. I would be an urban farmer. My attention drifted. I needed to move my teaching online and the plants were neglected. Whether the plants thrive or not, the photographs survive and hold their own enigma. The natural world is a starting point for constructions of the mind. -Joan Fitzsimmons
’The Witching Hour’ by Anastasia Sierra
All About Photo Showroom | Los Angeles, CA
From August 01, 2025 to August 31, 2025
All About Photo presents ''The Witching Hour' by Anastasia Sierra, on view throughout August 2025. THE WITCHING HOUR I become a mother and stop sleeping through the night. Years go by, the child sleeps soundly in his bed but I still wake at every noise. My father comes to live with us and all of a sudden I am a mother to everyone. As I drift off to sleep I can no longer tell my dreams from reality. In one nightmare my father tells me he’s only got two weeks left to live, in another I am late to pick up my son from school and never see him again. I am afraid of monsters, but instead of running, I move towards them: we circle each other until I realize that they are just as afraid of me as I am of them. My images follow the logic of my dreams, where we are trapped in a strange colorful world, playing a never ending game of hide and seek in a labyrinth of love, care and fears, pushing against its walls, with no way to escape but wake up. This work explores the emotional landscape of caregiving: tenderness, joy, fears, and a constant sense of what could be lost.
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