Easy Days, photographs by Sage Sohier

For 30 years Photographs Do Not Bend Gallery (PDNB Gallery) has operated in the city of Dallas in Uptown and in the Design District. It is exciting to announce that PDNB Gallery is officially open and ready for business in its new home in Denton, Texas! Gallery Co-Directors Burt and Missy Finger started as private art dealers in Denton and now they are proud to bring it all back home to the historic Downtown Square! This celebration exhibition will highlight the artists that have helped make PDNB a lasting success in Texas and beyond. The opening show will also be a nice introduction to the Denton community. Featured artists in GOING HOME include Texas artists: Peter Brown, Keith Carter, Earlie Hudnall, Jeanine Michna-Bales, Stuart Allen and Michael O’Brien. PDNB artists span the globe, and this exhibition will also include Esteban Pastorino Diaz (Argentina), Chema Madoz (Spain), Michael Kenna (USA), Cheryl Medow (USA), Patty Carroll (USA), Al Satterwhite (USA), Ruth Orkin (USA), Nickolas Muray (Hungarian born-USA), John Albok (Hungarian born-USA), Lucienne Bloch (Swiss born-USA). PDNB Gallery specializes in photography, but throughout its history they have also exhibited painting, sculpture, ceramics and works on paper. Artists represented by PDNB are established or emerging. Most have their work in major museum collections and have monographs published. It will be exciting to meet new friends in the art community of Denton, and old friends that come up to visit this bustling city with a remarkable downtown vibe. Image: Peter Brown, Dimmitt Meat Company, Dimmitt, TX, 1992

One of Hawaiʻi’s most respected photographers, Franco Salmoiraghi’s work is reflective of his affection for Hawaiʻi and of his powerful connection to the islands and its people. Born in Illinois, he moved to Honolulu in 1968 for a teaching position at the University of Hawaiʻi at Mānoa. His photographs that span the ensuing decades celebrate the importance of Hawaiʻi as a place of sublime beauty and cultural significance.  Franco Salmoiraghi: Photographs of Hawai‘i from the 70s, 80s, and 90s is drawn primarily from HoMA’s collection, and includes key loans highlighting various subjects the artist explored during a period of renewed interest in traditional Hawaiian practices, language, and devotion to the ‘āina (land). The exhibition features works in five subject areas—intimate portraits, awe-inspiring island landscapes, sensitive nude studies, detailed patterns in nature, and expressions of the energy and activism of the second Hawaiian Cultural Renaissance—which convey the artist’s sustained interest in documenting the rich diversity of Hawaiʻi’s people and places. 

Front Row Center: Icons of Rock, Blues, and Soul charts photographer Larry Hulst’s extraordinary path through the pulsing heart of the most exciting live music of the twentieth century, showcasing a unique visual anthology of rock, blues, and soul music from 1970-1999. From Janis Joplin and Jimi Hendrix to David Bowie and Lauryn Hill, this exhibition brings together more than 70 images of legendary musicians across three genres and generations. Front Row Center grants viewers an all-access pass to some of the most memorable performances in popular music history. These images, which have been featured on album art and Rolling Stone spreads, convey Hulst’s lifelong passion for the magnetism, immediacy, and unpredictability of live music. With photos that also document the unforgettable voices of funk, punk, and beyond, Front Row Center grants viewers an all-access pass to some of the most memorable performances in popular music history. Image: Larry Hulst, Van Halen at Cow Palace, Daly City, CA, May 10, 1984. Photograph courtesy of the artist.

Bridges span rivers, connect cities, and carry us over what once seemed impassable. Where once there was only a divide — a river too wide, a ravine too deep — now there is a line drawn through space. We drive over bridges, walk across them, sometimes without even thinking. Yet Michael Kenna impressively photographs these bridges stretching across the globe in a unique light of the feat of human construction through time.
 To open the fall 2025 season, Robert Mann Gallery is pleased to announce, The Bridges of Michael Kenna, on view from September 4 through October 18, 2025. Opening hours will take place on Thursday, September 4, from 6-8pm. An additional reception with the artist will be held on Friday, September 26, from 6-8pm. 

 Kenna’s first show with Robert Mann Gallery opened in 1997 around the time the movie, The Bridges of Madison County was released; a moving love story about a photographer on an assignment to shoot historic bridges. Kenna shares this fascination in capturing these structures, “Bridge structures are usually geometric and stationary with straight lines, verticals, horizontals and other angular constructs. The universe is constantly moving, flowing organic, uncontrollable and unpredictable. The abstract relationship between the two, almost like yin and yang, can be visually stunning and continues to fascinate and attract me.”
 The bridges in this exhibition cross over bodies of water, from Sydney Harbour Bridge, Study 1, Sydney, New South Wales, Australia, to Brooklyn Bridge, Study 1, New York City, USA carrying multiple lanes of traffic, trains, and possibilities. While other small bridges such as Canal Bridge, Banbury, Oxfordshire, England and Ponte dei Sospiri, Venice, Italy stretch a short distance suitable only for individuals to journey across. Each bridge featured in the exhibition has its own historical significance and the possibility of one day being replaced. Kenna beautifully captures the bridge’s story, often at dawn or dusk, along with often solidifying its place in the world. 
 What was once the end of the road becomes a place of crossing. What was once isolation becomes relationship. The landscape is no longer defined by separation, but by the possibility of reaching across. In The Bridges of Michael Kenna, the artist’s careful treatment of each composition is apparent from frame to frame, in which every detail is given its due consideration to express this relationship between the bridge and the land. The images in the exhibition represent over 50 years of Kenna’s exploration of this subject matter. With dozens of monographs and hundreds of solo exhibitions held around the world, Kenna is one of the most widely exhibited and beloved photographers working today. His work has been shown at the Tacoma Art Museum, the Palazzo Magnani Museum in Reggio Emilia, Italy, and Bibliothèque Nationale de France, to name a few. Kenna's photographs are included in many distinguished public collections including the National Gallery of Art, Washington, D.C.; Museum of Modern Art, New York; the San Francisco Museum of Modern Art; the Shanghai Art Museum; the Tokyo Metropolitan Museum of Photography; the National Museum of Modern and Contemporary Art, Seoul, Korea; the Museum of Decorative Arts, Prague; Museum of Art and Photography, Bangalore, India; and the Victoria and Albert Museum, London.

 The Bridges of Michael Kenna will be on view in conjunction with the artist’s exhibition, Japan: A Love Story, at the International Center of Photography from August 27 - September 28, 2025. Image: Brooklyn Bridge, Study 1, New York City, USA, 2006 © Michael Kenna

ROSEGALLERY is pleased to present BOUND AND UNBOUND: The Photographic Book and the Print. While photographic prints often stand at the forefront as iconic images in their own right, the photobook reveals the broader scope of a series, situating singular photographs within a larger narrative. The exhibition highlights two distinct ways of experiencing photographs: the book through the intimate act of turning pages, and the print through its scale and material presence. This interplay underscores the artistry of sequence, design, and craft while reaffirming the enduring significance of the photographic print. Together, singular prints and photobooks work in tandem, each holding their own weight and offering distinct yet complementary ways of experiencing photography. By staging the books and prints together, BOUND AND UNBOUD examines the unique proposition that the book itself is not simply a vessel, but an additional artistic form that is dialogue with the photographic print. This exhibition becomes both a library and a gallery, a meditation on the multiple lives of photographs, and a testament to the enduring role of publishing in shaping the field of contemporary photography. The Six by Six series, published by Nazraeli Press, occupies a rare and important place in the history of photographic publishing. Conceived as a set of finely crafted, limited-edition books paired with original prints, Six by Six is at once a publishing project, a collector’s art object, and a collective portrait of contemporary photography. With prints showcased on the walls, they expand outward, breaking free from the bound format; images are seen in a new scale, where gesture, surface, and detail can be apprehended differently. This doubling, the page and the wall, reveals photography’s ability to inhabit multiple registers. Among many artists featured in the exhibition are works by Thomas Demand, Marilyn Minter, Catherine Opie, Carrie Mae Weems, and Alec Soth, whose work moves fluidly between the printed page and the collectible print, this shift of context underscores how each format amplifies distinct qualities of the image. In the book, photographs converse in sequence, forming narratives or visual poems. On the wall, they assert themselves as singular presences, suspended in space. BOUND AND UNBOUND: The Photographic Book and the Print also features books from Luhz Press, Editorial RM, Schirmer/Mosel, and more, continuing the dialogue between the photobook as something democratic and portable, and the print as a singular, collectible entity.

The camera and the car revolutionized modern life in America and have been intertwined since the very beginning. This photography exhibition displays work by artists shaped mainly by car travel in the 20th century, exploring how the automobile and the road mediated what the photographers discovered. Themes include Depression-era documentary work, roadside culture, utopian impulses of escape, and fascination with the desert Southwest. Significant figures include Walker Evans, Dorothea Lange, Edward Weston, Robert Frank, and Lee Friedlander. Vernacular photographs as well as books will also be on view. The exhibition will include a significant display of work by Emil Otto Hoppé, whose 1926 travels generated the first comprehensive survey of the American landscape. In Search of America: Photography and the Road Trip is curated by Eric Lutz, associate curator of prints, drawings, and photographs.

In Common Practice celebrates the work of participants from two vibrant CPW artistic communities: Lesly Deschler Canossi’s Monthly Crit Group and the Project Salon led by Charles Purvis. Both programs, which began in 2024 and have each hosted three artist cohorts to date, embody the artists’ ongoing commitment to developing their work and craft in collaboration with fellow creators through conversation and inquiry. These initiatives foster connections that extend beyond CPW, creating lasting networks of mutual support and artistic exchange within the broader creative community. The exhibition offers a variety of styles, techniques, and perspectives, highlighting individual expression and creativity while celebrating the collective journey of artistic development. Each work reflects not only personal vision but also the enriching influence of peer engagement and supportive critique that ripples outward, strengthening the wider artistic ecosystem. Participating artists: Jessica Bard Joseph Callender Jessica Chappe Allison DeBritz Cicero deGuzman Jr. Daniel Georges Jackson Porter Hardin Tara Holmes Dallas Houston Inna Ivanovskaya Simon Keough Alon Koppel Flynn Larsen Nancy Macnamara Kathy McFarland Jeff Mertz Matt Moment Harry Murzyn Will Nixon Tom Picasso Carla Rhodes Adina Scherer Alicia Schirrmeister Valerie Shaff Kelly Sinclair Pamela Takif Rich Tomasulo Anastassia Tretiakova Erika Norton Urie This presentation includes new photographs originally commissioned by Aperture and Documentary Arts.

In the remote western Brooks Range of Alaska, permafrost is thawing at an unprecedented rate and exposing the pyrite-rich bedrock to water and oxygen. As a result, rivers and tributaries now flow bright orange with oxidized iron and sulfuric acid. Canadian photographer Taylor Roades (b.1990) captures this transformation through aerial and on-the-ground documentation. The work that scientists do in these watersheds is crucial to our understanding of climate change and our ability to mitigate its effects on some of the world's most at-risk places. - Taylor Roades

Pace is pleased to present The Weight of Hope, a monumental exhibition by Robert Longo, in New York from September 11 to October 25. As a sequel to the Milwaukee Art Museum’s recent presentation of Robert Longo: The Acceleration of History—curated by Margaret Andera, the institution’s Senior Curator of Contemporary Art—Longo will take over Pace’s entire 540 West 25th Street gallery, exhibiting 26 drawings, three films, three sculptures, and 33 studies across the flagship’s first, second, third, and seventh floors as well as its exterior. The Milwaukee Art Museum’s new catalogue for The Acceleration of History, featuring contributions from Andera, artist Rashid Johnson, and journalist Tom Teicholz, will be released during the run of Pace’s show and available to purchase on-site at the gallery. A Pace Live performance featuring musician Rhys Chatham, along with an opening reception for the exhibition, will take place on the evening of Wednesday, September 10, and the show will also be open to visitors from 6 to 8 p.m. on Thursday, September 11. The Weight of Hope will highlight Longo’s enduring engagement with social and political happenings in his work across mediums, bringing together large-scale charcoal drawings, films, sculptures, and studies—including private and institutional loans—created between 2014 and 2025. This landmark show at Pace will open on the heels of the artist’s first full-scale Scandinavian survey, on view at the Louisiana Museum of Modern Art in Denmark through August 31, and his presentation of a new multimedia work at Art Basel Unlimited in June. Over the past decade, the artist has increasingly turned his focus to images from the media, including coverage of the January 6 United States Capitol attack and the Black Lives Matter movement. Building up his hyper realistic, black-and- white charcoal drawings in layers with painstaking attention to light and shadow, he creates highly detailed works based on news photography as well as images of protests, civil unrest, and war on the Internet. Transforming his source images into epically scaled, emotionally resonant compositions, he reflects on power, violence, and national mythmaking. His works slow down the “image storm” and “culture of impatience” in which we live through the historic and venerable medium of charcoal, encouraging viewers to take time to absorb and process the turbulence of the current moment—both in the US and around the globe—while also proposing hope for the future. “As artists, we’re reporters,” Longo said in a recent interview for his Louisiana Museum of Modern Art exhibition. “Our job is to report what it’s like to be alive now. We’re one of the few professions left in the world that has the opportunity to try to tell the truth. I feel a moral imperative to preserve the images of our shared dystopic present with the hope that something will one day change.” Born in 1953 in Brooklyn, New York, Longo was deeply influenced by social and political issues from an early age. He graduated high school in 1970, weeks after the Ohio National Guard massacred several students at Kent State University who were protesting the US invasion of Cambodia—including one of Longo’s former classmates, whose body was shown in a Pulitzer Prize-winning photograph that shocked the world. In 1973, Longo enrolled at Buffalo State College, where he trained as a sculptor and began his decades-long friendship with fellow artist Cindy Sherman. The two moved to New York together in 1977, and, throughout the 1980s, Longo frequently performed in New York rock clubs in Menthol Wars, his band with Richard Prince. During this period, he also designed album covers for numerous bands and directed music videos for New Order and R.E.M. In his first solo exhibition at Metro Pictures in New York in 1981, Longo showed his charcoal and graphite Men in the Cities drawings, works that became icons of the “Pictures Generation.” This group, which includes Longo, Sherman, Prince, Louise Lawler, and David Salle, is known for critiquing the anaesthetizing power of consumer capitalism and the indoctrinating effects of mass media through their art. Working with diverse materials at increasingly ambitious scales over the course of his career, Longo cemented himself as a preeminent artist of his generation. Today, his work can be found in the collections of major museums around the world, including The Museum of Modern Art, Whitney Museum of American Art, and Brooklyn Museum in New York; the Los Angeles County Museum of Art and Museum of Contemporary Art, Los Angeles; the National Gallery of Art in Washington, D.C.; the Milwaukee Art Museum; the Walker Art Center in Minneapolis; Tate in London; the Stedelijk Museum in Amsterdam; and many other international institutions.

Fraenkel Gallery is pleased to present Katy Grannan: Mad River, an exhibition of new photographs made in Northern California’s Humboldt County, where Grannan has recently been living and working. In the ongoing portrait series, on view for the first time, Grannan depicts subjects who reflect the independent spirit of an area known for the privacy and seclusion it offers. Often building relationships with her subjects, Grannan explores the connections between self-presentation and place, creating a kind of collaborative fiction. This will be the gallery’s sixth exhibition of Grannan’s work since 2006. The gallery will hold a public reception with the artist on Saturday, September 13, from 2-4pm, concurrent with the reception for Peter Hujar: The Gracie Mansion Show Revisited. Densely forested and largely rural, Humboldt County has been called a place where people go to disappear. Grannan first came to the area in 2023 and began photographing people she met through methods she knew, using Craigslist ads and fliers posted on local bulletin boards to find models. Her subjects are eager to be seen, and to collaborate with Grannan for reasons as varied as the individuals themselves: an autistic teenager, a circus performer, an actress, a queer farmer, a man and his goat. Over time, Grannan’s network has expanded as subjects refer friends and roommates, offering a cross-section of a particular community. In a place that has long attracted nonconformists of different types, many of the people Grannan photographed are part of the area’s different creative circles, and many identify as genderqueer. Grannan made her first portraits more than twenty years ago, in series such as Poughkeepsie Journal and Sugar Camp Road, where she found subjects through newspaper ads. Since then, social media and ubiquitous digital cameras have reshaped the experience of being photographed, and Grannan’s subjects today innately understand how they appear to her camera. In these photographs, Grannan focuses on ambiguous gestures, capturing the spaces between poses. Several images are set in a studio with bright red carpet, where subjects flirt with the language of fashion photography while subverting its rules. Others are set at the beach, in a forest, and in the shallow water of the Mad River. In a place known for its magnificent redwoods and dramatic coastline, the landscape is quiet in Grannan’s images, leaving the focus on people while revealing the outlines of the place that shapes them. Image: Morgan, Arcata, CA, 2025 © Katy Grannan

In conjunction with the 2025 Filter Photo Festival, Filter Photo is pleased to presnt A layin’ on of hands..., a solo exhibition of work by Alayna N. Pernell. In A layin’ on of hands..., Alayna N. Pernell explores the cultural and emotional significance of care in the lives of Black women, drawing inspiration from a phrase she often heard growing up in Alabama. In her community, "a laying on of hands" symbolized the transmission of power, healing, and blessing through touch—a love language Pernell has carefully incorporated into her visual practice. Through photography and archival exploration, this exhibition reflects on how the act of care shapes the lives and experiences of Black women. Our Mothers’ Gardens delves into historical photographic research, offering a broader societal perspective, while for the record intimately explores personal narrative through the act of mending photographs. Together, these works form a nuanced portrayal of the interconnectedness between the historical and personal facets of care—revealing how care transcends individual experience to become a deeply rooted cultural and historical force. Pernell envisions this exhibition as both a memorial and an honorary space— one that remembers and honors the lives of Black women. These works collectively reveal that care is not just a personal practice, but a force that continues to shape the lives of Black women and the communities they sustain. About the Artist Alayna N. Pernell is an interdisciplinary artist, writer, and educator from Heflin, Alabama. She is currently the Associate Lecturer of Photography and Imaging at the University of Wisconsin-Milwaukee. She is also a Content Editor for Lenscratch, an online photographic arts publication, and founder of Surely You Know, an archival photographic initiative dedicated to returning displaced photographs to black families. In May 2019, she graduated from The University of Alabama where she received her Bachelor of Arts in Studio Art with a concentration in Photography and a minor in African American Studies. She received her MFA in Photography from the School of the Art Institute of Chicago in May 2021. Pernell’s artistic practice considers the gravity of the mental well-being of Black women concerning the physical and metaphorical spaces they inhabit. She has provided lectures about her work at various spaces including Texas Tech University, Colorado Photographic Arts Center, The Sheldon, and Syracuse University, among others. Her work has been exhibited in various cities across the United States, including FLXST Contemporary (Chicago, IL), Refraction Gallery (Milwaukee, WI), JKC Gallery (Trenton, NJ), RUSCHWOMAN Gallery (Chicago, IL), Colorado Photographic Arts Center (Denver, CO), Griffin Museum of Photography (Winchester, MA), among several others. Her work is currently held in private collections at the Museum of Contemporary Photography and the Illinois State Museum. Pernell was named the 2020-2021 recipient of the James Weinstein Memorial Award by the School of the Art Institute of Chicago Department of Photography, the 2021 Snider Prize award recipient by the Museum of Contemporary Photography, a 2023 Mary L. Nohl Fellowship Emerging Artist recipient, and a 2024 gener8tor Art x Sherman Phoenix Artist. She was also recognized on the Silver Eye Center of Photography 2022 Silver List, Photolucida’s 2021 Critical Mass Top 50, and a 2021 Lenscratch Student Prize Honorable Mention, among others.

In conjunction with the 2025 Filter Photo Festival, Filter Photo is pleased to announce, On the Shelf, an open call for a photo book exhibition, juried by Tim Carpenter. With an open theme, On the Shelf seeks well-conceived, original, and compelling photo books. Eligible entries include all types of photo books, whether self-published, handmade, or commercially published. Books by or featuring the work of more than one artist are also eligible. Books must have been completed within the last three years.. A Juror’s Choice and Honorable Mention will be awarded. The Juror’s Choice Award comes with a $500 cash prize. The cost to submit to On the Shelf is $25.00 for a single photo book project. Please note: artists will be responsible for the cost of shipping books to and from Filter Space gallery if accepted into the exhibition.