Photo Exhibitions

The Gallery at Leica Store San Francisco is proud to present The First Years by Bay Area artist Josh Smith. This ongoing series explores family and how its structure shapes identity. Rooted in personal experience, Smith uses photography to navigate the complexities of parenthood—balancing presence with individuality. His images create an open space for viewers to reflect on their own histories. The First Years serves as an attempt to hold onto what cannot be preserved. Acting as both a personal archive and a poetic interpretation, these images capture fleeting moments, offering a connection to the intangible emotions of family life.

After nearly a 35-year career, Carol Carlisle retired as Managing Editor of Popular Photography magazine, where she was celebrated for her keen eye and ruthless sense of perfection. It was her reputation as an insightful and meticulous editor that brought both her, and the magazine, such an outstanding reputation. She was also acclaimed for her work as a photographer, with her images published many times in the magazine and on the cover. What the photography world did not know about Carol during her lifetime, however, was that she was an avid collector of almost anything that delighted her eye. She saw beauty and artistic significance, often where others did not. In that spirit, she sometimes ‘rescued’ images that were submitted to the magazine, but impractical to return and headed for destruction. She amassed more than 1200 such prized prints. Each represents a rare piece and specific moment in time, mostly from the 60s and 70s that, if not for her collector’s and conservationist’s eye, might have been lost forever. These images embody the spirit of the woman whose ‘waste not, want not’ approach to life and impressive aesthetic sense led her to save these prints from oblivion. Carol reveled in spotting and saving each important image for posterity, but she also made the people she worked with a high priority, always reaching out to make a difference. For many years, she served with Volunteer Service Photographers, a non-profit organization that was set up in hospitals, youth groups, and senior citizen centers to teach photography for rehabilitation, career development or just for fun. Carol dedicated her life to educating her readers about photography, and by sharing this art with the broader public. She devoted every other waking minute to her children: the late Claudia Lapierre, Jaye and Lee Smith and her 11 grandchildren and great grandchildren all of whom are grateful for having shared in the gift of her passion. Image: Sven-Cösta Johansson (Sweden, 1913-1997), Anita Ekberg, 1959

This exhibition presents a curated selection of photographic works by contemporary artists who have significantly influenced the visual language of photography. Spanning genres such as fashion, landscape, and portraiture, the images on display are not bound by a singular theme, but by an enduring, distinct, and powerfully expressive vision. Each photograph bears the unmistakable imprint of its creator, serving as a timeless testament to the art of seeing. Featured artists include Flavia Junqueira, Rodney Smith, JP Terlizzi, Maria Svarbova, Laurie Victor Kay, Ellie Davies, and Dana Hart-Stone.

The San Francisco Arts Commission (SFAC) Art in City Hall program, in partnership with PhotoAlliance, are proud to present Metaphors of Recent Times: A Dialogue of the Personal, the Political and the Cultural, an exhibition that features artwork from PhotoAlliance’s INSIGHT/INCITE 20/20 portfolio, alongside works by 24 artists who have created work in response to the portfolio. Metaphors of Recent Times will be on display on the Ground Floor and North Light Court at City Hall through June 20, 2025. The exhibition features a wide range of incisive visual perspectives from artists of diverse identities and backgrounds, each responding to the issues of our times.. A public reception to celebrate the opening of the exhibition will be held on the Ground Floor of City Hall on Thursday, January 16, 2025, from 5 – 7 p.m.. “PhotoAlliance has been a vital force in the local arts community for over 20 years, providing a platform for photographers to engage with and reflect on the world around them,” said Ralph Remington, Director of Cultural Affairs. “The Arts Commission is proud to collaborate with PhotoAlliance to present this timely and thought-provoking exhibition at City Hall. Metaphors of Recent Times highlights how art can serve as both a mirror to our current socio-political landscape and a powerful catalyst for activism and change.”. The exhibition’s themes are rooted in PhotoAlliance’s 20th Anniversary portfolio of limited edition prints by local, regional, and international photographers. Curated by PhotoAlliance founder and creative director Linda Connor, the set of 20 prints was conceived as a distillation of the creative responses artists have made to the upheaval seen in our political, cultural, environmental, and personal spheres in recent years. INSIGHT/INCITE captured images of hope, challenges, resilience, and humanity and included work from renowned photographers such as Binh Danh, Mercedes Dorame, Lewis Watts, J. John Priola, Amanda Marchand, Adrian Burrell, among many others.. Metaphors of Recent Times expands on the themes of INSIGHT/INCITE and includes new work that respond to the themes explored in the portfolio. The artists included were juried by photographers Linda Connor, Lewis Watts, and exhibition curator Beth Davila Waldman from a pool of 128 artists who responded to a call for artists held in the fall of 2024. Artists were asked to submit a trio of images that would expand and deepen the dialogues provoked in INSIGHT/INCITE.. “The inspiration behind Metaphors of Recent Times was compelled by the desire to provide an extended platform for the various themes and concerns voiced by the INSIGHT/INCITE 20/20 portfolio,” says exhibition curator Beth Davila Waldman. “The call for artists really showed how resonant these themes are, and we are excited to highlight the spirit of our city’s inclusivity with a group of emerging and established artists, combined with the impact of presenting this selection of work in San Francisco’s City Hall.”. “We are thrilled to collaborate with PhotoAlliance on this exhibition,” states Carolina Aranibar-Fernandez, SFAC Director of Galleries and Public Programs. “Metaphors of Recent Times provides a lens into the complexities of our time, capturing the turbulence of recent years while simultaneously highlighting hope and resilience. Through the camera, eyes of local, regional, and international artists, the work reminds us of the importance of capturing these stories.”. The exhibition will feature work by Pablo Tapay Bautista, Renee Billingslea, Barbara Boissevain, Kennedi Carter, Mima Cataldo, Yu-Chen Chiu, Katie Cofer, Mark Coggins, Izzy Cosentino, Kelly Fogel, David Gardner, Stuart Goldstein, Christine Huhn, Judi Iranyi, Strele Laurin, Anni Lopponen, Darcy Padilla, Eric Robertson, Lance Shields, Nina Sidneva, William Mark Sommer, Liz Steketee, Rusty Weston, and Harry Williams.. Works from the INSIGHT/INCITE 20/20 folio are by Wesaam Al-Badry, Lisa K. Blatt, Leon Borensztein, Adrian Burrell, Jessica Chen, Sarah Christianson, Marna Clarke, Linda Connor, Binh Danh, Mercedes Dorame, Ed Drew, Germán Herrera, Marie-Luise Klotz, Wayne Levin, Amak Mahmoodian, Amanda Marchand, Paccarik Orue, J. John Priola, Zack Schomp, and Lewis Watts.

Peter Fetterman Gallery is proud to present "The World of Sebastião Salgado," a large-scale exhibition of prints by the master photographer Sebastião Salgado (Brazil, b. 1944). Opening on Saturday, March 15, 2025, and running through June 21st, this exhibition will offer an extraordinary retrospective of Salgado’s unparalleled career. A special opening reception will be held on March 15 from 4:00 to 6:00 PM. Utilizing the entire gallery space, this extensive exhibition will feature photographs, spanning over four decades of Salgado’s dedicated photographic work. Iconic images from his major bodies of work will be presented as hand crafted gelatin silver prints alongside his special, highly coveted platinum palladium prints. Curated to present Salgado’s powerful visual storytelling within a retrospective context, "The World of Sebastião Salgado" will provide a compelling insight into the depth and breadth of his documentary and artistic practice. Sebastião Salgado is widely recognized as one of the most influential photographers of our time. His humanistic approach to documentary photography has illuminated pressing global issues, from labor and migration to environmental conservation. The exhibition will highlight key works from his most renowned series, including the Serra Pelada Gold Mines, his documentation of conflict and displacement in Africa, his haunting portrayals of environmental destruction in the Oil Fields of Kuwait during the Gulf War, and his latest body of work from Brazil titled, Amazonia. Additionally, the exhibition will showcase works from his environmental magnum opus, "GENESIS," a project that explores untouched landscapes, wildlife, and indigenous cultures. The relationship between Peter Fetterman Gallery and Sebastião Salgado is rooted in a deep mutual respect and a shared commitment to photography as a force for storytelling and change. Introduced to Salgado through master photographers Henri Cartier-Bresson (1908-2004) and Martine Franck (1938-2012), Peter Fetterman has been a key figure in bringing Salgado's work to a fine art audience for over 30 years. Born in Aimorés, Brazil, in 1944, Sebastião Salgado initially trained as an economist before turning to photography, a path that has since shaped the field of visual storytelling. Salgado resides in Paris with his wife, Lélia Wanick Salgado, who has played an integral role in curating and publishing his works. "The World of Sebastião Salgado" at Peter Fetterman Gallery will be an unmissable opportunity to see the photographs of one of the greatest documentary photographers of our time.

David Zwirner and Fraenkel Gallery are pleased to announce Cataclysm: The 1972 Diane Arbus Retrospective Revisited, on view at David Zwirner’s 606 N Western Avenue location in Los Angeles. Organized by both galleries, the exhibition debuted at David Zwirner New York in September 2022 to commemorate the fiftieth anniversary of the artist’s momentous 1972 posthumous retrospective at The Museum of Modern Art, New York. Cataclysm re-creates that iconic exhibition’s checklist of 113 photographs, underscoring the subversive poignancy of Arbus’s work even today while highlighting the popular and critical upheaval the original exhibition precipitated. This will be the first major survey of the artist’s work in Los Angeles since Diane Arbus: Revelations, which was presented at the Los Angeles County Museum of Art over twenty years ago. In the fall of 1971, in the aftermath of Arbus’s death in July, her friend, colleague, and fellow artist Marvin Israel approached John Szarkowski, the legendary director of photography at The Museum of Modern Art, about the prospect of a retrospective exhibition of her work. Szarkowski, who had begun championing Arbus’s photographs in the late 1960s, quickly agreed to do the show. Though widely admired and respected by other photographers and artists, Arbus was not well known at the time of her death. When the exhibition opened, on November 7, 1972, no one, not even Arbus’s most fervent supporters, could have predicted its profound impact on museum visitors, nor the impassioned—at times vitriolic—critical response the exhibition would generate among writers and thinkers. It was the most highly attended one-person exhibition in the museum’s history, with lines down the block to see it. Szarkowski later recalled, “People went through that exhibition as though they were in line for communion.”1 Even at the time, the retrospective was recognized for almost single-handedly helping to elevate photography to the status of fine art, paving the way for museums, collectors, and the public to embrace a previously unrecognized innate authority and power within the medium. As New York Times critic Hilton Kramer wrote of the exhibition, “What Diane Arbus brought to photography was an ambition to deal with the kind of experience that had long been the province of the fictional arts—the novel, painting, poetry and films—but had traditionally been ‘off limits’ to the nonfiction documentary art of the still camera.”2 John Perreault, writing in The Village Voice, noted, “I don’t usually write about photography … but just this once I can’t resist. Diane Arbus was such a great photographer that her work breaks out of all categories. Her retrospective at the Museum of Modern Art should be of interest even to those who are not usually at all interested in photography.”3 Such praise from some critics was countered with derision and ridicule by others. Susan Sontag disparaged the exhibition in the pages of The New York Review of Books: “Arbus’s work shows people who are pathetic, pitiable, as well as horrible, repulsive, but it does not arouse any compassionate feelings.”4 Jane Allen, writing for the Chicago Tribune, attacked the show: “[Arbus] shows us people, so locked into their physical and mental limitations, that their movements are meaningless charades. They are losers almost to a man.”5 What seems to have enthralled some and enraged others about Arbus’s work was how she unflinchingly captured the singularity of her subjects, which—paradoxically—linked them to one another and by extension to the viewer. “This is what I love,” wrote Arbus at the age of sixteen, “the differentness, the uniqueness of all things and the importance of life.… I see the divineness in ordinary things.”6 The exhibition’s title, Cataclysm, alludes to the immensity of the uproar spawned by the retrospective and the ferocity of the critical discourse around the artist that emerged then and continues to the present day. Image: Diane Arbus, A very young baby, N.Y.C. [Anderson Hays Cooper] 1968 © The Estate of Diane Arbus 1 Quoted in Who Is Marvin Israel?, directed by Neil Selkirk and Doon Arbus (2005; www.neilselkirk.com/films). 2 Hilton Kramer, “From Fashion to Freaks,” The New York Times Magazine, November 5, 1972, p. 38. 3 John Perreault, “Art,” The Village Voice, November 23, 1972, p. 40. 4 Susan Sontag, “Freak Show,” The New York Review of Books, November 15, 1973, p. 14. 5 Jane Allen, “Charade of Losers in the Arbus World,” Chicago Tribune, April 8, 1973, p. 8. 6 Diane Arbus, high school essay on Plato, 1939. Quoted in Diane Arbus Revelations (New York: Random House, 2003), p. 70.

Luis González Palma is among the most recognizable Latin American photographers. The early work he is canonized for address the difficult past of his birth country of Guatemala and its people. This history of engagement spans topics from the colonial plight of the Mayan people to the legacy of the civil war and “the disappeared.” González Palma employs the intimacy of portraiture, weight of the gaze, and qualities of chosen materials to drive meaning in his work. But this is only the beginning. Möbius is a diverse and open-ended series, which began in 2013. The artist embraces, destroys and rebuilds upon structures he built up for himself over 40 years, beginning with his own iconic work. Luis González Palma has been celebrated for symbolism, portraiture, and photography. To reduce him to these realms is to underestimate his profound dialectic. To break away from the confines of his own past, through Möbius González Palma seeks to reinvent and renew his vision and its perception by others. Möbius builds upon a mathematical concept discovered by German scientists in 1858. The Möbius strip is an infinite loop, created from a linear plane with a quarter-twist (odd numbers of twists greater than one, or a knotted centerline). It is both a non-orientable object and a fixed surface. Its interior cannot be differentiated from its exterior. This mathematical discovery has been employed by famed artists from M. C. Escher to Salvador Dalí, Julio Cortazar, and principally for González Palma, Brazilian artist Lygia Clark. Photography is an enigma, its beauty a disguise trapped in the frame of an image which offers as many readings as viewers who look upon it. González Palma’s Möbius, and work made thereafter, are theoretical, phenomenological experiments. These threads of interest expand and reinvent. In Möbius González Palma deconstructs the history of (his own) existence evidenced by his works and builds upon it from scratch. Möbius breaks through itself to discover something new, with seemingly opposing visual language- realism and abstraction. Opposition becomes continuum. Destruction becomes creation. In Möbius symbolism and metaphor fall apart, fragment, play allowing new dialogs to be written through what the artist describes as lyrical abstraction. Palma begins with what we know- his early portraits in traditional style- hand painted prints- stained by a wash of bitumen, except for eyes that glare back at us, locking our gaze in theirs. He then integrates geometric abstraction- shapes, lines, planes rendered in gold leaf or acrylic paint. Some works opt for a lighter wash over the traditional sepia-colored bitumen, a substance used from pre-history to current day in construction and waterproofing. Visual integration of realism and geometric abstraction- figuration and raw form- intersect. Choices feel both fragmented and harmonious. The result is hypnotic, rhythmic, spectral- we can almost hear the melody of silence play through a watchful prolonged gaze like a tuning fork searching for the pitch of the universe. Hearing it in the silence. Seeing through the past into the future, written and unwritten through the language of one’s own icons. Compositions play as new possibilities emerge. The works in this exhibition, extend beyond the structural boundaries of a photograph, or a painting. They are metaphor, which underscores duality. The surface, physicality, the sculptural quality of the image, ever important to the artist, is underscored by Möbius. We are aware of the physicality of the image- the space it occupies in our plane, but this too only stands in to reference unrecordable fluid emotion. We must learn to doubt and not take anything for granted. Whatever our certainties, Möbius asks we examine everything again with fresh eyes. Luis González Palma was born in Guatemala and lives in Cordoba, Argentina. He studied architecture and cinematography at the Universidad de San Carlos de Guatemala but chose to focus on photography. Since 1989, his work has been collected internationally and shown in more than 58 expositions throughout the Americas and Europe, including at Les Rencontres de Arles (France), the 49th and 51st Venice Biennials (Italy), Fotobeinal de Vigo (Spain), XXII Biennial in Sao Paulo (Brazil) and the V Biennial in Havana (Cuba). Palma lives and works in Cordoba, Argentina.

Echoes of Injustice features three contemporary photographers who explore the traumatic legacy and lasting reverberations of the World War II incarceration of Japanese Americans. Echoes of Injustice brings together the work of three contemporary photographers—Renee Billingslea, Jerry Takigawa, and Dean K. Terasaki—who explore the traumatic legacy and lasting reverberations of the World War II incarceration of Japanese Americans. Through deeply personal and visually layered approaches, each artist offers a distinct perspective on this dark chapter of U.S. history, urging us to confront what has been forgotten, concealed, or left unresolved. Renee Billingslea’s Ten Japanese American Concentration Camps revisits the landscapes of incarceration through contemporary photography, stitching them together with historical images from the War Relocation Photographs. Through this juxtaposition, she reveals the tension between visibility and erasure. Her use of gold thread, referencing the Japanese art of Kintsugi, and her inclusion of earth from the sites, create a connection to the landscape and histories of lives disrupted and communities displaced. The series documents all ten camps located in Arizona, Arkansas, California, Colorado, Idaho, Utah, and Wyoming. In his series Balancing Cultures, Jerry Takigawa uses family photographs and memorabilia to interpret the injustice of his family’s incarceration at the Jerome camp in Arkansas. Born in Chicago after their release, Takigawa grapples with the tension between his parent’s silence around their experience in the camp and his own inherited trauma which is still being processed. This series seeks to preserve his parents honor while speaking for a generation that remained silent. Dean K. Terasaki’s Veiled Inscriptions are photomontages of camp locations as they appear today with personal letters sent by those incarcerated. The archive of 350 letters was discovered in Denver’s historic T.K. Pharmacy in 2012. The pharmacy had been operated by Terasaki’s uncle and his images are about loss and the lives torn apart by the forced incarceration. Together, these artists call attention to a chapter of American history that remains relevant and urgent. At a time when the erosion of civil liberties continues to echo across political and cultural landscapes, Echoes of Injustice calls us to reflect: Has America changed? Have our values? And how do we ensure that this history does not repeat? — Samantha Johnston, CPAC Executive Director & Curator Image: EO 9066, ©Jerry Takigawa

“While trying to accommodate the growing needs of an expanding, and very thirsty civilization, we are reshaping the Earth in colossal ways. In this new and powerful role over the planet, we are also capable of engineering our own demise. We have to learn to think more long-term about the consequences of what we are doing, while we are doing it. My hope is that these pictures will stimulate a process of thinking about something essential to our survival; something we often take for granted—until it’s gone.” – Edward Burtynsky "I wanted to understand water: what it is, and what it leaves behind when we're gone. I wanted to understand our use and misuse of it. I wanted to trace the evidence of global thirst and threatened sources. Water is part of a pattern I've watched unfold throughout my career. I document landscapes that, whether you think of them as beautiful or monstrous, or as some strange combination of the two, are clearly not vistas of an inexhaustible, sustainable world." – Edward Burtynsky (Walrus, October 2013) "The project takes us over gouged landscapes, fractal patterned delta regions, ominously coloured biomorphic shapes, rigid and rectilinear stepwells, massive circular pivot irrigation plots, aquaculture and social, cultural and ritual gatherings. Water is intermittently introduced as a victim, a partner, a protagonist, a lure, a source, an end, a threat and a pleasure. Water is also often completely absent from the pictures. Burtynsky instead focusses on the visual and physical effects of the lack of water, giving its absence an even more powerful presence." — Russell Lord, Curator of Photographs, NOMA

David Goldblatt: No Ulterior Motive is a major traveling retrospective exhibition that spans the seven decades of this South African photographer’s career, from the 1950s to the 2010s, demonstrating Goldblatt’s commitment to showing the realities of daily life in his country. The exhibition and accompanying publication bring together roughly 150 works by Goldblatt from the collections of the Yale University Art Gallery and the Art Institute of Chicago—two major Goldblatt repositories—including his early black-and-white photography and his post-apartheid, large-format color photography. Also included in the exhibition are photographs by some of Goldblatt’s peers, such as Ernest Cole, Santu Mofokeng, and Jo Ractliffe, as well as a generation of younger South Africans, many of whom Goldblatt mentored, including Lebohang Kganye and Zanele Muholi, placing Goldblatt within a broader and intergenerational network of photographers. This ambitious project honors the life and career of an artist who used his work to celebrate his country’s working-class people, the landscape, and the built environment. On view through June 22, 2025, David Goldblatt: No Ulterior Motive highlights the artist’s commitment to documenting daily life in South Africa, particularly during apartheid. This major traveling retrospective traces Goldblatt’s career from his early black-and-white photography to his later color prints, capturing the impact of racial segregation. Image: David Goldblatt, Miriam Diale, 5357 Orlando East, Soweto, 18 October 1972, 1972, printed later. Carbon ink print. Yale University Art Gallery, Purchased with a gift from Jane P. Watkins, M.P.H. 1979; with the Leonard C. Hanna, Jr., Class of 1913, Fund; and with support from the Beinecke Rare Book and Manuscript Library. © The David Goldblatt Legacy Trust

Robert Frank: Mary’s Book celebrates the centennial of the legendary photographer Robert Frank (1924–2019) by offering an intimate look at one of his most personal creations—a handmade scrapbook of photographs compiled for his first wife, Mary Lockspeiser. Created in 1949, Mary’s Book represents a pivotal moment in Frank’s artistic development, as he experimented with the interplay of images and text. This one-of-a-kind album features seventy-four small photographs, each paired with handwritten inscriptions, revealing Frank’s poetic sensitivity to everyday objects and spaces. Though many images lack human figures, a sense of presence lingers—seen in the way Frank captures the streets and chairs of Paris, weaving in messages for Mary that transform the book into a deeply personal meditation on solitude and connection. A visual poem in photographic form, Mary’s Book reflects Frank’s ability to evoke emotion through juxtaposition, a technique that would later define his groundbreaking work. The exhibition presents original spreads from the album, held in the MFA’s collection, alongside additional photographs taken in Paris, on loan from the artist’s foundation. Accompanying the show is a special publication featuring the first complete reproduction of Mary’s Book, offering a rare glimpse into a formative chapter of Frank’s creative journey. Image: Robert Frank, spread from Mary’s Book (detail), 1949. Illustrated book with gelatin silver prints. Gift of the Howard Greenberg Gallery. © The June Leaf and Robert Frank Foundation.

Stephen Daiter Gallery proudly presents Chicago: Mark Steinmetz, on view from February 7 to April 27, 2025. This marks Steinmetz’s first solo exhibition at the gallery, showcasing selections from his newly released book, Chicago. Nearly thirty-five years ago, Steinmetz lived in a modest apartment in Wrigleyville, where he transformed his bedroom into a makeshift darkroom. It was during this time that he developed some of his most well-known series—The Players, Summertime, and Carnival—alongside a lesser-known body of work made in Chicago, now coming to light for the first time. “The gestures of these men and the expressions on their faces are observed with delicate precision,” writes Peter Galassi in the book’s introduction (Chicago: Nazraeli Press, 2025). “Elsewhere, with the same gentle eye, Steinmetz is alert to people in the act of adjusting a sandal or a sneaker, reading, giving the thumbs-up, lifting weights, flying a kite, lighting a cigarette, focusing a long lens, leaning against a rickety bus stop, fishing, counting change, talking on a pay phone—and a woman scratching her back.” Steinmetz’s photography is defined by its compassion, curiosity, and quiet respect. His images do not impose meaning but allow subjects to simply exist—capturing them with a sensitivity that is both rare and deeply human. His lens reveals Chicagoans in their element, embracing everyday moments that, in his hands, become profound reflections of the city’s unique rhythm and soul. Image: © Mark Steinmetz

Dutch photographer Ruud van Empel (b. 1958) invites viewers to see the world anew, blurring the line between reality and illusion. His images, saturated with vivid color and intricate detail, create an almost surreal experience—scenes that feel both familiar and entirely imagined. Van Empel’s process is meticulous and time-intensive, often taking hundreds or even thousands of hours to complete a single image. Using a digital collage technique he has refined since the mid-1990s, he assembles fragments of his own photographs to construct compositions that exist outside traditional photography. These layered, hyper-detailed landscapes celebrate the beauty of nature while also reflecting its tensions, as elements compete for space and attention. While Van Empel is best known for his portraits of children set within lush environments, this exhibition shifts focus to the landscapes themselves. Drawing from source images captured during his travels—from botanical gardens in the Netherlands to California’s Joshua Tree National Park—he presents both daylight and nocturnal scenes that feel dreamlike yet tangible. These constructed worlds challenge perceptions of photography’s role in truth-telling, encouraging viewers to step inside and explore a realm of wonder, memory, and mystery. Image: Ruud van Empel, Theatre #8 (detail), 2013. Archival pigment print. Gift of the artist in honor of Deborah Klochko. © Ruud van Empel

Robert Koch Gallery is pleased to present New World Atlas: California & Nevada, the third solo exhibition at the gallery by American photographer Matt Black. Known for his visceral approach to documentary photography, Black turns his focus to the evolving climate of the American West, using thermal and infrared imaging to examine the effects of extreme weather events and the vulnerabilities of a rapidly shifting landscape. New World Atlas is organized in a series of 17 chapters, one for each state lying west of the 100th meridian. This exhibition presents California & Nevada, the first two chapters of this larger body of work. In this series Black departs from conventional photographic representation and incorporates technologies that extend human perception. Thermal imaging makes the invisible visible, allowing viewers to witness heat as a signifier of change, from drought and fire to evaporation. Infrared photography distinguishes the living from the inert, exposing a shifting terrain beneath what once seemed immutable. Based in California’s Central Valley, Black draws on his own experience with the region’s environmental volatility. He writes: “Giga-fires, mega-droughts, and thousand-year floods are reshaping the American West. From my home, I have seen massive Sierra wildfires fill the sky with smoke, and over 500,000 acres of farmland fall fallow for lack of water.” By working across the sub-humid and arid zones of the American West, areas particularly susceptible to shifts in temperature and moisture, New World Atlas offers an urgent and deeply felt chronicle of ecological transformation. Rather than documenting catastrophe alone, Black’s images invite viewers to consider new ways of seeing and understanding a landscape increasingly defined by extremes Image: Gold Butte, Nevada. 2024. Cactus., 2024 © Matt Black

In a story that bridges survival, serendipity, and soaring ambition, Robert Mann Gallery is proud to present Coming Home the debut New York City exhibition of Isaac “Drift” Wright, the U.S. Army veteran turned urban explorer whose gravity-defying rooftop photography has stunned both digital audiences and the international art world.
 Wright, known globally as “Drift,” rose to prominence not through the traditional art world but through silence, steel, and the skyline. After serving in the military and confronting profound personal challenges, Wright began documenting his solitary climbs atop skyscrapers, capturing breathtaking images from vantage points few ever reach. His work, which gained viral traction online was first introduced to the wider public in a powerful 2021 New York Times profile by David Phillips, a two-time Pulitzer Prize-winning journalist. That story changed everything.
 Four years later, that moment of recognition comes full circle. Wright’s first physical exhibition in New York City opens this spring in the heart of Chelsea, curated to reflect the city that has defined, challenged, and inspired him. The show will include the first-ever public display of his photograph taken from the spire of the Empire State Building, among a series of large-format images exploring the architectural intimacy and soaring tension of New York’s skyline. While centered on NYC, the exhibition also includes select works from across the U.S. and around the world, reflecting Wright’s evolution into a globally recognized artist with a singular point of view.
 “For me, climbing isn’t about adrenaline, it’s clarity,” said Wright. “Above the noise, you feel invisible and infinite. I’ve been hunted, locked up, written off, but my art gave me a way forward. This show is my first time putting that journey on a wall.”
 To properly showcase the breadth and scale of Wright’s vision, Robert Mann Gallery has expanded its exhibition space within its Chelsea location. The larger venue allows for a powerful cross-section of Wright’s work across his signature formats and will better accommodate the strong, loyal following he’s cultivated through social media and digital art platforms.
 This exhibition is more than a gallery debut, it’s the culmination of a life reclaimed, a city reimagined, and a lens fixed firmly on the impossible. Image: And When We Die It Will Feel Like This, 2023

“It is probably no mere historical accident that the word person, in its first meaning, is a mask. It is rather a recognition of the fact that everyone is always and everywhere, more or less consciously, playing a role . . . It is in these roles that we know each other; it is in these roles that we know ourselves.” -Robert Ezra Park, 1950 Casemore Gallery is pleased to present You, the performer, a group exhibition that brings together eight contemporary artists —Sophronia Cook, Jim Goldberg, Todd Hido, Whitney Hubbs, Jim Jocoy, Steve Kahn, Rachelle Mozman Solano, Larry Sultan, and Lindsey White— whose works explore the theatrical impulse embedded in both the act of image-making and the staging of the scenes documented within the frame. Drawing upon the aesthetics of performance, illusion, and mise-en-scène, these artists delve into the personal and collective unconscious, blurring the lines between documentary and fantasy, observer and participant, and fiction and reality. In his 1960 work Leap into the Void, Yves Klein subverted the notion of photography as a purely documentary medium. His photograph, a staged leap from a Paris rooftop, offered a fantastical image that questioned the relationship between reality and illusion. As curator Mia Fineman writes, Klein’s work “symbolically enacts the leap of faith we make in accepting the truth of any photograph.” This moment marked the beginning of an era in which photography began investigating truth through a conceptual and performative lens. You, the performer continues this exploration, with works spanning from the 1970s to the present, questioning and playing with the validity of the oft-repeated "quintessential American life" narrative through the use of models, the stage, and acute directorial and editorial interventions. Whether set in the suburbs of Los Angeles, the gated communities of Panama, the streets of Hollywood, a dive bar in San Francisco, or the artist’s studio, these images underscore the shifting and often surreal underpinnings between the self, the other, and the interiors we inhabit—physically and psychologically. As much about the stage as it is about the characters who perform upon it, this exhibition reveals how easily the boundaries between the two can become porous. The models in the photos of Todd Hido, Larry Sultan, and Rachelle Mozman Solano become fairytale-like femme-fatales, the stars of their own movies unfolding in real-time within the image and in collaboration with the photographer’s investigation of their personal inner subconscious landscape. Lindsey’s White’s You, the performer, the exhibition's titular piece, allows the viewer to choose whether they want to be the performer or remain part of the audience. Jim Jocoy’s double-exposure plays within a similarly temporal space, as the photographer becomes a bridge between performer and audience, evoking the energy of a performance through the physical abstraction of the scene. Other artists’ works offer a seemingly “empty” stage scattered with remnants—teddy bears, seashells, mylar curtains, ropes, swaddled organs—prompting the audience to mentally reconstruct an implied narrative. In the works of Steve Kahn, Larry Sultan, and Whitney Hubbs, interior spaces transform into psychological containers. The physicality of the printed image becomes performative in Jim Goldberg’s photograph of a stage curtain, printed on paint-embellished fabric and hung as a curtain, and in Sophronia Cook’s aluminum mold of her studio floor. With the aid of these photographers’ perspectives and directorial embellishments, stages and backdrops morph into characters in their own right. In an era where image-making is second nature, we find ourselves deeper than ever in Foucault’s epoch of simultaneity, reassessing and redesigning the everyday architecture and backdrops that shape our own lives. The works in You, the performer offer both a reflection and a means of escape from the prescribed “American life”—a portal into alternate dimensions that are, perhaps, more honest depictions of our true feelings about the world.

Jackson Fine Art is delighted to present the rich visual storytelling of acclaimed artist Cig Harvey in our spring exhibition. Drawing inspiration from personal experiences, Harvey explores themes of female identity, familial relationships, memory, and connection to home. She practices photography as theater, alluring the viewer into a world of fantasy. An opening reception for the artist will take place April 16 from 5–7 p.m., with signed copies of Harvey’s latest monograph Emerald Drifters (Monacelli/Phaidon, 2025) available for purchase. This is her second solo exhibition at the gallery. Photographer and writer Cig Harvey’s newest body of work, Emerald Drifters, is a poetic, richly saturated exploration of life through color. Her exhibition presents dreamlike tableaux of her signature subjects — flowers, cakes, and the human figure in landscape. Taken in and around her home in Rockport, Maine, Harvey’s photographs focus on the ephemeral nature of light, pigment, and vision — bright yellow maple pollen against the dark hues of a country road; clematis flowers captured in the light of the full moon; rainbow sprinkle donuts and pink frosted cakes piled among a vivid heap of decomposing dahlias. Harvey’s eye for color and its interaction with the environment creates photographs filled with emotion and beauty. In the book, her images are accompanied by hand-painted color wheel diagrams and writings on her experience and memory of color. Image: Cig Harvey, Emerald Eye, Rockport, Maine, 2024

THE DOG & PONY SHOW! 1. A group photography exhibition that celebrates two endearing species that offer us unconditional friendship and support in times of need. 2. Some artful, and occasionally comedic relief from intelligent and creative human beings. 2 (alt.) Some artful, and occasionally comedic relief from the actual s***show that’s going on in Washington. Photographers: Elliott McDowell, Tony Bonanno, Glen Wexler, Patricia Galagan, Eric McCollum, Renee Lynn, Yvette Roman, Mark Berndt, Victoria Stamm, Brad Stamm, Jennifer Schlessinger, Kate Lindsey, Walter Nelson, Jane Phillips, John Chiodo, Dolores Smart, and Scott Wilson.

Robert LeBlanc in collaboration with Carhartt WIP announces TIN LIZARDS a photography monograph. Tin Lizards celebrates the timeless romance of train travel. Immersed in a monochromatic dreamscape of surrealism. In this evocative world crafted by Robert LeBlanc, reality blurs with fiction, as memories crystallize in silver halides, transforming the world into a canvas of wonder and introspection. From the quiet solitude of a sleeper car to the whispered charm of small towns, LeBlanc’s lens captures the poetry of diverse landscapes, revealing beauty in life’s quietest moments. Each destination in this collection was reached by train. Propelled by the rhythmic hum of steel on tracks, LeBlanc distills the spirit of exploration, crafting a series of photographs that dance between stillness and motion. His work invites viewers on a soulful journey, where the heart of America’s quieter corners unfurls through the gentle cadence of the train. LeBlanc partnered with Carhartt WIP and fine-art publisher Nazraeli Press to unveil the Tin Lizards monograph. Accompanying this is a limited-edition capsule collection exclusive to Carhartt WIP Los Angeles. Image: Tin Lizards, Untitled #65, 2022

All About Photo presents 'Reverie of the Unseen' by Rory J Lewis, on view throughout June 2025. REVERIE OF THE UNSEEN From the antlers of a stag beetle, to the multi-directional flight of a dragonfly, or the iconic markings of a ladybird beetle, there are very few forms not afforded the arthropod by evolution. Reverie of the Unseen is a collection of my works from the last 3 years, which seeks to elevate these oft overlooked animals by capturing the unseen ‘personality’ so many of these beautiful creatures appear to possess. Through specific angles, lighting techniques or capturing certain behaviours, these tiny invertebrates can suddenly seem so much more relatable to us, as if waving good morning, playing games with one another, or tilting their head in silent communication- like perhaps, the pet puppy we once had. All of the images are of live and completely unharmed subjects, taken in the wild, as being able to photograph them at their most vibrant is what provides so much of the magic, If there is an unnaturally colourful backdrop in the image, it is purely created by placing a physical object behind the subject. so shooting during the night or very early hours of the morning, as they’re sleeping or just waking up, is nearly always imperative. This also helps in keeping their disturbance to an absolute minimum, ethics are also as important to me as the art itself, as I seek to do nothing more than celebrate these remarkable animals, and I invite others through this work, especially those that may find them fearful, to celebrate them with me.

CLAMP is pleased to present “My Life as a Flower,” an exhibition of unique Polaroids produced by Dietmar Busse nearly twenty-five years ago, at the turn of the 21st century in Greenpoint, Brooklyn. Coated from head to toe in matte, chalky pigments, Busse transforms his own body into a living canvas. Onto his skin he carefully pressed petals, blossoms, stems, and leaves, crafting self portraits that feel both fantastical and haunting. These images, rich with texture and fragility, suggest a deep intimacy with nature and a performative merging of subject and medium. Busse assembles parts from a wide range of botanical species—anemone blossoms paired with carnation leaves on a stalk of aloe—to create impossible new blooms that exist solely within his imagination. Once complete, these fleeting arrangements are photographed before they vanish, emphasizing the ephemerality at the heart of the work. Through this singular series, Busse collapses the boundaries between painting, sculpture, photography, and performance. His process foregrounds impermanence and transformation while quietly invoking our shared dependency on the natural world—an uneasy tether made more precarious in an age increasingly defined by technological acceleration and impending climate catastrophe. “My Life as a Flower” coincides with an exhibition at FIERMAN of Busse’s camera-less chemical paintings as well as newer digital floral self portraits running from May 8 – June 22, 2025. Dietmar Busse (b. 1966) lives and works in New York. He was born in Stolzenau, Germany, and as a young man learned the world of photography in Madrid before relocating to New York in 1991. His recent solo museum exhibition titled “Dietmar Busse | Fairy Tales 1991-1999” at Amant, Brooklyn, NY, was reviewed in the New York Times, The New Yorker, Cultured, The Guardian, and Paper Magazine. His work has been included in solo and group exhibitions at Rachel Uffner Gallery, New York; CLAMP, New York; FIERMAN, New York; Halsey McKay Gallery, New York; the Museum Schloss Moyland, Bedburg-Hau, Germany; Wereldmuseum, Rotterdam; Invisible-Exports, New York; Museum Sinclair Haus, Bad Homburg; the Leslie Lohman Museum, New York, among other venues. His work has been publicized in The New Yorker, TIME, The London Independent, New York Times Magazine and Interview, among other publications.

The Fahey/Klein Gallery is proud to present Lauren Greenfield: Social Studies, a new photographic exhibition that revisits the terrain of youth culture and identity formation in the digital age. Expanding on her acclaimed five-part docuseries of the same name, Social Studies (FX/Hulu) marks Greenfield’s return to a subject she has explored since her groundbreaking 1997 debut, Fast Forward: Growing Up in the Shadow of Hollywood. Shot during the 2021–2022 school year across Los Angeles—a city synonymous with image and aspiration—Social Studies follows a diverse group of teens navigating high school, home life, and relationships under the influence of ever-present social media. This new body of work builds on Greenfield’s legacy as a visual sociologist, capturing the tensions between online performance and private identity, aspiration and anxiety, vulnerability and self-curation. Lauren Greenfield’s photographic approach parallels her immersive filmmaking: both document a reality that is evolving in real-time. Lauren Greenfield: Social Studies is a continuation and an evolution of the artist’s decades-long interrogation of American culture. Through the raw honesty of her subjects and the clarity of her vision, Greenfield creates a powerful meditation on adolescence, what she calls “comparison culture”, and the search for authenticity in a curated world. As she continues to investigate the themes of status, beauty, identity, and power, this new series reflects her ongoing commitment to making the invisible visible—revealing how young people see themselves and how we construct and consume those images. Lauren Greenfield is an Emmy-award-winning photographer and filmmaker and has been a preeminent chronicler of youth culture, gender, and consumerism for over twenty-five years. Her documentary The Queen of Versailles won the Best Documentary Director Award at Sundance in 2012 (coming to Broadway as a musical this fall, starring Kristin Chenoweth with music by Stephen Schwartz), and her films The Kingmaker, Generation Wealth, and THIN have garnered Emmy, Critics Choice, WGA, & DGA recognition. Greenfield’s award-winning books include Fast Forward (1997), Girl Culture (2002), THIN (2006). In recent years, she directed the ambitious documentary Generation Wealth (2018) and published a retrospective monograph, a global investigation of materialism and social status that synthesizes decades of her photographic work. In partnership with the Annenberg Foundation, who also collaborated with Greenfield on the Social Studies docuseries, the Generation Wealth exhibition toured museums around the world opening at the Annenberg Space for Photography, and traveling to the ICP, the Nobel Peace Center, Deichtorhallen Hamburg, the Hague Fotomuseum, the Louisiana Museum of Modern Art (Copenhagen), and Fotografiska. Greenfield’s photographs—including entire bodies of work such as Fast Forward, Girl Culture, THIN, and Generation Wealth—are held in major institutional collections, including the Harvard Art Museums, the Center for Creative Photography (Tucson), Art Institute of Chicago, Los Angeles County Museum of Art, the J. Paul Getty Museum, the San Francisco Museum of Modern Art, the Smithsonian National Museum of American History, the International Center of Photography, and the Museum of Fine Arts Houston, among others. Image: Kylie Jenner Lip Challenge, 2025 © Lauren Greenfield, courtesy of Fahey/Klein Gallery, Los Angeles

Nearly 60 years after The Beatles performed their final concert at Candlestick Park, Beatlemania is back in the Bay. Featuring more than 250 personal photographs by Paul McCartney, along with video clips and archival materials, this exhibition offers a behind-the-scenes look at the meteoric rise of the world’s most celebrated band. The images capture the period from December 1963 through February 1964 and the band’s journey to superstardom, from local venues in Liverpool to The Ed Sullivan Show and worldwide acclaim. Photographs of screaming crowds and paparazzi show the sheer magnitude of the group’s fame and the cultural change they represented. More intimate images of the band on their days off highlight the humor and individuality of McCartney and bandmates John Lennon, George Harrison, and Ringo Starr. Rediscovered in the artist’s personal archive in 2020, these images offer new perspectives on the band, their fans, and the early 1960s, as seen through the eyes of Paul McCartney. Paul McCartney Photographs 1963–1964: Eyes of the Storm is organized by the National Portrait Gallery, London, in collaboration with Paul McCartney. It is curated by Paul McCartney with Sarah Brown for MPL Communications and Rosie Broadley for the National Portrait Gallery, London. The presentation at the de Young museum is organized by Sally Martin Katz.

Zanele Muholi, a pioneering visual activist and artist, has spent two decades using photography, film, and sculpture to document and celebrate Black Queer lives in South Africa and beyond. Their work challenges gender stereotypes, elevates personal narratives, and underscores the urgent need for visibility, respect, and recognition within the LGBTQIA+ community. This exhibition highlights several key series from Muholi’s prolific practice. *Somnyama Ngonyama (Hail the Dark Lioness)*, an ongoing self-portrait series, features striking black-and-white images in which the artist assumes various personas. Using everyday objects like clothespins, rugs, and plastic bags as adornments, Muholi transforms the ordinary into potent symbols of personal and political commentary. Also on view are selections from *Brave Beauties*, a series that captures trans women and nonbinary individuals in bold, empowered poses, and *Faces and Phases*, a living archive of Black lesbians, gender-nonconforming individuals, and trans men. Initiated in response to the discrimination and violence faced by these communities in South Africa, *Faces and Phases* serves as both documentation and defiance. A never-before-seen selection of portraits from *Somnyama Ngonyama*, presented in lightbox format, intensifies the interplay of light and shadow, further amplifying the series’ dramatic impact. Across these bodies of work, Muholi redefines Black Queer representation, disrupting dominant narratives while offering a powerful and deeply human perspective. Image: Zanele Muholi, "Phila I, Parktown," 2016, edition of 8 + 2 artist’s proofs. Courtesy of Southern Guild and Yancey Richardson. © Zanele Muholi

Conversations at a party in Oakland in 1932 changed the history of photography. At that gathering, several now-iconic Bay Area figures — including Ansel Adams, Imogen Cunningham, and Edward Weston — banded together to form Group f.64, a collective dedicated to “true” photography and the rejection of the prevailing style of Pictorialism, which mimicked painting. The group’s name was technical, referring to the camera lens setting that permits the greatest depth of field, but their mission was creative: to make photographs of startling clarity and beauty that rivaled art made in other mediums. Although Group f.64 lasted for less than a year, its legacy endured, marking the Bay Area as an epicenter for modernist photography. Around Group f.64: Legacies and Counterhistories in Bay Area Photography takes the work of this influential collective as a nexus from which to examine other local developments in the medium. The exhibition begins with a selection of pictures in the gauzy Pictorialist style, which every member of Group f.64 practiced before turning to the crisp, sharply focused compositions for which they are best known. The second gallery includes work by all eleven members of the collective made around the time they joined together. Beyond that, the exhibition branches off in related but varied directions, including an exploration of the link between Group f.64 members and the poet Langston Hughes and a presentation of contemporary artist Tarrah Krajnak’s work in dialogue with that of Weston and Adams. The final gallery serves as a visual and thematic counterpoint to those that precede it, featuring street photography from the 1970s to the present that reveals the wilder side of San Francisco. Image: Jim Jocoy, Muriel with bruised knees, 1980, courtesy of the artist and Casemore Gallery

"I have spent my entire career photographing children all over the world. The last several years I have focused my eyes on the Irish Traveller that live in caravans on the side of the road or in open fields throughout Ireland. The Traveller community are an Irish nomadic indigenous ethnic minority. There is no recorded date as to when Travellers first came to Ireland. This is lost to history, but Travellers have been recorded to exist in Ireland as far back as history is recorded. Even with their great history they live as outsiders to society and face unbelievable racism growing up. As a mother of two daughters, I became so interested in the culture and traditions and lives of these children. I have spent many years traveling back and forth to Ireland to document these incredible children." "The experience I had photographing the grit and beauty, that is the everyday life of a Traveller child, is one that inspires me every day. Their deep respect for family and cultural values is refreshing, one that can be quite difficult to find in an age with the convince of social media. Not always immediately accepting of an outsider holding a large camera, I took my time getting to know and understand these faces that represent the new generation. My ever-growing fascination with the children of today has led me all over the world, capturing their innocence or in some cases loss of, in its most raw form." "Unlike most children they are unable to refer to a history book to learn about their ancestors, a part of this journey was being able to document an era that is so different to any other I have photographed. It is one that is and will always be rapidly changing, every time I visit it is a whole different world yet with the relationships, I have been lucky enough to make, it seems to feel like I never left. I am exponentially grateful to the young people documented and that I have encountered over my years." "It is with an honest heart I hope to show that these beautiful children who have great hopes and goals and work every day to reach their dreams no matter how hard they must fight racisms and stereotypes placed on them for centuries. A child is an innocent, happy, precious part of the world that should be loved and accepted and encouraged no matter where or how they live."

Portraits are more than images of people—they're reflections of connection, presence, and intention. At their best, they capture not just appearance, but emotion, identity, and the quiet dynamics between photographer and subject. ​ In Portraits and Persons, Cynthia Freeland identifies three core elements of portraiture: a visible body, a sense of inner life, and the act of self-presentation. Together, these form the foundation for how we see—and are seen. ​ Praxis Gallery welcomes photographic portraits that explore these dimensions through craft, concept, and character—portraits that reveal something personal, poetic, or profoundly human. Guest Curated Exhibition by Sandrine Hermand-Grisel

“Giants: Art from the Dean Collection of Swizz Beatz and Alicia Keys” is a groundbreaking exhibition that marks the first major showcase of the Dean Collection, owned by renowned musicians and cultural icons Swizz Beatz (Kasseem Dean) and Alicia Keys. Organized by the Brooklyn Museum, “Giants” highlights nearly 100 significant works by Black diasporic artists, including Gordon Parks, Jean-Michel Basquiat, Lorna Simpson, Amy Sherald, and more. The exhibition reflects the Deans’ passion for supporting established and emerging artists while fostering important dialogues about art, culture, and identity. “Giants: Art from the Dean Collection of Swizz Beatz and Alicia Keys” is organized by Kimberli Gant, Curator, Modern and Contemporary Art, and Indira A. Abiskaroon, Curatorial Assistant, Modern and Contemporary Art, Brooklyn Museum. Image: Kwame Brathwaite. Untitled (Model Who Embraced Natural Hairstyles at AJASS Photoshoot), circa 1970, printed 2018. Pigmented inkjet print. The Dean Collection, courtesy of Swizz Beatz and Alicia Keys. © Kwame Brathwaite. (Photo: Joshua White / JWPictures.com)

Over the last four decades, image-editing software has radically transformed our visual world. The ease with which images and text can be digitally generated and altered has enabled new forms of creative experimentation, while also sparking philosophical debates about the very nature of representation. Digital Witness: Revolutions in Design, Photography, and Film examines the impact of digital manipulation tools from the 1980s to the present, for the first time assessing simultaneous developments and debates in the fields of photography, graphic design, and visual effects. Featuring over 150 works, the exhibition traces the emergence of distinctive digital aesthetic strategies, relationships to realism, and storytelling modes. The nearly 200 artists, designers, and makers in Digital Witness illuminate today's visual culture where digital editing tools are easier to access than ever before.

“Although the result is obtained by chemical means, the little work it entails will greatly please ladies.” So wrote one of photography’s inventors, Louis-Jacques-Mandé Daguerre (1787–1851), about his eponymous daguerreotype in 1839. Daguerre’s words, which associate women with idleness, are clearly misogynistic. Yet in a backhanded way, Daguerre predicted the pivotal role women would play in photography since its invention in the 1830s. Undaunted by photographic chemistry—and often neglected or derided by their male peers—women have made huge contributions to the development of the medium across a variety of genres. In the nineteenth century, photography was more accessible than established artistic disciplines like painting and sculpture because it was new and thus free from conventional training that historically prohibited women. It was relatively inexpensive to start and could be practiced at home with makeshift darkrooms set up in closets or bathrooms. Yet even with fewer barriers to entry, women faced their share of constraints in a male-dominated field. Expectations of gender often dictated the themes they could pursue, encouraging portraiture and still life rather than photographs of war and exploration. Women took up photography in increasing numbers in the twentieth century, and by the 1930s, some of the most successful photographers in the world included Margaret Bourke-White, Dorothea Lange, and Imogen Cunningham, all on view in this exhibition. Women in Focus, drawn from The San Diego Museum of Art’s permanent collection (which merged with the Museum of Photographic Arts in 2023), allows for a fuller account of the medium’s history by highlighting how women have shaped photography from the mid-nineteenth century to today. Image: Trude Fleischmann, Sibylle Binder (detail), ca. 1932. Gelatin silver print. Museum of Photographic Arts at The San Diego Museum of Art, Gift of Michael and Joyce Axelrod, M.1993.012.001. © Trude Fleischmann

Von Lintel Gallery is pleased to present Chloe Sherman’s photographs from her renowned series RENEGADES San Francisco: the 1990s. Sherman’s photographs provide an unparalleled look into San Francisco history as a queer cultural renaissance unfolded. In today’s political climate, where LGBTQ+ rights are increasingly under attack across the United States, Sherman’s photography is more relevant than ever. It offers a poignant reminder of the resilience and strength of queer communities during challenging times. By preserving these stories, the exhibition inspires younger generations to continue fighting for equality and safe spaces, while honoring those who paved the way. Chloe Sherman’s work reminds us that joy, creativity, and solidarity are acts of resistance. This series is a window into a time of revolution and change, demonstrating a frenetic energy in even the simplest moments. It captures a time when wayward youth, outcasts and artists could show up, join forces, make new rules, work little, and live free. Offering a view of history that is crucial to the culture of San Francisco, Sherman’s photographs are timeless and relevant. They serve as a compelling ode to a unique era in the city's queer history, with a familiarity that rings true now. Known for her keen eye and remarkable ability to capture raw emotions, Sherman's work transports viewers back in time, immersing them in the city's underground scene, activism, and innovative subcultures. As Sherman explains, “In the early 1990s, I began documenting a generation of young, self-identified queers in San Francisco's Mission District. Rent was affordable, community was palpable, and gay youth, artists, and free spirits migrated to the city to find each other. Women-owned bars, clubs, tattoo shops, galleries, and cafés proliferated, and cultural norms were eschewed in favor of a vibrant and resilient lifestyle. I was there as a new wave of feminism embraced gender-bending, butch/femme culture flourished, and transgender pioneers forged a new path.” Chloe Sherman’s work has been exhibited in galleries internationally, including a current Group show at SF MOMA, San Francisco, CA. Her work is held in public collections such as SFMOMA, San Francisco, CA, The National Portrait Gallery, Washington DC and The Addison Gallery of American Art, Andover MA. The artist lives and works in San Francisco. Sherman’s monograph, RENEGADES San Francisco: the 1990s, published by Hantje Cantz, will be available at the gallery. Image: Corner Store 14th & Guerrero St. San Francisco, CA 1996 © Chloe Sherman

The central importance of glass in the history of photography has often been taken for granted: a crucial material that has largely escaped commentary, as if hidden in plain sight. In 1851 English photographer Frederick Scott Archer invented the wet plate collodion, the first practical method for making photographic negatives on glass, which produced sharper and more densely toned pictures than paper negatives. By 1853, photographers had adapted the process for the ambrotype, which grew in popularity as a less expensive alternative to daguerreotypes. The introduction of dry-plate negatives in the 1870s made glass plates an easy-to-use and preferred material, which photographers continued to rely on into the 1930s. Similar technology enabled mass production of jewel-like slides for magic lantern shows, a popular form of visual entertainment into the early twentieth century. Today, contemporary photographers continue to utilize glass for its depth and beauty, as well as to ground their work in histories of photographic imagery. Delicate Sights spans the nineteenth century to the present day and includes works produced around the world. Works on display include glass based photographs from NOMA’s permanent collection, by such photographers as E.J. Bellocq and Joseph Woodson “Pops” Whitesell. Delicate Sights includes unique historical photographs on loan from the collections of Dr. Stanley B. Burns, Elizabeth A. Burns, and Jason L. Burns of New York. The exhibition concludes with an installation of ambrotypes by artist Felicita Felli Maynard that uses a historical process to make an important, contemporary intervention in the photographic record. All together, Delicate Sights is an invitation to consider how glass photographs have always made it possible to see our world more clearly. Image: Vueltiao, from the series Ole Dandy, The Tribute, 2018–ongoing, Felicita Felli Maynard, Ambrotype

Higher Pictures presents Susan Meiselas’ earliest series of photographs, 44 Irving Street 1970 – 1971, following its exhibition at Harvard Art Museums. This is the artist’s fourth solo exhibition with the gallery. In 1970, while still a student at the Harvard Graduate School of Education, Susan Meiselas was living in a boarding house at 44 Irving Street in Cambridge, Massachusetts. Boarding houses, like the one at 44 Irving Street, often began as large, single-family homes in cities or college towns. As average family sizes decreased and the socioeconomic makeup of neighborhoods changed, these homes were then divided up into smaller units while maintaining a shared kitchen, bathrooms, and common areas. As a result, each of the rooms at 44 Irving Street retained some of the home’s original single-family character. At Harvard, Meiselas enrolled in a photography course and chose to photograph her neighbors for a class project. Though she didn’t know any of them, she began knocking on their doors and asking to take portraits of them in their rooms. “The camera was this way to connect,” Meiselas remembers. Once she had developed the film, she would make contact sheets to share with her neighbors, initiating a dialogue about how they saw themselves. Their written responses, which Meiselas presented alongside the photographs, provide insights into their lives and how they felt the pictures did or did not capture them. By incorporating their perspectives into the work itself, Meiselas draws out a crucial tension between socially engaged photography as a historical genre and the subjects it purports to depict. The photographs and letters on view in this exhibition are the fruits of those exchanges. Though boarding houses are often transitory living spaces, Meiselas was drawn to the individuality and self-expression she discovered in each room. This comes across in the images themselves, which show her subjects at home and in situ, surrounded by their personal effects. In return, the letters they wrote are sometimes strikingly honest and revelatory, a written punctum—Roland Barthes’ term for something that pierces the viewer—as a counterpoint to the photographs. This series helped Meiselas develop her conception of “photography as an exchange in the world.” “It wasn’t about the formalism of photography,” she says, “It was about the narrative and the connectivity.” The exhibition is accompanied by the first monograph of 44 Irving Street, 1970-1971 by Susan Meiselas published in partnership with TBW books + Higher Pictures. The dates for the opening and book signing are to be announced during the run of the show. Stay tuned! Susan Meiselas (b. 1948) received her BA from Sarah Lawrence College and her MA in visual education from Harvard University. She was a 1992 MacArthur Fellow and is the recipient of a Guggenheim Fellowship (2015) and the Deutsche Börse Photography Foundation Prize (2019), among other awards. Mediations, a retrospective exhibition of Meiselas’ work, was initiated by the Jeu de Paume, Paris, in 2018 and traveled to eight venues including SFMOMA, San Francisco (2018); Instituto Moreira Salles, São Paulo (2020), Kunst Haus Wien, Vienna (2021); and C/O Berlin (2022). She has been a member of the photographic collective Magnum Photos since 1976 and has been the president of the Magnum Foundation since 2007. She lives and works in New York City.

Daniel Cooney Fine Art is honored to present “George Dureau: Photographs”, the gallery’s first exhibition of the late artist’s work and Dureau’s debut solo exhibition in Santa Fe, New Mexico. On view from May 31 through July 19, 2025, the show features 40 vintage black-and-white photographs spanning the 1970s through the 1990s, offering a rare and intimate view into the formal and emotional depth of Dureau’s celebrated practice. A lifelong resident of New Orleans, George Dureau (1930–2014) turned to photography in the 1970s, having previously established himself as a painter. His lens captured a deeply personal circle of friends, lovers, and fellow eccentrics, many of whom existed on the margins of society. Dureau’s photographs are known for their rigorous composition and profound empathy, portraying his subjects with dignity, tenderness, and heroic strength. While Dureau remains lesser known to the broader public, his work holds iconic status among artists, historians, and curators. His photographs are widely studied by a new generation of creative minds who revere not only his artistic mastery but also his radical inclusivity and compassionate worldview—qualities that feel more resonant now than ever. Dureau received his B.A. in Fine Art from Louisiana State University in 1952 and studied architecture briefly at Tulane University. His work has been exhibited internationally and is the subject of two monographs: George Dureau: The Photographs (Aperture, 2016) and George Valentine Dureau: Life and Art in New Orleans (University Press of Mississippi, 2025). Image: "Terrell Hopkins", 1987 © George Dureau

This exhibition reimagines the history of American photography, tracing its evolution from its inception in 1839 through the early 20th century. Showcasing works from The Met’s William L. Schaeffer Collection, it places celebrated photographers—including Josiah Johnson Hawes, John Moran, Carleton Watkins, and Alice Austen—alongside remarkable yet lesser-known practitioners from towns and cities across the nation. Through a diverse array of photographic formats, from daguerreotypes and cartes de visite to stereographs and cyanotypes, the exhibition highlights how photography swiftly shaped America’s cultural, artistic, and psychological landscape. More than a technological breakthrough, photography became a defining lens through which the nation saw itself, reflecting its transformation and identity. Even before the formal announcement of the medium’s invention, American essayist and philosopher Ralph Waldo Emerson astutely observed in 1835, “Our Age is Ocular,” foreshadowing photography’s profound impact on visual culture. Image: Unknown Maker, Young Man with Rooster, 1850s

Strange and Familiar Places presents 26 works from 10 contemporary photographers, offering fresh perspectives on rural life in the Midwest, South, and Western United States. These new acquisitions, displayed for the first time, showcase intimate photographs that explore the people, communities, and landscapes of these often-overlooked regions, challenging our preconceived notions of them. Great storytelling is at the heart of these works, where the sense of place is just as vital as character, symbolism, and plot. The artists draw inspiration from music, fiction, history, folklore, and the art of photography itself, creating poetic, evocative images. Their approaches vary, with some using a classic documentary style while others stage or carefully compose their photographs, offering new and sometimes surprising ways of seeing the world. Regardless of technique, each artist highlights the humanity of their subjects, deepening our understanding of place. The exhibition features work by Antone Dolezal, Terry Evans, Laura McPhee, Rahim Fortune, Holly Lynton, Elise Kirk, Kristine Potter, RaMell Ross, Bryan Schutmaat, and Lara Shipley. Image: Holly Lynton, American (b. 1972). Les, Honeybees, the Bosque, New Mexico, 2007 © Holly Lynton

Blur / Obscure / Distort: Photography and Perception brings together photographs that are linked by the common objective of disrupting the viewer’s sense of time, space, place, or scale. Sometimes considered errors, photographic blur, distortion, and obfuscation have also been important creative and aesthetic strategies adopted by artists since the medium’s 19th-century inception. Highlighting photographs from the Norton’s Collection and a selection of special loans, this exhibition points to the constructed nature of perception and, in turn, photography’s vulnerability to manipulation even when it appears to show what is “real.” Image: Jeff Brouws, Interstate 40, Blurred car, New Mexico, 1992

Process Work: Intersections of Photography and Print ca. 1825 to Today explores the development of photographic printmaking processes and traces its historical legacy into the present day. Starting around 1825, a widespread interest in reproducing visual information faster and more cheaply fueled an explosion of experimentation in photographic printmaking techniques, with wide-ranging effects across visual culture and the fine arts. This exhibition highlights those early experiments and innovations, as well as the culture of mass-market illustration and printed media into which they first unfolded. Across a presentation of over 40 historic and contemporary photogravures, collotypes, photolithographs and relief prints, this exhibition poses the question: What are the social, aesthetic, and technological possibilities that emerge from the marriage between photography and print, both then and now? Curated by Sarah Mirseyedi, Andrew W. Mellon Fellow for Prints, Drawings, and Photographs.

ARTISTS INCLUDED: Lucinda Bunnen | Keith Calhoun | Rosalind Fox Solomon | Jill Frank | Carlos Gustavo | Betty Press | Jared Ragland | Mark Steinmetz Growing up in the Deep South often feels like growing up in a different time or country. The unique landscape, history and ways of being stand apart from the monolith of mainstream culture. Viewed from the outside as backwards and lacking; stereotypes of southerness are inert, and fail to include the South’s true complexity, enduring charm, and diversity. The reality of the South is lived, active and chosen every day. There’s a colloquialism here that “pretty is as pretty does”, or in other words, pleasant behavior always outweighs pleasant looks. In this exhibition, featuring work from eight photographers collected by The Do Good Fund of Columbus, GA, each artist captures what we do—a farmer fashioning a scarecrow for his garden, parading dancers, or a brass band performing for a church service. These images convey the ways we live, with intricate layers of identity and belonging woven into the fabric of Southern life. These are decisive moments. Intimate portraits and landscapes alike embody the spirit of the South as lived and living. As Pretty Does celebrates ways of being, the familiar and unexpected alike. Through the lenses of these photographers, history and modernity intersect, and the ordinary becomes extraordinary. While not always traditionally beautiful, the allure, honesty, and unpredictability found in these everyday moments resonates like jazz through humid Southern air. This exhibition was curated by Micah Mermilliod for Alabama Contemporary in the fall of 2024 in partnership with The Do Good Fund, and is on view at the University of Alabama Gallery in Tuscaloosa. The Do Good Fund is a collection of contemporary, post World War II photographs capturing the rich culture in the Southeastern United States. Since 2012 this public based Georgia charity has collected works from Guggenheim Fellows and emerging regional artists alike, and stands as one of the most complete artistic views of modern Southern living. Image: Jessica, Athens, Georgia © Mark Steinmetz

This landmark show will present over 100 photographs by the Austrian-born photographer Trude Fleischmann (1895-1990), one of the most accomplished female photographers of the 20th century. The show, the first solo museum exhibition of the photographer’s work to be presented in the United States, will highlight Fleischmann’s groundbreaking career in Vienna during the 1920s and 1930s, as well as her influential work in the United States after her emigration in 1939. At just 25 years old, Fleischmann opened her own studio in Vienna and achieved great success as a photographer. She became known for photographing artists, dancers, actors, and other key cultural figures of the era. When the Nazis invaded during the 1938 Anschluss, she fled first to London and then to New York. She opened a studio just behind Carnegie Hall on 56th Street in 1940 and photographed many of the artists and intellectuals of the day, including Eleanor Roosevelt, Marian Anderson, and Albert Einstein. Lenders to the exhibition include the Wien Museum in Vienna, Austria, the New York Public Library, and private collectors. Importantly, it will also feature never-before-exhibited works from the Fleischmann and Cornides family collections, as well as the family collection of her student and life-long friend, photographer Helen Post (1907-1979). Together, these works provide an unprecedented and intimate view of the photographer’s personal and professional legacy. Image: Trude Fleischmann, Toni Birkmeyer Ballet in “Cancan,” Vienna, 1930, gelatin silver print. Lent by Michael Mattis and Judith Hochberg. © Trude Fleischmann

Joseph Bellows Gallery is pleased to announce its upcoming solo exhibition, Nan Brown: Trailers Collected. The show will run from June 7th through July 26th in the gallery’s Atrium space and will feature Brown's stunning typology of mobile homes. Her skillfully made, thiocarbamide-toned gelatin silver prints, in both 6 x 6 and 10 x 10 inch image size, are exceptionally beautiful, rendering many of these aluminum abodes with a radiant glow. Although some remain austere, sleek and unadorned, many showcase their quirky individuality through various exterior customizations, interior design and surrounding environments. Despite the limitations of space and construction of these modest homes, Brown's tightly-cropped images share their inhabitants' efforts for unique personalization and expression of identity. As a child, traveling across California, Nan Brown (American 1952 - 2013), was drawn, through her car window, to the otherness of the small, roadside communities and the dislocation of lone trailers. The artist comments, "From the side they are billboard-like and wonderfully two-dimensional. Their facades are of subtly beautiful tones and textures, a black and white photographer’s dream. The squares and rectangles of windows within the squares and rectangles of trailers, I trapped within the square camera format. The repetition of form causes people to look closely at each trailer for variation. Portrait-like, individual personalities are revealed, and later their fascination began to include the seeming license expressed in the treatment of the exteriors and yards". In the 1970’s Nan studied photography at the San Francisco Art Institute. She taught herself Ansel Adams’ Zone System, and was especially influenced by his philosophy of craft. While largely self-instructed, she has studied with Mark Citret, John Sexton, and Peter Goin, as well as Ansel Adams. Her work is in the permanent collections of Museum Fine Arts, Houston and the Southwest Museum of Photography. Recently, a complete set of her series, Trailers Collected, was acquired by the Special Collections Department at Stanford University's Art and Architecture Library.

Our tendency is to make something of the photograph, to try to say immediately what it means and how it works and why it is made. But these images are more disjunctive than that, and often frustrate our impulses. Though approaches to photographic abstraction are varied, the end results all deny the viewer a discernible reference to reality, defying the most conventional norm in photography. There is a tendency among photographers to rebel against the photographic norm and revel in the basic appeal of the unpredictable impact of abstract processes." —Lyle Rexer is an author, curator, critic, and columnist who lives in Brooklyn, New York and has taught at RISD and the School of Visual Arts in NYC. DEB DAWSON BRYAN GRAF CAROL EISENBERG TARA SELLIOS PAUL RIDER LUC DEMERS RUSH BROWN JOHN GINTOFF JOAN FITZSIMMONS CAROLINE SAVAGE ANDREW O’BRIEN BRENTON HAMILTON Image: Caroline Savage, Trees are Dancing, Alvin Ailey.

Joshua Parks is a southern-raised Black image-maker and cultural worker with Gullah Geechee and Gulf Coast Creole heritage. His work analyzes Afro-descendant communities in the Atlantic world, their relationship to land and water as the basis of subsistence, autonomy, survival, and collective memory, and how these elements influence social and cultural development. The Halsey Institute is proud to present Parks’s first solo museum exhibition. In his practice, Parks puts intentional relationships and storytelling first, using image as his medium for communication. Born in We: African Descendants of the Atlantic World explores the interconnectedness among communities of African descendants in the Lowcountry, the Caribbean, and West Africa through photography, film, and sounds of the Atlantic World. Bridging past and present, he presents a continuum of culture across time and space underscoring the resilience and ongoing evolution of African and Afro-descendant identities all while confronting and transcending the enduring legacies of slavery and colonialism. This exhibition is an invitation to see–not only with the eyes but with the spirit, as Parks shares with viewers the result of his early fascination with looking through hundreds of family photographs, seeing rather than reading about the past, the present, and undoubtedly the future of African people worldwide.

This exhibition is generously supported by the Wildcat Cove Foundation. The Center for Photographic Art is pleased to present Embracing Light, a unique two-person exhibition featuring the work of renowned fine art photographers Anne Larsen and John Sexton. They have been sharing a life together along with their passion for photography and exploring the land with large and medium format film cameras, for over thirty years. Their mutual devotion to the beauty of the handcrafted silver gelatin print, created in the traditional darkroom, lies at the heart of their artistic expression. Included in this exhibition, for the first time, will be a body of work they undertook over multiple photographic journeys exploring Venice, Italy. The exhibit will also include stunning images of the natural environment, as well as human-made subjects. For both photographers the use of light as it graces the subject, and its use throughout the photographic process, is essential. Though their palettes are different, both Anne's and John's prints share a common beauty and luminosity. Evan Russel, Curator at The Ansel Adams Gallery—which represents both Anne and John—offers this reflection on their work: “When looking at a photograph by Anne Larsen or John Sexton, I am immediately transported to an emphatic place of quiet light; there is a familiarity and fellowship with each subject regardless of its whereabouts or any notion of its prior existence. The darkest aspen forests glow, ice playfully masquerades as a sea of cumulus clouds, and the dazzling morning sun scattered through fog is shrouding. I feel connected, focused, and welcome. Emanating from the silver prints by both Anne and John is this tacit notion of truth; of genuine places communicating a sympathetic sublimity that is unique yet somehow universal to us all.” Image: Oaks in Fog, Sunrise, Carmel Valley, California ©John Sexton

Leica Gallery New York is thrilled to present LAST NIGHT, a solo exhibition of work by acclaimed photographer Landon Nordeman, on view from June 26 through July 27, 2025. Shot over the course of a decade, LAST NIGHT offers an instinctive, flash-lit look at the rituals of contemporary social performance—from inside the rarefied swirl of exclusive parties. With a visual language that embraces bold color, theatrical framing, and surreal timing, Nordeman captures the strangeness, humor, and spectacle—where socialites and superstars gather to celebrate the most beautiful things in the world… themselves. Working up close and among his subjects, Nordeman uses his camera and flash to make unexpected photographs of subjects well-practiced in performance. The result can be both abstracting and humanizing. Drawn to the alluring interplay of fashion and flesh, shadow and color, Nordeman discovers honest moments hidden in a world of artifice. He’s far more interested in making photographs that raise questions rather than offer answers. As he puts it, he is, like Eggleston, “at war with the obvious.” His aim is not to flatter but to reveal—to find something surprising amid the performance. A friend once described the look on his face while photographing a party as “ferocious glee.” Nordeman recognized the feeling instantly. “Something about the unresolved, comic, and at times bizarre tenor of human interaction at parties compels me to photograph. There are certain ingredients of a photograph that lead my eye around the juxtaposition—but mostly, I follow my instincts. I have an idea of what I’m looking for, but I only know it when I see it. “ LAST NIGHT is both a record and a reflection of a world on the verge. Of what, we don’t yet know. Collapse? Transcendence? Nordeman’s work asks, are we fiddling while the world burns or laughing in the face of oblivion? And is there really a difference?

Tomiko Jones is a multidisciplinary artist with roots here on Hawaiʻi Island. Hatsubon is an exhibition primarily of photographs that memorializes the Japanese ceremony of hatsubon, which marks the first anniversary of a loved one’s death and is traditionally held during the yearly ritual of Obon (or Bon), a Japanese Buddhist custom of honoring ancestors. The images in the exhibition delicately capture moments of grieving, healing, and saying goodbye through the ceremonies performed at three geographic sites of personal significance to the artist: along a river flowing through her father’s birthplace in Pennsylvania, the birthplace of her mother in Hawaiʻi (where her father is also buried), and California- the artist’s birthplace and the place where her parents met. The daughter of former sugar can plantation workers in North Kohala, Tomiko Jones called the area home at various points in her early life- having attended elementary school here and returning in her early 20’s. Jones has been living in the diaspora throughout her adult life while earning her Master of Fine Arts degree in Photography at University of Arizona before taking positions in academia around the continental US. Jones is now an Associate Professor of Art at University of Wisconsin-Madison, and has recently showcased her artwork in a solo exhibition at Center for Visual Art (Denver, CO).

Petals and Leaves brings together the work of selected photographers whose images reflect the delicate beauty and quiet strength of the natural world. From intimate close-ups of blossoms to wide shots of flourishing foliage, the exhibition offers a rich visual exploration of plant life in its many forms. Capturing everything from wild landscapes to carefully composed still lifes, the featured works highlight the ways in which flowers and leaves speak to the cycles of growth, decay, and renewal. Whether documented in quiet solitude or intertwined with human presence, these images reveal a reverence for nature’s detail and wonder. The selected photographers—chosen for their unique vision, technical excellence, and emotional resonance—offer a diverse range of perspectives. Their photographs collectively form a lyrical tribute to petals and leaves as symbols of fragility, resilience, and transformation.

Featuring works from the Addison’s extensive photography collection, this exhibition considers the dynamics of two beings sharing space, whether they be romantic partners, family members, close friends, rivals, strangers, or interspecies companions. Each image invites viewers to delve into the stories behind the expressions, prompting questions about the relationship, the context of the encounter, and the emotions at play. It takes two flints to make a fire. —Louisa May Alcott Drawn from the Addison Gallery’s permanent collection, this exhibition explores the dynamics of two beings sharing space. Whether they be romantic partners, family members, close friends, rivals, strangers, or interspecies companions, the joining of two creates an inevitable charge. This spark can manifest in many forms: a shared laugh between friends, the electric tension of rivals, the sudden eruption of violence among antagonists, a wary glance exchanged by strangers, or even the mysterious interpersonal interactions generated by staged scenarios. Each encounter is laden with unspoken narratives, as body language, facial expressions, and subtle social and psychological cues convey a world of emotions, thoughts, and stories. Photographs of these paired encounters—these instants of intersection—serve as powerful windows into narratives of shared experiences. Captured in a flash, they freeze time and encapsulate the essence of that conjoined moment. Each image invites viewers to delve deeper into the stories behind the expressions—legible and illegible, ingenuous and masked—prompting questions about the relationship, the context of the encounter, and the emotions at play. They remind us that behind every interaction—whether planned and momentous or seemingly random and negligible—lie myriad stories waiting to be explored, ultimately weaving a larger narrative of connection that transcends any single interaction of two bodies. Image: Wayne F. Miller, Father and Son at Lake Michigan, 1947

This selection of works from the Addison’s collection explores performance both as visual spectacle and as a way of investigating identity. Acrobats tumble and dancers leap across the first two galleries, revealing how the extravaganza of the circus, the drama of the theater, and the energy of dance have inspired artists across media. These ephemeral performances—from the breathtaking feats of trapeze artists to gestural movements of dancers—prompted creative strategies to preserve their dynamism in painting, drawing, photography, and printmaking. The emergence of modern dance and other performance-based art forms fueled parallel developments in visual media, particularly photography, as artists grappled with capturing the interplay between performer and audience, spectacle and spectators. In the second half of the exhibition, the focus shifts from public stages to private ones, examining the performance of the self. Through costume, roleplay, and shifting personas, the works reveal identity as fluid—an ongoing process of self-definition rather than a fixed state. In this section, artists embrace the freedom of performance to explore new identities and modes of expression, as well as challenge stereotypes and societal norms. Through their use of theatricality and artifice, these works underscore the constructed nature of all identities, inviting viewers to reflect on the roles we perform in everyday life. On and Off Stage includes works by Ida Applebroog, Charles Atlas, Gifford Beal, George Bellows, Nick Cave, Harold Edgerton, Hal Fischer, Glenn Ligon, George Platt Lynes, Barbara Morgan, Laurel Nakadate, Hunter Reynolds, Cara Romero, Cindy Sherman, and Lorna Simpson, among many others. Image: Sally Mann, New Mothers, 1989

Rebellion has long fueled resilience, igniting the courage to challenge norms and reimagine the standards of society. This exhibition explores how creativity becomes an act of defiance, questioning power structures and reshaping narratives. Rebellion describes deliberate acts of resistance that disrupt the status quo. Resilience is the strength to endure and rebuild in the face of adversity. This exhibition captures the interplay between art and resistance in two different ways: art as a form of resistance and the artistic documentation of rebellion. On one hand, there are works born from rebellion—pieces that challenge norms or confront injustice. On the other, there are images that capture the energy of rebellion and youth, reflecting the enduring spirit of defiance. The Art of Opposition was curated by Phillips Academy students enrolled in Art 400 Visual Culture: Curating the Addison Collection. The exhibition is on view in the gallery’s Museum Learning Center; as an active teaching space, it may sometimes be occupied by a class. Image: Bruce Davidson, New York City, USA, 1959. Gelatin silver print, 6 x 8 7/8 inches. Addison Gallery of American Art, Phillips Academy, Andover, MA, purchased as the gift of Katherine D. and Stephen C. Sherrill (PA 1971, and P 2005, 2007, 2010), 2012.71.46

Arthur and Anne Goldstein, whose collecting odyssey began with photography, donated nearly one hundred photographs to the Zimmerli Art Museum. This exhibition features thirty black and white photographs from the late twentieth-century including a rare, early self-portrait by Robert Rauschenberg, and one of Hannah Wilke’s performalist self-portraits with Donald Goddard from her series “So Help Me Hannah.” These works emphasize the role of photography within the larger context of avant-garde art, and are accompanied by portraits, landscapes, views of the city, scenes of everyday life, and photographs by artists who use the camera to invent new realities beyond the everyday. Image: Michelle V. Agins, James Baldwin introduces his new book "Evidence of Things Not Seen" at the home of Lerone Bennett in Chicago, 1983. © Michelle V. Agins

What makes a photograph emblematic of its time? A new exhibition at Howard Greenberg Gallery, exploring photographs from 1932 to 2012 that are rooted in their particular eras, will be on view from May 28 through July 31, 2025. Sign of the Times will present more than 30 works from major photographers including Bob Adelman, Edward Burtynsky, William Gedney, Frank Gohlke, Henry Gruyaert, Danny Lyon, Nathan Lyons, Vivian Maier, Mary Ellen Mark, Steve Schapiro, Ed Van Der Elsken, and Weegee. Sign of the Times serves as a poignant visual chronicle, freezing specific moments within the flow of history. Initially snapshots of their eras, these images have gradually accrued layers of significance, their meanings deepening and evolving with the passage of time. Collectively, the photographs on view coalesce into powerful and iconic reflections on the enduring struggles and triumphs of civil rights, the burgeoning waves of feminism, the stark realities of poverty, climate change, and other pivotal social and cultural forces that have shaped our world. Some images whisper the story of their time through subtle yet telling details – the sleek lines of a particular automobile, the distinctive character of a typeface on a storefront, or the unmistakable silhouette of a hairstyle. These visual cues act as quiet markers, anchoring the photographs firmly within their historical context. Other images, however, deliver their messages with a far more direct and assertive voice. Consider, for instance, Vivian Maier's 1971 photograph of a newsstand where an issue of LIFE boldly proclaims on its cover: "Saucy Feminist that Even Men Like" – a statement that encapsulates the shifting social dynamics and evolving perceptions of women during that era. Intriguingly, many of the messages embedded within these historical frames continue to resonate with profound relevance in our present day. In a stark 1963 photograph by Bob Adelman, the word "Equality" is etched onto the frosted window of a Freedom Riders bus. Similarly, a 1966-67 shot by William Gedney captures a couple seated on the trunk of a car in a seemingly ordinary parking lot, yet their silent protest is amplified by a hand-held sign emblazoned with the stark truth: "Under Paid." Anxieties and uncertainties echo in Steve Schapiro's 1966 photograph, where a woman reclines, engrossed in a newspaper whose screaming headline declares with chilling foreboding, "The Worst is Yet to Come." As curator David Campany has written, “A photograph can be a document and an imagining, a record and a possibility, all at the same time.” Sign of the Times is curated by the gallery staff with each member making a specific selection of three works. Image: The Worst is Yet to Come, New York, 1966 © Steve Schapiro

To see a highly selective survey of the best contemporary photography from Colorado and across the country, don’t miss CPAC’s 62nd Annual Juried Members’ Show. This tradition showcases CPAC’s talented community of over 700 members and provides artists with an important exhibition opportunity. Juror Anne Leighton Massoni, Executive Director of the Houston Center for Photography in Texas, selected photographs by 37 CPAC members to exhibit. She also selected 19 additional works for inclusion in the exhibition catalog and a tv slideshow in the gallery as a Special Mention subset. Members were selected from a pool of 206 photographers who submitted more than 1,000 images. At the Opening Reception and Awards Ceremony on June 28th, Anne will present her selections for Best in Show and two Honorable Mentions. The Best in Show winner will receive $400 and the image will be added to our Permanent Collection. The Director’s Choice winner will receive $150, presented by Samantha Johnston, CPAC Executive Director & Curator. All award winners will also receive an exhibition catalog. Dupuy Bateman IV, Josh Bergeron, Mat Bobby, Ross Borgida, Lynne Breitfeller, Jo Ann Chaus, Giles Clasen, Ron Cooper, Sophia Poppy Ericksen, Bryan Florentin, Susan R. Goldstein, Rob Hammer, Alexander Heilner, Kevin Hoth, Patricia Howard, Constance Jaeggi, Michael Allan Jones, Erin M. Karp, Katie Kindle, Alison Lake, Brady LaVigne, Ernie Leyba, Rodney Gene Mahaffey, Zach Miners, James Montague, Heather Oelklaus, James Olson, Jason Pendleton, Linda Plaisted, Allison Plass, Bob Rosinsky, Erin Schoepke, John Shelton, Steven Silvers, JP Terlizzi, Frank Varney, and Torrance York. SPECIAL MENTIONS John Bonath, Lynne Breitfeller, Thomas Carr, Jo Ann Chaus, Michael Chioran, Teri Figliuzzi, Nicola Huffstickler, Alison Lake, J. K. Lavin, Zoe Congyu Liu, Anthony Maes, Jason Pendleton, Sage Sankofa, John Shelton, Steven Silvers, Laurie Smith, David Thoutt, and Sherry Wiggins and Luís Branco. Image: Couple, BanHo, Vietnam, © Ron Cooper

This exhibition celebrates Black girls’ complex emotional lives as portrayed in a range of artworks, from portraits painted in the 1930s to twenty-first-century photographs. Resistance, hope, anger, defiance, curiosity, joy, anxiety, vulnerability, and exhaustion are some of the feelings seen on the faces of children who have been on the front lines of profound social changes such as the Great Migration, Civil Rights movement, Women’s March, and Black Lives Matter movement. Inexpression can also be a strategic refusal that makes space for freedom in an often-dangerous world. Artists featured include Jean-Baptiste Carpeaux, Frank Döring, Larry Fink, Edward Franklin Fisk, Baldwin S. Lee, Ralph Eugene Meatyard, RaMell Ross, Lorna Simpson, Alexandra Soteriou, Kara Walker, and Carrie Mae Weems. The Commonwealth Institute for Black Studies, part of African American and Africana Studies at the University of Kentucky, will host their 30th Annual Black Women’s Conference, “WE ARE THE CULTURE: A Symposium on Black Girls and Girlhood,” on March 7 – 8, 2025. Works on view are visual counterpoints to many of the themes studied as part of the symposium such as play, innovation, technical excellence, and global cultural connections. Image: Carrie Mae Weems, Mayflowers from the series May Days Long Forgotten, 2002, chromogenic print. Collection of the UK Art Museum, purchase: The Robert C. May Photography Fund.

The five groups of photographers in this exhibition worked collectively to capture the unique people, landscapes, and pace of life that distinguish Lexington, Kentucky. Maurice Strider collaborated with his students at Dunbar High School between 1934 and 1966 to create a rich archive of Black Lexington. Ida Nelson and Robert J. Long established Lafayette Studios in downtown Lexington to produce images for a range of commercial purposes between 1923 and 1959. The Lexington Camera Club was founded in 1936 and met regularly, often in room 208 at the UK Fine Arts Building, to encourage amateur photographers to develop more subjective uses for the medium. Their meetings continued for over thirty years with more than fifty members, and the club made its mark on photographic history with images that blend memory and imagination. In 2004, Marcie Crim, Jonathan Rodgers, David Schankula, and Richie Wireman began the Lexicon Project, a documentation of diverse communities in the city. Kurt Gohde and Kremena Todorova posted photographs and narratives on Facebook between 2020 and 2021 to facilitate connection in a time of social distancing.   This exhibition is presented in honor of Lexington’s 250th birthday celebration and features work from our Museum collection, University of Kentucky Special Collections, and the Kentucky Room at the Lexington Public Library.  Image: Ralph Eugene Meatyard, Christopher and the Rebuilding of America from Portfolio Three: The Work of Ralph Eugene Meatyard, 1959 (printed 1974), gelatin silver print. Collection of the UK Art Museum, Robert C. May Bequest.

Navigating the Waves: Contemporary Cuban Photography traces the evolution of photography in Cuba from the 1960s to the 2010s. The exhibition looks at contemporary Cuban photography from its role in promoting the Cuban Revolution after Fidel Castro’s 1959 overthrow of the Batista government to engaging in social and political critique following the 1991 collapse of the Soviet Union. In subsequent years, Cuban photographers created powerful personal expressions by exploring individual identity, the body and spirit, Afro-Cuban heritage, and the margins of society, all while navigating the changing prescriptions and proscriptions of official cultural policy. Showcasing 100 images, Navigating the Waves: Contemporary Cuban Photography celebrates the Museum's acquisition of some 300 photographs from Chicago-based collectors Madeleine and Harvey Plonsker. Image: Alberto Korda, Heroic Guerrilla (Guerillero heroico), 1960, printed 1995, gelatin silver print, the Museum of Fine Arts, Houston, museum purchase funded by Dan and Mary Solomon. © Estate Alberto Korda

The Bronx Documentary Center (BDC) will hold its 8th annual Latin American Foto Festival (LAFF) from July 10 – August 3, featuring large-scale photographs by both emerging and established, award-winning photographers. This year, the festival exhibitions will be on view at the Bronx Documentary Center and throughout the Melrose neighborhood in the South Bronx from July 10-20. Select outdoor exhibitions will then travel to additional community spaces across Manhattan, Queens, and Brooklyn where they’ll be on view through August 3. El Bronx Documentary Center (BDC) celebrará su 8º Festival Anual de Fotografía Latinoamericana (LAFF) del 10 de julio al 3 de agosto, con exposiciones de gran formato de fotógrafos emergentes y consolidados, muchos de ellos galardonados. Este año, las exposiciones del festival podrán verse en el Bronx Documentary Center y en todo el vecindario de Melrose, en el sur del Bronx, del 10 al 20 de julio. Algunas de las exposiciones al aire libre se trasladarán después a espacios comunitarios en Manhattan, Queens y Brooklyn, donde estarán en exhibición hasta el 3 de agosto. Image: Miradas. Angeles Torrejón, 1994. © Bats’i Lab

Just over 20 years ago, scientists introduced the term Anthropocene to denote a new geological epoch marked by human activity. Comprised of 44 photo-based artists working in a variety of artistic methods from studios and sites across the globe, Second Nature: Photography in the Age of the Anthropocene explores the complexities of this proposed new age: vanishing ice, rising waters, and increasing resource extraction, as well as the deeply rooted and painful legacies of colonialism, forced climate migration, and socio-environmental trauma. Since its emergence, the term “Anthropocene” has entered the common lexicon and has been adopted by disciplines outside of the sciences including philosophy, economics, sociology, geography, and anthropology, effectively linking the Anthropocene to nearly every aspect of post-industrial life. Organized around four thematic sections, “Reconfiguring Nature,” “Toxic Sublime,” “Inhumane Geographies,” and “Envisioning Tomorrow,” the exhibition proposes that the Anthropocene is not one singular narrative, but rather a diverse and complex web of relationships between and among humanity, industry, and ecology—the depths and effects of which are continually being discovered. Artists include: Sammy Baloji, Adrián Balseca, Matthew Brandt, Edward Burtynsky, María Magdalena Campos-Pons, James Casebere, João Castilho, Elena Damiani, Gohar Dashti, Sanne De Wilde, Andrew Esiebo, Gauri Gill, Noémie Goudal, Todd Gray, Acacia Johnson, Mouna Karray, Robert Kautuk, Rosemary Laing, Sze Tsung Nicolás Leong, Anna Líndal, Inka Lindergård and Niclas Lindergård, Pablo López Luz, Dhruv Malhotra, Laura McPhee, Gideon Mendel, Hayley Millar Baker, Joiri Minaya, Aïda Muluneh, Léonard Pongo, Meghann Riepenhoff, Cara Romero, Anastasia Samoylova, Camille Seaman, David Benjamin Sherry, Toshio Shibata, Sim Chi Yin, Thomas Struth, Danila Tkachenko, Rajesh Vangad, Letha Wilson, Will Wilson, Yang Yongliang, Zhang Kechun. Image: Todd Gray, Cosmic Blues (Makes Me Wanna Holler), 2019. Four archival pigment prints in artist’s frames, UV laminate; 60 1/4 x 84 1/4 inches (153 x 214 cm). Collection of Bill and Christy Gautreaux, Kansas City, Missouri. © Todd Gray 2019. Courtesy of the artist and David Lewis, New York. Photo by Phoebe D’Heurle.

Imagining Black Diasporas: 21st-Century Art and Poetics explores artistic connections among 60 contemporary artists across Africa, Europe, and the Americas. As one of the first exhibitions and catalogues to survey nearly 25 years of Black artistic production, this project introduces new LACMA acquisitions and broadens the Pan-African exhibition narrative—historically centered on the Black Atlantic—by highlighting artists from the Pacific Rim. Featuring nearly 70 works spanning painting, sculpture, photography, works on paper, and time-based media, the exhibition is structured around four key themes: speech and silence, movement and transformation, imagination, and representation. The accompanying catalogue includes original poetry, continuing the longstanding tradition of poetry as a vital force in Pan-African discourse. While diaspora is often framed as a displacement from origins, this exhibition redefines it as a dynamic space of reinvention and creativity. Through their aesthetic choices, the artists in Imagining Black Diasporas offer profound reflections on identity, existence, and the power of artistic expression. Image: Arielle Bobb-Willis, New Jersey, 2019, Los Angeles County Museum of Art, Ralph M. Parsons Fund, photo © Museum Associates/LACMA

“Paris is a city that has ignited the passions of artists for centuries. From painters and sculpturers, to writers, dancers, and musicians, Paris rewards all forms of efforts to memorialize her. From the early 1900s, the camera has allowed a new breed of artists to add their voice to describe this world city. I have been lucky to “see” Paris over three decades and twenty plus visits. With my camera and a good pair of walking shoes, I am attempting to add my efforts to take you to this city and show you a few frames of what I have seen. My photographs reflect my personal vision and perhaps will inspire a smile or a pause in your day and a conversation later. Take a small journey with me, find a story or two with my images.” ~ Marc McVey

Expand and Contract: AI and Alternative Processes is an international group exhibition that features artists who turn to AI as part of their production process, and, at times, as a creative generator that expands the scope of conceptual experimentations. Exhibiting Artists Aurora Wilder (Jennifer Pritchard, Patrick Corrigan and Dall-E), Dana Bell, Adam Chin, Ann Cutting, Hillerbrand+Magsamen, Liron Kroll, Lev Manovich, Osceola Refetoff. Expand and Contract: AI and Alternative Processes posits that generative AI technologies could be considered as the most recent addition to the world of photographic alternative processes, alongside cyanotypes, daguerreotypes, or albumen prints. Perhaps we can think about it as our era’s version of cameraless photography. This international group exhibition features artists who turn to AI as part of their production process, and, at times, as a creative generator that expands the scope of conceptual experimentations. Technological developments hasten pronouncements regarding the death of photography every few decades, with the most recent trigger being digital innovations, such as digital cameras and image editing software. And yet, photography persists. In fact, it continues to re-define how we engage with one another, imagine ourselves and our place in the world. Most recently, AI caused an uproar among visual practitioners, as machines have been trained to create images using images produced by humans who were not paid for services unknowingly provided. Moreover, AI seems to pose a threat to human agency. As we wait for governments to sort the legal implication, perhaps we can focus on the human agency part: What if we flip that narrative? What if we think of AI as a tool, rather than a threat? The participating artists have been exploring its capabilities from a variety of perspectives. AI allowed Liron Kroll to address gaps she identified in her childhood family album. Working with the likeness and voice of her children, she not only completed the past, but she also created unexpected documentation of the future. Media theorist and visual artist Lev Manovich uses AI to imagine what the past could never provide him: A model for an idea Soviet city in the 1960s (shown above), or a library of writings that were never created. For both, AI is a pathway to a past that could never be, but should have existed. Image: Liron Kroll, Girl with bike

Lynn Stern, the convention-defying, New York-based, American photographer, has pushed the boundaries of photography during her 47-year career. Her work is intimately tied to the history of the photographic medium through her innovative use of natural light, still life, and large-format cameras and film. Stern’s works in the Obscura Gallery exhibition, Echoes of Light, are luminous examples of her innovation. Using natural light and a scrim between the camera and her still life subjects, she veils her subject matter to create a translucence that fills her images with soft light. As a result, in both the Quickening and Force Field series, Stern highlights only the edges of her objects with a stroke of a shadow on a white background. With this innovative use of light her images resemble charcoal drawings. Indeed, a viewer who doesn’t understand that a camera made these images might assume Stern creates her work with pencil and paper. Influenced by abstract expressionist painting but working as a lens-based photographer, Stern defies the expectations central to photography by pulling away from the sharp focus, instead blurring, veiling, cropping, partially obscuring, and otherwise de-literalizing what is in front of her lens. “My photographs are not about what they are of…. I believe that photography is a medium of light, not representation. Light is to photography as paint is to painting. I think like a painter in that my concerns are largely formal: my aim is to create tension, plasticity, texture, and, especially, spatial ambiguity in which figure (or abstract form) and ground seem to merge with The exhibition includes works from three bodies of work: Quickening, Passages, and Force Field. In Quickening, Stern placed glass bottles and circles behind a scrim, then manipulated both the objects and the scrim to create a sense of quivering movement between the objects. “The images have a dramatic luminosity and feel fleeting – as if they have suddenly come to life and could disappear at any moment,” says Stern. In Force Field, Stern placed cubes behind the scrim in such a way that the objects’ edges touching the scrim were sharp, while their bodies blurred, seeming to emerge from indeterminate space. Framed more tightly than in Quickening, and with more densely juxtaposed forms, Force Field images produce a feeling of unified, soft structure, charged with light and energy. The exhibition also includes two earlier series, Dialogues in Light and Unveilings made in 1985. Dialogues in Light marks Stern’s first experiments with the white scrim, using different types of natural light and various types of flowers. In this series, Stern noticed that the flowers’ images were elegant and poignant, generating an emotional response. Pursuing this emotional feeling led Stern to a new series titled Unveilings, in which she sought to create a dialogue between figure and ground, manipulating the scrim to create what she calls a ”charged” composition in light and shadow. The varying stances of the anemone - the curvature of the stem, the turned backs, profiles or fully open petals, their translucency or lack thereof -- become metaphors for vulnerability. Stern’s work has been exhibited in numerous exhibitions in the United States and Europe, and is in such public collections as the Brooklyn Museum of Art; the Herbert F. Johnson Museum, Cornell University; the Los Angeles County Museum of Art; the Museum of fine Arts, Houston; the Portland Art Museum (OR); the Victoria and Albert Museum; the Whitney Museum of American Art; and the Yale University Art Gallery. Six monographs of Stern’s work have been published: Skull (New York: Thames & Hudson, 2017); Frozen Mystery: Lynn Stern Photographs 1978-2008 (Fundación Cristóbal Gabarrón / Center for Creative Photography: 2009); Veiled Still Lifes (exhibition catalogue, 2006); Animus (Tucson: Nazraeli Press, 2000); Dispossession (New York: Aperture, 1995), "Highly Commended Book," 1995 Ernst Haas Awards; and Unveilings, with a forward by Paul Caponigro, (New York: Hudson Hills Press, 1988). Stern was co-editor of Photographic INsight from 1990-1993. She was the organizer and moderator of a two-evening symposium held at New York University in 1991 titled "Examining Postmodernism: Images/Premises" and in 2016 moderated a discussion titled “Perceptual/Conceptual: How Does Art Nourish Us?” in New York. The Lynn Stern Archive is located at the Center for Creative Photography, Tucson.

As the fiftieth anniversary of the eruption of the Lebanese Civil War approaches, Lebanon continues to suffer the long consequences of instability. Decades of domestic conflict, precarious peace, corrupt governments, and civilian protest culminated in the August 4, 2020, Port of Beirut explosion, plunging the country into a socio-economic abyss. Amid Lebanon’s tumult, photographer Rania Matar (b. 1964, Lebanon) continues her practice of capturing portraits of young women persisting in uncertain times. Instead of focusing on the devastation associated with her country and the wider region, she trains her lens on young Lebanese women to forefront their creativity, strength, dignity, and resilience. In her latest body of work, Where Do I Go? (2020 – ongoing), Matar collaborates with the young women of Lebanon to collectively commemorate the present and reimagine the future of a country defined by half a century of conflict and catastrophe. Matar photographs her subjects, who choose the locations themselves, before symbolic backdrops like the Mediterranean Sea, the craggy peaks of Mount Lebanon, the traditional and modern buildings of Beirut, and the country’s many layers of destruction and abandonment, weaving the women, the land, and the architecture into a tapestry of beauty and anxious promise. The artist was twenty years old when she fled the war in Lebanon to study in the United States. As she photographs these young women, her empathic eye sees their hopes, pains, dreams, fears, and dilemmas as they consider what future Lebanon might offer to them amidst the largest wave of emigration from the country since her own departure. These photographs speak to a universal moment of anxiety in the face of political and economic uncertainty and global unrest. At a time when the global status of women is newly precarious, Matar reveals the resilience, strength, and creativity of a society as exemplified by the grace, beauty, and resilience of its women.

The Hood Museum of Art will present the first major solo museum exhibition of photographs by Chemehuevi artist Cara Romero, titled Cara Romero: Panûpünüwügai (Living Light). The exhibition will be on view at the Hood Museum from January 18 through August 10, 2025, and will feature over 50 works, including several never-before-seen photographs, and site-specific installations that will invite the viewer behind the scenes to experience the sets of Romero's most iconic photographs. An exhibition catalogue co-published by the Hood Museum of Art and Radius Books will be released in June 2025. The exhibition is curated by Jami Powell, Associate Director of Curatorial Affairs and Curator of Indigenous Art at the Hood Museum of Art. Says Romero, "The Hood Museum of Art under the leadership of curator Jami Powell and director John Stomberg is an excellent example of how an American museum can create meaningful and positive impacts on Native community, representation, and living artists. When offered my first major solo show to commence at the Hood, I cried because I never imagined this was possible for a Native woman photographer in her 40s. I am so honored to collaborate with this institution and the people making it a major force in sidelining preconceived notions about Native American art." Adds Powell, "Cara Romero is an immensely generous storyteller, and her images invite people into complex and transformative dialogues about the histories and lives of Indigenous peoples. Romero's photographs provide opportunities for audiences to recognize the humanity of Native Americans and Indigenous peoples and ask questions they might otherwise be afraid to ask." Image: Cara Romero, Zenith, 2022 © Cara Romero

This exhibition features thirty-five photographs—self-portraits or portraits of other artists—which reflect radically new propositions for what a portrait might be. They foreground the idea that identity is fluid, bodies are malleable, and strangeness is common. Whether confessional or slyly secretive, each of these photographs offers new revelations to the viewer. Working against systems meant to define, categorize, and normalize, these artists have reclaimed the portrait to express themselves and realize a vision of self otherwise foreclosed. Strangers are not entirely unknown, rather they arrive unexpectedly and often disrupt expectations. An exchange of gazes—inquiring glances, defiant smirks, vulnerable stares—typically accompany such encounters. Since the advent of photography in the 1840s, artists have used the camera to portray themselves and others. Traditional aesthetic conventions guided many early photographers, though over time new approaches emerged from diverse historical contexts. The artworks in this exhibition—self-portraits or portraits of other artists—reflect radically new propositions for what a portrait might be. They foreground the idea that identity is fluid, bodies are malleable, and strangeness is common. Whether confessional or slyly secretive, each of these photographs offers new revelations to the viewer. Working against systems meant to define, categorize, and normalize, these artists have reclaimed the portrait to express themselves and realize a vision of self otherwise foreclosed. Collectively, they ask us to consider: How do we communicate the undeniable reality of our bodies and the stories they tell about us? What does it look like to come into being, to materialize—just as a photograph develops—within as well as outside the strictures of social norms? Hello, Stranger was co-curated by Isa Cruz ‘27 and Frank Goodyear, co-director, Bowdoin College Museum of Art, and supported by The Riley P. Brewster ’77 Fund. All works in this exhibition have been generously donated to the Bowdoin College Museum of Art by David and Gail Mixer. Image: Grete Stern and Ellen Auerbach (ringl + pit), Walter & Ellen Auerbach, London, ca. 1934, vintage silver print on paper. Bowdoin College Museum of Art, Brunswick, Maine. Gift of David and Gail Mixer. © ringl + pit, courtesy Robert Mann Gallery

Pace is pleased to present an exhibition of work by Trevor Paglen at its 540 West 25th Street gallery in New York. On view from June 26 to August 15, this focused presentation will feature photographs of novel aerial phenomena captured by the artist in the American West over the last two decades. Bringing together a selection of prints and polaroids, this show will explore the relationships between UFO (Unidentified Flying Object) sightings, Artificial Intelligence, and the rise of disinformation in today’s media environment—which has all but obliterated the notion of ‘truth.’ As Paglen has said, we live in “a historical moment wherein our relationships to text, images, information, and media are being entirely upended,” and UFOs, deployed by the US military and intelligence agencies as psychological instruments since the 1950s, “blur lines between perception, imagination, and 'objective' reality, whatever that may or may not be.” The artist, whose rigorous practice spans photography, sculpture, video, and installation, is known for his investigations of invisible phenomena and forces, including technological, scientific, socio-political, and historical subjects. Through his work, Paglen has explored Artificial Intelligence, surveillance, data collection, and militarism in America, meditating on the ways these issues influence modes of perceiving and relating to the natural world—from the landscapes of the US to the cosmological realms beyond the Earth. “UFOs live in the latent space between the material, the sensible, and the perceptual,” Paglen said of his enduring interest in the history of UFO photography. “They inhabit the crossroads of fear, desire, logic, and hope. They produce communities of believers and debunkers, and dreams of divine salvation, endless energy, impossible physics, dark conspiracies, and existential fears.”

Guest curated by Wendy Ewald, Susan Meiselas, and Laura Wexler, along with Kristin Taylor, MoCP Curator of Academic Programs and Collections This exhibition will feature works in the MoCP permanent collection that are included in the recent and groundbreaking publication titled Collaboration: A Potential History of Photography. The book was created by a group of artists, art historians, activists, and scholars—Ariella Aïsha Azoulay, Wendy Ewald, Susan Meiselas, Leigh Raiford, and Laura Wexler—and published by Thames and Hudson in 2024. It is an extension of a project that these five authors have collaborated on for over ten years, in which they reassess a range of photographs and projects that portray stories of humanity and social movements to decenter the photographer as the only author of the image, and to emphasize the act of photographing as an inherently collaborative process in which many parties are involved. By sharing both artists’ statements and excerpts from interviews with people depicted in photographs, they question whether memories align: Did both sides remember the moment in the same way? How did the photographed feel about the photograph’s life after it circulated through art markets, print media, and online? And what role might the photograph have played in perpetuating harmful or liberatory narratives about specific histories, places, or individuals? The works—both historical and contemporary—are presented in clusters focused on topics, to highlight and propose questions about photographed moments of coercion, friendship, exploitation, community, and violence. The exhibition will also feature a reflection space for the audience engagement, as part of the project’s ongoing effort to consider the history of photography as a living and evolving entity that is unfixed and expanding as we learn more about the people, communities, and histories that images depict. MoCP is supported by Columbia College Chicago, MoCP Advisory Board, Museum Council, individuals, private and corporate foundations, and government grants. The 2024–2025 exhibition season is sponsored in part by the Efroymson Family Fund, Henry Nias Foundation, The Rowan Foundation, Phillip and Edith Leonian Foundation, Pritzker Traubert Foundation, Comer Family Foundation, and Venable Foundation. This project is partially supported by a CityArts grant from the City of Chicago Department of Cultural Affairs and Special Events. MoCP acknowledges support from the Illinois Arts Council. Image: Wendy Ewald, Self-portrait reaching for the Red Star sky –Denise Dixon, from the “Portraits and Dreams” series, 1975-1982

In 1962, Joel Meyerowitz (b. 1938, The Bronx, New York; lives and works in London, England) made a life-changing decision to become a photographer. His unwavering commitment was perfectly suited to the camera, an instrument that captures fleeting moments of time and space with precision, freezing them into a permanent frame. This exhibition celebrates the NSU Art Museum Fort Lauderdale’s dedication to photography, spotlighting its recent acquisition of over 1,800 works from Meyerowitz’s archive. The artist is renowned for his early adoption of color photography in 1962, a move that helped pave the way for the medium’s acceptance in the art world. Meyerowitz’s expertise is evident in both the vibrant, immersive qualities of his color photographs and the subtle yet powerful nuances in his black-and-white prints. His true significance, however, lies in his exceptional ability to capture the perfect moment when shifting patterns, expressions, and light converge to form a complete image. His first major recognition came in 1964, when MoMA’s Director of Photography, John Szarkowski, included Meyerowitz in the influential exhibition *The Photographer’s Eye*, which also featured pioneers like Eugène Atget, Henri Cartier-Bresson, and Robert Frank. Meyerowitz was placed in the section titled “Time Exposure,” a nod to his masterful handling of time within his work. Now, nearly six decades later, Meyerowitz’s work continues to resonate through its exploration of what Cartier-Bresson referred to as “the decisive moment.” This exhibition offers a chronological and thematic exploration of Meyerowitz’s oeuvre, allowing viewers to experience how his visual language has evolved over time, reflecting the fluidity of the present moment. This evolution builds on Szarkowski’s insight that a photograph captures only the time in which it was taken, referencing the past and future through its presence in the present. Additionally, the exhibition includes a selection of 'work prints' that highlight the temporal nature of photographic prints themselves. These prints reveal the impermanence of the medium, showcasing how some colors fade over time while others endure. The inclusion of prints bearing Meyerowitz’s personal annotations, along with multiple iterations of the same image, provides an intimate glimpse into the artist’s studio process, allowing viewers to trace his journey toward perfecting each image. Image: Joel Meyerowitz, Florida, 1978, 1978, Vintage RC print, 11 x 14 inches (27.9 x 35.5 cm), NSU Art Museum Fort Lauderdale; Gift of an anonymous donor.

Photographic Center Northwest (PCNW) is pleased to present our 2025 Thesis Exhibition, celebrating this year’s graduates of the Certificate Program: Martin Dorn, Keylor Eng, Victoria Hunter, and Holly Pendragon. This exhibition marks not only the culmination of the 53-credit program and presentation of a year-long project for these individuals but introduces a new generation of Northwest artists. The PCNW Certificate Program offers a technically and creatively demanding curriculum delving into the history, theory, and practice of creating photographic work. During their studies students develop their own style of photography, engage in critical discussion, establish their work within a historical and contemporary photographic/fine art context, and build the foundation to sustain their creative practice.

I would like to begin by thanking the many photographers who shared their work with me as part of this process. It was a tremendous pleasure to see such interesting and inspiring work; there was much more great work than I could possibly include. I want to acknowledge the trust and vulnerability that is required for artists to provide their artwork to a juror and allow their personal expressions to be reviewed; I am grateful for the opportunity to be enriched by the dedication and creativity of HCP's members. My approach to this exhibition was first to review all the works submitted and let the photographic themes emerge. After thinking about what had been shared, it seemed that there were two primary impulses. One was about asserting presence, a kind of activism of visibility. In the works I saw protest, strength, joy, and sorrow. The photographs stated, "I am here. We are here. We take up space. Our values matter. Through art we can create a presence to validate our unique perspectives and experiences." The range of issues depicted was expansive. Photographers communicated about Queer visibility; environmental change and the threat of fire; immigrant experiences and national identity; Black joy; non-normative male beauty and masculinity; violence against women; space simulation; and motherhood. Together the photographs create a chorus of voices. The other primary impulse was to explore beauty and wonder through photography and the particular magic of our medium. Here there were experiments with different processes and materials; the embrace of light and the many unexpected and dynamic things that happen when it passes through a lens; the true lusciousness of color and the way photographic materials record them; the beauty of photographic degradation and decay; the invitation of abstraction to engage with what might be happening; the depiction of movement; and the exploration of the limits of the photograph. Many photographs fit into both categories: infused with assertion, validation, and visibility combined with the magic and beauty of photography. I hope you enjoy the exhibition as much as I enjoyed getting to know the work! Dr. Rebecca Senf, Juror, Chief Curator at the Center for Creative Photography at the University of Arizona, Tucson, AZ Image: © Oskar Alvarado

We are thrilled to announce the artists of the 31st Annual Juried Members Exhibition. After selecting 68 images from almost 1500, from over 300 artists submitted, we are pleased to announce the members who will be featured on the walls of the Griffin Museum this summer. Stephen Albair, Julia Arstorp, Robert David Atkinson, Robin Bailey, Diana Bloomfield, Sally Chapman, Diana Cheren Nygren, Julia Cluett, Donna Cooper, Donna Dangott, Sandi Daniel, Adrienne Defendi, Becky Field, Preston Gannaway, Steve Goldband & Ellen Konar, Donna Gordon, Joe Greene, Jackie Heitchue, Judi Iranyi, Susan Isaacson, Marky Kauffmann, Susan Keiser, Lali Khalid, Karen Klinedinst, Brian Kosoff, Alison Lake, Celia Lara, Jeff Larason, Phil Lewenthal, Susan Lirakis, Landry Major, Fruma Markowitz, Cheryl Medow, Carolyn Monastra, Judith Montminy, C.E. Morse, Jim Nickelson, Charlotte Niel, David Oxton, Allison Plass, Robin Radin, Mary Reeve, Astrid Reischwitz, Nancy Roberts, Lee Rogers, Gail Samuelson, Gordon Saperia, Jeff Sass, Mari Saxon, Jeff Schewe, Li Shen, Anastasia Sierra, Frank Siteman, Stephanie Slate, Cynthia Smith, Janet Smith, Vanessa R. Thompson, Vaune Trachtman, Leanne S. Trivett, Leslie Twitchell, Terri Unger, Alan Wagner, Anne Walker, Suzanne Theodora White, Thomas Winter, Torrance York, Michael Young and Yelena Zhavoronkova Announcements about award winners will be made in July. Join is for the opening reception on July 11th from 6 to 8pm. Our juror will be in attendance. Thank you to Ann Jastrab from Center for Photographic Art, Carmel for a beautiful exhibition.

The Griffin is pleased to present the work of Alina Saranti as part of our celebration of our member artists. Ms. Saranti was included in our 30th Annual Juried Members exhibition, winning the Directors Prize. In my project “Far From” I want to make visible what landscape photography can look like for a female photographer with child rearing responsibilities. I combine landscape photographs of the American West with embroidery to challenge the masculinity of traditional landscape photography and the myth of the West. Landscape photography was traditionally dominated by male photographers as it was deemed unsafe and impractical for women who were constrained to the domestic sphere, close to their housekeeping and child rearing duties. The myths of the American West, its rugged, open, wild landscape have also been closely associated with macho masculinity, the idea of the independent, tough man, ready to draw on his weapon, to conquer and defend the land. Landscape photography also contributed to the history of conquest of the West with its role in surveying and controlling.Embroidery, on the other hand, has been traditionally labelled as women’s work. It has been seen as something that women can do within the safety of the home, producing artifacts to decorate its interior, keeping them out of harm’s way and out of trouble, compatible with their domestic duties and especially child rearing as it can be put aside and resumed at will. Landscape photography was deemed too far, too dangerous, too incompatible with being a woman. Things have changed and landscape photography is open to female photographers now. Or is it? I made the black and white landscape photographs used in this project at the fringes of family trips. I embroidered them in the safety of my home, between school drops offs and pickups, kids’ illnesses, and school holidays, often with children in the same room, the work repeatedly interrupted and resumed. I am drawing on the history of embroidery as both a symbol of female submission and a weapon of resistance for women, and overlaying that to the masculinity of landscape photography and the American West. Stitching usually has to do with mending or embellishing; my marks are the feminine overlaying the masculine, they are imposing on it, cracking it open, splitting it apart, growing into it. About Alina Saranti – Alina Saranti is a Greek photographic artist currently living in Los Angeles, having also lived in the UK and Turkey. Her work begins autobiographically and explores the synergies and tensions between text and image, the physical alteration of the photographic print, as well as themes of motherhood, place, our inner and outer landscapes, the personal and political. After a ten-year career in journalism in Athens and London, writing mainly about international politics, she has shifted her focus to telling stories through photographic projects. Saranti received a BA in Philosophy, Politics and Economics from St Edmund Hall, University of Oxford, an MSc in International Relations from London School of Economics, and an MA in Photojournalism and Documentary Photography from London College of Communication, University of the Arts London (Distinction). Saranti has won Director’s Prize at the Griffin Museum’s Annual Juried Members Exhibition, Honorable Mention at the Julia Margaret Cameron Award and at the Los Angeles Center of Photography’s Annual Members Exhibition. She has exhibited in galleries and museums in Athens, Barcelona, Boston, Calgary and New York. Her work has been featured in numerous publications including The Boston Globe, Opt West, Aesthetica Magazine, Source, Black River Magazine, Global Zoo Zine, and the Imagined Landscape Journal.

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.

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.

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.

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 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

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.

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 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.

Fade to West is a photographic exhibition that brings together the visionary work of Paul Jasmin and Todd Weaver—two artists who have made tangible the fleetingness of Los Angeles’s beauty and sunsets. Though neither artist was born in California, both were drawn to a city as radiant and restless as them. Now deeply rooted in its culture, they embody its essence—capturing not only its landscapes and people, but its elusive atmosphere. The exhibition pairs Jasmin’s evocative portraits and cinematic vignettes with Weaver’s ethereal scenes of nature, offering a dual portrait of a place defined by light, youth, and transience. Jasmin helped define the visual language of Los Angeles, staging moments of youth and intimacy against the soft glow of the city’s ambient warmth. His photographs are imbued with compassion and quiet curiosity, revealing a version of the city that feels personal, suspended, and tenderly observed. Weaver, meanwhile, explores the edges of California—its windswept dunes, sunlit surf, and shifting horizons. Through analog processes and in-camera experimentation, his work transforms familiar vistas into one-of-a-kind impressions—each frame a meditation on movement, time, and atmosphere. Together, Jasmin and Weaver render California not as an ideal or illusion, but as a living, breathing place—one that glows brightest in moments that never last. Fade to West was developed in collaboration with Paul Jasmin prior to his death, and we are honored to present it as intended—celebrating his artistry and his enduring love for the city of Los Angeles. Paul Jasmin (1935–2025) was an American photographer, illustrator, and educator whose work distilled a precise and evocative vision of beauty. Born in Helena, Montana, Jasmin began his career as a painter and actor before turning to photography in the 1970s, encouraged by his friend Bruce Weber. Drawn to themes of youth, innocence, and sexuality, Jasmin created dreamlike tableaux that transport viewers into a world of seductive beauty and languid allure. Set largely in and around Los Angeles, his images explored the tension between aspiration and reality, reflecting a lifelong fascination with glamour, the American dream, and fleeting moments of becoming. His editorial and commercial work appeared in Vogue, GQ, W, Interview, V Man, Teen Vogue, Vogue Hommes, and in campaigns for APC, Bergdorf Goodman, Saks, Nordstrom, and others. He published three monographs: Hollywood Cowboy (2002), Lost Angeles (2004), and California Dreaming (2010, Steidl/7L). Jasmin was also a dedicated teacher at ArtCenter College of Design in Pasadena, where he mentored generations of emerging artists with a quiet rigor and an unshakable belief in the power of imagination. Known affectionately as “Jazz” by his friends and students, he brought the same sensitivity and elegance to his teaching as he did to his images. Jasmin passed away peacefully at his home in Los Angeles on May 24, 2025, at the age of 90. Todd Weaver (b. 1970) is an American photographer recognized for his expressive use of color and intimate portraits of artists and musicians. His work is distinguished by a bold and exploratory approach to color, which brings emotional depth and vibrancy to his images. Weaver began his career under the mentorship of established photographers including William Claxton, Ellen von Unwerth, Herb Ritts, Steven Klein, and Randee St. Nicholas. Developing his own distinctive style, he has created portraits of figures such as André 3000, Lita Albuquerque, Paz Lenchantin, Devendra Banhart, and Father John Misty, and collaborated with brands including Nike, Veuve Clicquot, and Cadillac. His first monograph, 36 (2018), features portraits taken with a vintage half-frame camera, emphasizing spontaneity and intimate moments. More recently, Weaver has focused on Southern California’s surf culture, creating atmospheric, analog portraits that explore the relationship between surfer and wave. Combining experimental film techniques with a strong compositional sensibility, Weaver has participated in several group exhibitions and has been selected multiple times for the American Photography Annual. His work will be included in an upcoming publication by Taschen. Image: Summer Evening Crowd, 2020 © Todd Weaver, courtesy of Fahey/Klein Gallery, Los Angeles

Running concurrently with The World of Louis Stettner at Les Rencontres de la Photographie in Arles, Across Two Worldsat The Hulett Collection offers an intimate look at Louis Stettner’s lifelong exploration of life on both sides of the Atlantic. Drawing from his time in New York and Paris, this special exhibition brings together photographs that capture the quiet poetry of everyday life — moments of human connection, resilience, and grace, seen through Stettner’s empathetic and unwavering eye. Whether documenting the bustling streets of Manhattan or the contemplative cafés of Paris, Stettner’s work transcends geography to reveal a universal, deeply human experience. Across Two Worlds reflects Stettner’s rare ability to merge the candid energy of American street photography with the lyrical sensitivity of the French humanist tradition. These works, spanning decades and geographies, celebrate photography’s power to find beauty and meaning in the ordinary. The exhibition coincides with the release of a new Photo Poche and Photo File monographs dedicated to Stettner’s work, as well as the major retrospective now on view in Arles — together offering a season of renewed appreciation for one of photography’s most soulful and enduring voices.

The Unending Stream is a two-part exhibition that showcases the thriving community of photographers in New Orleans. The title of the exhibition pays homage to a Clarence John Laughlin photograph of the same title, which is a part of the permanent collection at Ogden Museum of Southern Art. Laughlin’s seminal work, created between the 1930s and 1950s, is an important chapter in the long-storied relationship between New Orleans and photography. Following in his visionary footsteps, this exhibition focuses on emerging and underrepresented photographers who continue to focus on the South through poetic imagery. These photographers are visually defining the Crescent City in the twenty-first century. The Unending Stream celebrates the city of New Orleans’ continuing role as one of America’s most important cultural capitals while also highlighting the role that the arts have played in revitalizing the region for the past twenty years since Hurricane Katrina. The Unending Stream features works by photographers who explore themes similar to Laughlin’s of memory, decay and the supernatural, capturing mysterious beauty and forgotten places. Themes of place, time, family and identity are also woven within the exhibition. Each photographer brings a contemporary twist to the exhibition, creating work that provokes thought and conjures emotion. The first chapter of The Unending Stream exhibition features six photographers (Trenity Thomas, Kevin Kline, Jacob Mitchell, Brittany Markert, Thom Bennett and Tiffany Smith) who work in both analogue and digital photography. Trenity Thomas fuses art and fashion in his colorful portraits made against an urban background; Kevin Kline documents the gritty streets of his Bywater neighborhood in the midst of gentrification; Jacob Mitchell uses the computer to sublimely manipulate his hyper-colored architectural studies; Brittany Markert constructs sensual and psychological portraits that blend beauty and horror; Thom Bennett captures with a panorama camera the flatlands between New Orleans and Acadiana; and Tiffany Smith uses self-portraiture to explore the Caribbean diaspora. New Orleans has been both muse and home to some of the most important and celebrated photographers of the ninetieth and twentieth century. The Unending Stream exhibition sheds light on the current trajectory of photography being created in New Orleans today. Image: Kevin Kline, Two Sisters, Burgundy St., 2008, Gelatin silver print, 15 x 15 inches, Collection of the artist

The Christopher Hyland Photography Collection at the Newport Art Museum invites viewers into the visionary worlds of some of the 20th century’s most influential photographers. Assembled through the discerning eye of textile designer and art collector Christopher Hyland, the exhibition features works by Edward Steichen, Edward Weston, Paul Strand, Shelby Lee Adams, Sally Mann, Henri Cartier-Bresson, Robert Mapplethorpe, André Kertész, and others, each offering a distinct vision of life’s fleeting moments. United by their gift for revealing the profound within the everyday, these artists elevate ordinary scenes into timeless narratives. Whether it’s Cartier-Bresson’s decisive moments, Mann’s haunting portraits, or Weston’s sensual still lifes, each photograph commands light, form, and emotion. Together, they explore photography’s paradox—the ability to freeze a moment while evoking a universe of feeling and meaning. As Ben Lifson observed, Hyland’s collection embodies this duality: these images offer both resolution and ambiguity, transforming moments into enduring narratives. They transcend documentation, becoming vessels for storytelling and introspection.

Anti-Blackness seems inescapably mixed into whatever context I place it into; literature, science, government, health, art… look into any “field” and see for yourself. My people have had to cry, scream, and fight for respect for centuries, and we still have not gained what we deserve. To move past the damage this has done to our society, we can’t simply deny our history—we must recognize it. We must acknowledge the many ways in which this country has perpetuated a racial hierarchy since these lands were first colonized and stripped from indigenous peoples, and Black people were stolen from their native land and brought to America. In BLACK SNAFU (Situation Niggas: All Fucked Up), I appropriate various depictions of Black people that I find throughout the history of cartooning and juxtapose them with photographs that celebrate and line up more authentically with my Black experience. The photographs I create vary in subject matter; I seek to include celebratory portraits, didactic still lives, and representational documentations of places rich in their relation to Black community, allowing me to fight back against the history of the racist caricature that I reclaim in my work. By combining these ambivalent visual languages, I intend to expose to viewers America’s deplorable connection to anti-Black tropes through pop culture while simultaneously celebrating the reality of what it means to be Black. About André – Raised in the Southern states of Tennessee and Texas, André Ramos-Woodard (he/ they) is a photo-based artist who uses their work to emphasize the experiences of marginalized communities while accenting the repercussions of contemporary and historical discrimination. His art conveys ideas of communal and personal identity, influenced by their direct experience with life as a queer African American. Focusing on Black liberation, queer justice, and the reality of mental health, he aspires for his art to help bring power to the people. Selected for Foam Museum’s Foam TALENT Award in 2024 and a two-time top-50 Finalist for Photolucida’s Critical Mass (in 2020 and 2023), Ramos-Woodard has shown their work at various institutions across the United States a beyond, including the Foam Museum–The Netherlands, Amsterdam, the Museum of Fine Arts Houston–Houston, Texas, Leon Gallery–Denver, Colorado, and FILTER Photo–Chicago, Illinois. He received his BFA from Lamar University in Beaumont, Texas, and his MFA at The University of New Mexico in Albuquerque, New Mexico. We are grateful to the Cummings Foundation for their support of the arts and the Griffin Museum. The Cummings Residency program highlights artists of diverse backgrounds and using their specific skill set, work to create a photographically based exhibition as a result of their connection to the Griffin Museum, Winchester and surrounding areas, while engaging in critical dialogues about art and culture with both the youth and adult community they inhabit. Using photography as a bridge to building relationships, the Cummings Fellow creates a series of images opening up the pathways to multicultural understanding and acceptance. The museum and its partners are creating a literacy program centered around imagery, using photography as the tool, working with professional artists to talk about their communities, cultures and new and shared origin stories.

This exhibition is the first US survey of the work of Kunié Sugiura, an artist whose boundary-defying engagement with the photographic medium spans over sixty years. Born in Nagoya, Japan, in 1942, Sugiura came to the United States in 1963 to study at the School of the Art Institute of Chicago, where she majored in photography. After graduation, she relocated to New York and has lived there ever since. Sugiura’s practice embraces a hybrid approach, blending various mediums and expressing her bicultural identity. The balancing of dualisms —Japanese/American, organic/human-made, and painting/photography — defines her work. Sugiura has stated that her cross-fertilization of photography with painting and sculpture partly stems from her desire that photography be taken seriously as an art form. The exhibition charts the arc of Sugiura’s long career, beginning with undergraduate work from her Cko series that reflects her sense of isolation as a foreign student in Chicago. Prints made after her move to New York in 1967 demonstrate her use of canvas as a support and new process of working on a large scale. Her Photopaintings from the 1970s take on multidimensional, sculptural qualities, pairing painted and photographic panels with wooden elements. Photograms — images made without a camera on light-sensitive material — that she first created in 1980, capture a wide range of subjects, including flowers and portraits of other artists. Sugiura’s compositions made from X-ray negatives in the 1990s and 2000s combine unrelated pieces from various sources that were cut and pasted together to create unique configurations. Throughout her career, Sugiura has willfully made artworks that “break with conventions and traditions of both painting and photography.” Despite this inherent rebelliousness, such gestures do not overwhelm Sugiura’s vision to create dynamic and original hybrid forms in which the whole is more than the sum of its parts. Image: Kunié Sugiura, Azalea, 1970

Throughout history, artists have been captivated by the moon — not only as a celestial body, but as a powerful and evocative symbol. Its soft, silvery glow has long been associated with romance, mystery, and the passage of time. In countless paintings, drawings, and prints, the moon has served as both muse and metaphor, casting its quiet light over lovers, dreamers, and solitary figures, offering an atmosphere of reflection, longing, and poetic solitude. This installation, drawn from the Museum’s collection of works on paper, explores the many ways in which the moon has been depicted across time and artistic styles. Sometimes it functions as a compositional anchor — a glowing orb balancing the sky or guiding the viewer’s eye across the scene. In other instances, it becomes a potent symbol: of change, of cycles, of melancholy, or even of hope. Artists use the moon not only to illuminate their subjects, but to shape mood and suggest deeper emotional or philosophical themes. The light portrayed in these works is never harsh. Instead, it’s soft, diffuse, and often reflective — bathing surfaces in a gentle radiance that contrasts with the sharp clarity of daylight. But the moon is not merely a source of light; it is also emblematic of night and its inherent darkness. It represents quiet, rest, and introspection, standing in opposition to the activity and energy of the sunlit world. By contrasting moonlight with daylight, these artworks evoke a wide range of emotional and symbolic states — from vitality to vulnerability, clarity to ambiguity, reality to dream. In this dialogue between light and shadow, presence and absence, we are reminded of the enduring power of the moon to stir the imagination and speak to the rhythms of the human experience.

Selections from the Photography Collection features changing presentations of work from the Museum’s holdings, celebrating the diverse perspectives that artists have brought to this medium. The latest installation of photographs explores imagery of roads, travel, and summer fun. On view March 15 through September 7, these works span seven decades, depicting sightseers and sunbathers as well as highways, eateries, and roadside attractions. Highlights include witty beach scenes by Herb Snitzer, modernist works by Edward Weston and Margaret Bourke White, and Judith Joy Ross’s sensitive portraits.

Etherton Gallery presents a special summer exhibition featuring early works by acclaimed photographer Kate Breakey, on view May 20–September 20, 2025. This selection of hand-colored photographs offers an intimate look at critical moments in her evolution as an artist. The exhibition traces the emergence of Breakey’s distinctive visual language, and showcases work from series such as Los Sombras, Naturagraphia, Clouds and more recent landscapes, offering insight into the shifts in subject matter and technique that have defined her career. “My own collection of images serves as a record, a kind of a random, disjointed visual diary of the things I’ve seen and loved—a way to possess and preserve what is wild and ineffable, and above all transient... evidence of my life’s journey.” —Kate Breakey This exhibition reflects the emergence of Breakey’s distinctive approach: combining photographic methods with traditional artist’s tools—oil, pastel, and colored pencil—to transform paper, canvas, and other materials into richly layered, tactile objects. Each stroke of her pencil conveys a gesture of reverence for the natural world. Breakey’s awe is evident in her work, as she invites the viewer to share in her experience, fostering an appreciation of the natural world’s fragile beauty. The installation, drawn from Breakey’s archive, will evolve throughout the summer. As work in the exhibition is acquired, new ones will be introduced in the exhibition, maintaining its dynamic nature. About the Artist Kate Breakey is internationally acclaimed for her large-scale, hand-colored photographs—luminous portraits of birds, flowers, and animals that blend photographic process with painterly technique. Her work has been featured in more than 150 exhibitions across the United States, the United Kingdom, Australia, Japan, China, New Zealand, and France. Breakey’s photographs have been published in several monographs, including Small Deaths (2001), Birds/Flowers (2003), Painted Light (2010), Los Sombras (2015), and Slow Light (2016). Her work is held in several public collections among them the National Gallery of Australia, Canberra, Museum of Fine Art, Houston, Museum of Photographic Arts, San Diego, The Wittliff Collections at Texas State University, and the Center for Creative Photography at the University of Arizona. A native of South Australia, Breakey lives in Tucson, Arizona, where the desert landscape continues to inspire her work. Image: Kate Breakey, Coyote, n.d.

Witness the powerful photography of Baltimore-based artist Devin Allen, whose black-and-white images capture the raw emotion of the Baltimore uprisings that followed Freddie Gray’s death a decade ago in 2015. Documenting a defining moment in Baltimore’s history, Allen reveals both the pain and strength of its people. See these images—rarely on display—in remembrance of Gray’s life. Content Advisory: These photographs reflect the impact of racialized violence. Enter with mindful awareness and deep care. This exhibition is organized by Lisa Snowden, Editor-in-Chief and co-founder of Baltimore Beat and Tracey Beale, BMA Director of Public Programs.

The Griffin Museum is pleased to present the works of Anastasia Sierra as part of our summer exhibition Vision(ary). Anastasia Sierra’s lens tenderly showcases the profound connection between mother and child. Her images capture the nurturing touch and the unbreakable threads of love that bind them. Through luminous colors and intimate compositions, Sierra unveils the beauty and vulnerability inherent in maternal bonds. Each photograph explores the connection the two share, and the everyday moments of motherhood. Her images serve as a poignant reminder of the enduring power and artistry of this fundamental human relationship, etching fleeting moments into timeless expressions of affection. About Bittersweet – “Bittersweet” is an ongoing body of work about the conflicting emotions of motherhood, where love and joy live next to the feelings of frustration, guilt and exhaustion. I collaborate with my young son to recreate moments of tenderness and tension. Together, we make a colorful and mysterious world of our own, using light and shadow as a metaphor, with our lives bright and colorful on the outside and piles of laundry, dirty dishes and some of the darker feelings obscured by the shadows. I make these images to remember his chubby thighs and what it’s like to touch his skin and feel the weight of his body while I can still carry him. I photograph our love and nightmares, with a superstitious hope that my fears won’t materialize if I spell them out in my photographs. About Anastasia Sierra – I am a portrait and fine art photographer based in Cambridge, MA. My work explores the themes of motherhood, womanhood, and the body from a feminist perspective. Inspired by dreams and the unseen, I construct photographs that portray internal tensions – the conflicting emotions of motherhood, the push and pull between the need for connection, and the desire for independence. I use photography to gain a better understanding of my own experiences, and find a deeper connection with people and places I photograph, employing light and color to create vivid images that inhabit the space between the real and the imaginary. My work has been exhibited in the US and internationally, most recent exhibitions include Kathryn Schulz Gallery in Cambridge, MA, the Photographic Resource Center, the Griffin Museum of Photography in Winchester, MA, Vermont Center of Photography, and Soho Gallery in New York. I have a BA in Linguistics and am currently attending the Photography MFA program at the Massachusetts College of Art and Design, expected to graduate in 2026.

As a photographer I have had a lifelong desire to record the daily life around me. This has principally been in Boston and Cambridge. Like the Boston painter Allan Rohan Crite, I have thought of myself as an artist-reporter, motivated to clearly detail what life looked like in this place at this particular time. I have been drawn to the everyday, to ordinary people going about their lives. To me there is wonder in small things . I’ve often wished that photography had existed in distant times – say, in colonial Boston or medieval Europe or ancient Greece – to have a record of everyday life in those eras. Looking at the archive of Arthur Griffin was a real pleasure because it spoke to this interest of mine in the recorded past – even if only decades before my own life. In fact, what made researching his work particularly interesting to me was that the city he captured was at once both so similar and so different from the city I have photographed. (Almost every photograph I chose from the Griffin archive was made in Boston). I found that we often photographed people doing the same things, such as looking at books for sale on a sidewalk, hovering over a car engine, waiting on benches in a train station. And often our subjects were photographed in the same location – North Station, the L Street Bathhouse, the Bunker Hill Memorial – even, at times, framed from almost the exact same spot, decades apart. This caused me to reflect on the evolution of a city; what continues, carries on over the years, and what changes, what is new. There are physical and social aspects of Boston in Griffin’s pictures that are remarkably the same as in mine. But there are also differences – in what has changed in the built environment, in the mix of people who make up the city, and in the city’s changing culture. To continue observing and to continue challenging yourself to make a well-framed image of an expressive human moment in this evolving world – like Arthur Griffin did so successfully – is forever satisfying. About Tony Loreti Tony Loreti is a Boston-based photographer and photography educator. Born in Beverly, MA, he earned a Bachelor of Science degree in Filmmaking from Boston University and a Master of Fine Arts degree in Photography from the Massachusetts College of Art and Design. Tony recently retired after teaching photography for twenty-five years at the Cambridge School of Weston. His personal photography has been selected for many juried exhibitions and is in both private and public collections. A significant portfolio of his street photography work has been purchased for the collection of the Print Department of the Boston Public Library, and the Cambridge Public Library has also acquired a large number of prints. Tony continues to work with film and traditional printing in his personal photography. He is deeply committed to the older form of the medium, particularly because of its tangible nature and the look and feel of gelatin silver prints.

We are pleased to present the solo exhibition of Griffin artist member Francisco Gonzalez Camacho. Selected for an exhibition prize during our 30th Annual Juried Members Exhibition by Director Crista Dix, Camacho’s works are visual, emotional moments, finding calm among the landscape. We are pleased to showcase his series of works during our celebration of our creative community this summer. Reverting – Reverting reflects upon the profound material connection between the landscape and image-making, exploring environmental issues and the objectification of nature in Iceland. Developed in Reykjavík with the SIM artist-in-residence program, this project merges photography and printmaking through material experimentation, seeking alternative ways to engage with the landscape. Issues like gentrification, waste, and environmental degradation, largely driven by tourism, challenge the idealized image of Iceland’s natural beauty. During my stay, I photographed highly visited natural locations, which I reinterpreted in combination with the creation of my own handmade recycled paper from waste. This exploration mirrors the transformative process of manifesting something from the void —a form of alchemy of waste— with the delicate equilibrium of our environment, and the perpetual cycle it follows. About Francisco Gonzalez Camacho – Francisco Gonzalez Camacho (b. 1990) is a Spanish visual artist based in Finland. Gonzalez Camacho’s work presents a process-based approach interweaving photography and graphic printing methods. His practice is a result of intuitive exploration centered around themes such as materiality, immigration and the connectedness between landscape and self.

Ansel Adams stood at the pinnacle of his career—revered, celebrated, and firmly entrenched as America’s preeminent landscape photographer. But as the 1960s unfolded, everything around him—and within photography itself—began to shift. The civil rights movement, counterculture rebellion, free love, psychedelics, political assassinations, and the Vietnam War protests reshaped the nation. Meanwhile, a younger generation of photographers rejected the grandeur of nature and the meticulous precision of Adams' Zone System, instead embracing raw, unsettling, and often provocative imagery. As photo historian Jonathan Green put it: “The obsessions of sixties photography were ruthless: alienation, deformity, sterility, insanity, sexuality, bestial and mechanical violence, and obscenity.” Against this backdrop, Adams embarked on Fiat Lux, the most extensive photographic commission of his life. Between 1963 and 1968, he captured over 7,500 images for the University of California, documenting the institution’s vast and evolving landscape. But beneath the surface, Fiat Lux reveals something more: an artist struggling to find his place in a rapidly transforming world. His once unwavering photographic vision seemed untethered, his artistic compass unsettled. Lost in the Wilderness exposes this tension, showcasing Adams not as the master of the natural world, but as a photographer navigating the shifting tides of change. Image: Image: Ansel Adams, Untitled, n.d. Scan from original negative. Collection of the California Museum of Photography at UCR ARTS, 1987.0027.6.UCB.63.3.

The Great Acceleration, the first solo institutional exhibition of world renowned photographer Edward Burtynsky’s work in New York City in over twenty years, reveals the depth of Burtynsky's investigation into the human alteration of natural landscapes around the world, showing their present fragility and enduring beauty in equal measure. Curated by David Campany, Creative Director at ICP, this retrospective exhibition will present over seventy photographs, including many of Burtynsky’s landmark images, some of which have never previously been shown, along with three ultra high-resolution murals. The exhibition will also include a visual and narrative timeline of Burtynsky’s creative life. Intentionally scheduled to extend through Climate Week NYC in September 2025, The Great Acceleration will serve not only as an urgent call for action, but will also give visitors the opportunity to appreciate the sublimity that remains in the landscape, while also deepening our understanding of the challenges that confront us today. In this way, The Great Acceleration upholds ICP’s long-standing and core commitment to present concerned photography that can inspire new audiences. "The Great Acceleration" is an established term used to describe the rapid rise of human impact on our planet according to a range of measures, among them population growth, water usage, transportation, greenhouse gas emissions, resource extraction and food production, each of which Burtynsky has photographed the outward signs of at length and in great detail over the past forty years. From open pit mines across North America to oil derricks in Azerbaijan, from rice terraces in China to oil bunkering in Nigeria, Burtynsky has travelled across the world and back again as part of his restless and seemingly inexhaustible drive to discover the ways, both old and new, that organized human activity has transformed the natural world. Though already unified by both the precision and formal beauty that Burtynsky deploys to create each photograph, The Great Acceleration further underscores that, like their respective subjects, each project remains fundamentally interconnected. Image: Edward Burtynsky, Salt River Pima and Maricopa Indian Community - Suburb, Scottsdale, Arizona, USA, 2011

Since the mid-19th century, photography has served as a powerful tool for examining concepts of gender, sexuality, and self-expression. The immediacy and accessibility of the medium has played a transformative role in the gradual proliferation of homosocial, homoerotic, and homosexual imagery. Despite periods of severe homophobia, when many photographs depicting queer life were suppressed or destroyed, this exhibition brings together a variety of evidence to explore the medium’s profound role in shaping and affirming the vibrant tapestry of the LGBTQ+ community. Image: Gay Activists at First Gay Pride Parade, Christopher Street, New York, 1970; printed 2021, Arthur Tress. Gelatin silver print. Getty Museum. Gift of David Knaus. © Arthur Tress Archive LLC

The International Center of Photography (ICP) is proud to present Panjereh, an exhibition by Iranian-American artist Sheida Soleimani. Panjereh—which means ‘window’ or ‘passageway’ in Farsi—builds on Soleimani’s ongoing Ghostwriter series, in which she explores her parents’ experiences of political exile and migration as a lens to examine broader systems of geopolitics. Known for her intricate, studio-based compositions that combine photographs, props, live animals and even her own parents in surreal, magical realist scenes, Soleimani expands her practice in Panjereh with the debut of a new body of work featuring injured birds. These images draw from her work as a wildlife rehabilitator and founder of Congress of the Birds, a federally licensed wild bird rehabilitation center in Rhode Island. The exhibition will also include a new site-specific wall drawing created specifically for ICP’s galleries. Curated by Elisabeth Sherman, Guest Curator, the exhibition will bring together more than forty photographs, the vast majority of which have never before been shown in New York. Sherman states, “In her work, Soleimani uniquely braids together the complex particularities of her family’s history, deep research into geopolitics and her inherited passion for care work into a visual language completely her own. The magically inventive spaces she creates allow for complexity in telling these stories, honoring their richness and continually unfolding nature. It is truly an honor to be presenting her first solo exhibition in New York, specifically at an institution historically dedicated to photography that engages with the politics of our time.” The Ghostwriter series takes Soleimani’s family history—specifically that of her parents' flight from Iran as political refugees following the 1979 revolution—as an overarching conceptual framework that informs her creative process, from the significance of the objects and family ephemera she uses to the compositions of the photographs themselves. The series carries out a form of ‘ghostwriting’ in the way it both narrates and reconstructs the lives of Soleimani’s parents without utilizing their voices directly. The works focus on their lives in Iran as pro-democracy activists before then being forced to flee the country, enduring both physical and psychological hardship on their way to eventual resettlement in the United States. Soleimani’s mother was forced to give up being a practicing nurse, leading her to begin caring for wild birds, a skill which she would eventually pass along to her daughter. With their personal emphasis, the Ghostwriter works present a distinct expression of Soleimani’s longstanding interest in Iranian history and the contemporary geopolitics between the West and the Middle East. Rather than address this history using a strictly documentary approach, Soleimani instead examines storytelling and memory as the primary means through which these stories are transmitted; the construction of her pictures captures the way that detail and meaning are often obscured, transformed or difficult to fully grasp. This process is expressed by the degree of visual compression and accumulation of detail that Soleimani’s photographs contain, as specific passages, details or textures—wildlife and plants, architecture and landscape—regularly function as stand-ins and metaphors rather than straightforward description. Soleimani situates artifacts from her parents’ journey against backgrounds made up of imagery pulled from a variety of archival family photographs, resulting in works that are layered composites of multiple stories, documenting factual traces of history within newly imagined spaces. A new development within the Ghostwriter series are the Flyways photographs, which draw attention to the plight of migratory birds, many of whom are wounded on their long journeys through populated areas. Soleimani’s work as a federally licensed wildlife rehabilitator grew out of a care practice that she learned from her mother and forms part of a larger cultural inheritance that has been passed down to her. Assuming the position of primary characters, the birds that Soleimani photographs and places within her tableaux provide a metaphor for the many social, political and environmental obstructions met by people forced into flights of their own. This new group of analog photographs that Soleimani made of rehabilitated birds presents a unique kind of maximalism despite their small scale while also forgoing the complex layering of reference and imagery typical of the Ghostwriter series. Shot in extreme close-up, these works render the bodies of birds as intensely detailed and complex worlds unto themselves, where feathers, talons and eyes are as richly described as Soleimani’s family history is explored. The acts of care contained within these images highlights the relationship between care and political resistance that has unfolded not only with Soleimani’s own family, but which remains critically important for our present moment. Image: Edward Burtynsky, Salt River Pima and Maricopa Indian Community - Suburb, Scottsdale, Arizona, USA, 2011

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.

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. 

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

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 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.

LACP is thrilled to announce a solo exhibition by Matthew Finley, whose work imagines the world as it should have been: A world where no queer person feels ashamed for who they love, who they are and how they want to present themselves. In this moment, when people in power insist on marginalizing, isolating and denouncing queer communities, LACP insists on elevating love and acceptance. Matthew Finley’s work imagines the world as it should have been: A world where no queer person feels ashamed for who they love, who they are and how they want to present themselves. In this universe, family support of one’s love is a given, rather than a possibility, or, we could say, an impossibility. In his poetic photographic projects, Finley provides coordinates for how life in this world would be. This solo exhibition, which depicts several series from the past decade, chronicles how Finley reimagines found images and objects, encouraging his staged subjects to discover the joy of nature, as well as a self-consciousness that never seeks to conceal or mask itself, visualizing how we package ourselves for others and the emotional states that result. Whether in fictive family albums or expansive analog projects, his photographic perspective remains intimate and vulnerable. Finley positions male bodies in compositions that echo photographic histories, in which the male subjects become a focal point of the viewing eye, a source of fascination and desire–and that desire quietly comes to the fore to insist on its rightful place. The emotional burden at the core of these works informs their shapes, perspectives, light and configurations. They are both haunting and haunted, charting a path from rejection to liberation by way of friendship and love. Desire, in these works, becomes a core element of vision; whether it is the desire to be close to another body or the desire to be fully accepted. In that sense, Finley’s work negotiates lived experiences and offers them as an invitation for the viewer, to become an active participant; re-imagine relationships and their histories alongside those captured in the frame, and insist on joy and love as an antidote for judgment, exclusion and isolation in our current world. Image: hoto by Matthew Finley, We couldn’t stop kissing on our wedding day. 2024, glitter and varnish on archival pigment print from vintage found photograph.

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.

Zig Jackson: The Journey of Rising Buffalo brings together the performative and documentary approaches of photographer Zig Jackson, whose work sheds light on the everyday realities of Native American life. With a focus on community, sovereignty, and environmental respect, Jackson challenges misconceptions and reclaims Indigenous narratives through his lens. A member of the Mandan, Hidatsa, and Arikara tribes, Jackson grew up on the Fort Berthold Indian Reservation in North Dakota and attended several boarding schools, including the Intermountain Indian School in Utah. There, he forged lasting connections with peers from various tribes, realizing the shared struggles Indigenous communities face across the country. Jackson’s photography often engages with stereotypes to critique them. In some works, he dons a feathered headdress, performing exaggerated “Indian” tropes to expose their absurdity. In another series, he disrupts Western notions of land ownership by placing signs reading *“Entering Zig’s Reservation”* in public spaces, reclaiming landscapes that have long been sites of Indigenous displacement. His practice is deeply personal, serving as a visual archive of travels across North America, visits with friends, and everyday life on reservations. Through quiet yet powerful images, he explores complex social realities, including family structures, homelessness, veterans’ experiences, substance abuse, and access to natural resources. Blending humor with profound social critique, Jackson’s work offers an authentic and dynamic portrayal of contemporary Indigenous life. His photographs challenge marginalization while celebrating resilience, documenting both the hardships and the joys of Native communities with honesty and depth. Image: Zig Jackson (Mandan, Hidatsa, and Arikara Nation, b. 1957), Indian Man on Bus, 1994, from Indian Man in San Francisco. Inkjet print. Loan courtesy the artist, © 2025 Zig Jackson / Artists Rights Society (ARS), New York.

In January 1944, at the height of World War II, Gordon Parks photographed Herklas Brown, owner of the general store and Esso gas station in Somerville, Maine. Parks traveled to the state under the auspices of the Standard Oil Company (New Jersey) to record its contributions to the war effort and to document the home front. His photographs chronicled oil and gas facilities and those who operated them, Esso gas station owners in small towns, and people whose work depended on fuel and other Standard Oil products. Consistent with his work before and after, Parks made it his mission to get to know his subjects and show their humanity. He photographed Brown at his Esso station, in his store, and with his family at the dinner table. Parks spent a month in Maine that winter and then returned in August to resume his work in the state. At a time when transportation, food, and lodging were a challenge, and notably as a Black man traveling alone, Parks nonetheless created a compelling documentary record of rural America that offers insight into this historic moment. These 65 photographs, which are being exhibited at the Bowdoin College Museum of Art in partnership with The Gordon Parks Foundation, highlight an important early chapter in Parks’ career—before he joined Life magazine in 1948 and began to achieve wider recognition. Gordon Parks: Herklas Brown and Maine, 1944 is presented in conjunction with East-Northeast: Charting Moments in Maine, four exhibitions in summer of 2025 at the Bowdoin College Museum of Art featuring artists who drew inspiration from Maine. This exhibition is curated by Frank Goodyear, co-director, and is accompanied by a catalogue of the same title published by Steidl. Generous funding support for this exhibition provided by Peter J. Grua ’76 and Mary G. O'Connell ’76, Robert A. Freson, Steven P. Marrow ’83, P ’21 and Dianne Allison Pappas P’21, the Roy A. Hunt Foundation, and the Elizabeth B.G. Hamlin Fund. Image: Gordon Parks. Untitled, Augusta, Maine. 1944

In 1966, the Bowdoin College Museum of Art presented an exhibition of photographs by John McKee, then a Romance Languages instructor at the College with an interest in photography. Titled As Maine Goes, the exhibition featured a series of black-and-white photographs that starkly depicted the environmental degradation of Maine’s coastal landscapes, highlighting issues such as pollution, seaside dumps, and the impact of unchecked development. What began as a sidelight became the defining part of McKee’s career—and these works served as a catalyst for environmental awareness and legislative action in Maine, contributing to the burgeoning environmental movement of the time. The exhibition was accompanied by a limited-edition catalog, with an introduction by U.S. Supreme Court Justice William O. Douglas. Almost 60 years later, the Museum is refreshing McKee’s original exhibition in a new presentation that is no less relevant in the face of the changing climate and its impact on Maine. McKee, who died in 2023, bequeathed 54 photographs from the As Maine Goes series to the Museum, as well as 31 additional images from other later series. This exhibition is a rare opportunity to look backwards and forwards at the same time. John McKee: As Maine Goes is presented in conjunction with East-Northeast: Charting Moments in Maine, four exhibitions in summer of 2025 at the Bowdoin College Museum of Art featuring artists who drew inspiration from Maine. This exhibition is curated by Chris Zhang ’25 and Frank Goodyear, co-director of the Bowdoin College Museum of Art. Major support has been provided by the Estate of John H. McKee and the Stevens L. Frost Endowment Fund for the Bowdoin College Museum of Art. Image: John McKee. Tourist Accommodations, Old Orchard Beach. 1965

From 1949 to 1978, photography in the People’s Republic of China was reserved for governmental propaganda: Its function was to present an idealized image of life under Chairman Mao and communist rule. In 1978, as China opened to global trade and Western societies, photography as documentation, art, and personal expression experienced a sudden awakening. Personal photographic societies formed, art schools began teaching photography, and information on Western contemporary art became available. In the late 1990s, a new generation of Chinese artists, many initially trained as painters, revolted against traditional academic definitions of photography. Building on the work done in the previous decades by Western artists, they dissolved the boundaries between photography, performance art, conceptual art, and installation. In so doing, they brought photography into the foreground in Chinese contemporary art. This exhibition presents works from the museum’s collection by eight key artists from that generation. Born between 1962 and 1969, these artists grew up during the Cultural Revolution (1966–76), when conformity was required and past intellectual and artistic products—whether artistic, family history, or documentary—were banned and destroyed. They also experienced the cultural vacuum that followed this erasure. As adults, these artists lived in a radically different China—newly prosperous, individualistic, and consumerist. They helped develop a new visual idiom, producing artworks that addressed their country’s recent history, its swift societal transformation, and their own resultant shift in identity as Chinese. Image: 1/2 Series, 1998. Zhang Huan (Chinese, b. 1965)

Visual Kinship explores how photography defines, challenges, and reimagines the concept of family. Across diverse historical and contemporary works, the exhibition examines how images reflect and disrupt family structures shaped by colonialism, migration, transnational adoption, and queer intimacies. Photography plays a pivotal role in bridging the personal and political, offering a lens through which kinship can be recognized, claimed, and contested. The exhibition also considers how visual culture fosters alternative networks of belonging and care, expanding the notion of family beyond biological or traditional frameworks. This exhibition is organized by the Hood Museum of Art, Dartmouth, and generously supported by the Charles Gilman Family Endowment. Image: Rania Matar, Alae (with the mirror), Beirut, Lebanon

This exhibition explores the "hidden mother" in 19th-century portraits of children, where long exposure times required mothers or caretakers to keep children still, often concealed behind props or beneath textiles to an unsettling degree. Contemporary artist Sara VanDerBeek responds to these examples of hidden labor by highlighting photography’s power as a form of mediation between past and present, original and reproduction. Addressing themes of motherhood, labor, and grief, VanDerBeek reflects upon the collective memory of women beneath the veil, both then and now. Image: Artist Unknown (American, 19th century), Untitled, 1860s

In Pictures for Charis, American photographer Kelli Connell reconsiders the relationship between writer Charis (pronounced CARE-iss) Wilson and photographer Edward Weston through a close examination of Wilson’s prose and Weston’s iconic photographs. Connell weaves together the stories of Wilson and Weston with her own and enriches our understanding of the couple from her contemporary Queer and feminist perspective. This exhibition features recent portrait and landscape photographs by Connell along with classic figure studies and landscapes by Weston from 1934–1945 one of his most productive periods and the span of his relationship with Wilson. Using Weston and Wilson publications as a guide, Connell and her partner at the time, Betsy Odom, traveled to locales where Wilson and Weston lived, made work, and spent time together creating new artworks in the process. Image: ​Betsy, Lake Ediza, ​2015, ​© Kelli Connell

What We’ve Been Up To: Landscape is a unique selection of photographs from the museum's collection that have never been shown to the public. Featuring acquisitions from the past 17 years since the Photography department was established in 2008, the exhibition represents the variety of ways landscape photographs help us see and appreciate other times and places and consider where the world has been and what it is becoming. Photographs are informally organized by theme or subject matter, such as Meghann Riepenhoff’s large camera-less image of water and ice, flanked by photographs of rivers and oceans by artist Masao Yamamoto and others. Intimate photographs of nature include works by Linda Conner and Terri Weifenbach as well as a hypnotically detailed tableau by Tanya Marcuse. Landscapes by Christina Fernandez, Patrick Nagatani and Zora J. Murff confront troubling conflicts in our collective history. America’s scenic beauty is celebrated in works by Marion Post Wolcott, William Henry Jackson, Mary Peck, and Abelardo Morell. Steve Fitch’s photograph of a radio tower announces the near-universal presence of technology. Challenges of living in a changing, unpredictable world are the subject of photographs by John Ganis, Frank Gohlke and others, while Henry Wessel, Jr. evokes the easy pleasures of road trips. Other pictures show more troubling aspects of the North American landscape, from the effects of natural disasters to dark moments in the history of slavery and conflicts with Indigenous people. All are bound together by the idea that landscape can serve as an autobiography of the people, societies, and natural forces that shape the world over time. Image: © Steve Fitch

Power & Light: Russell Lee's Coal Survey is an exhibition of photographs of coal communities by American documentary photographer Russell Lee. These images tell the story of laborers who helped build the nation, of a moment when the government took stock of their health and safety, and of a photographer who recognized their humanity. About the Exhibit Power & Light is free and open to the public. The exhibition features more than 200 of Russell Lee’s photographs of coal miners and their families in the form of large-scale prints, projections, and digital interactives from a nationwide survey of housing and medical and community facilities of bituminous coal mining communities. The survey was conducted by Navy personnel in 1946 as part of a strike-ending agreement negotiated between the Department of the Interior and the United Mine Workers of America. The full series of photographs, which numbers in the thousands, can only be found in the holdings of the National Archives. These images document inhumane living and working conditions but also depict the joy, strength, and resilience of the miners' families and communities.

Channeling: body viewer features works by eleven international artists who communicate through and with the body. The featured artists draw on diverse approaches and means to deliberately activate direct connections with the viewer. These communications position the viewer to experience a heightened awareness of their self and body, or to explore how bodies channel and confront societal malaise and oppression. Varied gestures—crawling, lying, climbing, kneeling, pointing, running, walking backwards—evoke memory, history, and rhetoric. These actions also call attention to the senses and physicality of skin, touch, voice, hearing, and sight. Situating the body politic and ways in which histories imprint upon us, and as a counter to the disembodiment of remote screen culture, these works remind us that we humans are both in, and of, the body. Channeling: body viewer includes photography, video, and installations that memorialize, witness, and bear tribute to our humanity. Curated by Joan Giroux (US) and Alice Maude-Roxby (UK), Channeling: body viewer includes works from the 1970s to the present by Laura Aguilar, Pia Arke, EJ Hill, Susan Hiller, Ketty La Rocca, Shari Rothfarb Mekonen, Gustav Metzger, Paulo Nazareth, Anna Oppermann, Gina Pane, and Bridget Smith. MoCP is supported by Columbia College Chicago, MoCP Advisory Board, Museum Council, individuals, private and corporate foundations, and government grants. The 2024–2025 exhibition season is sponsored in part by the Efroymson Family Fund, Henry Nias Foundation, The Rowan Foundation, Phillip and Edith Leonian Foundation, Pritzker Traubert Foundation, Comer Family Foundation, and Venable Foundation. This project is partially supported by a CityArts grant from the City of Chicago Department of Cultural Affairs and Special Events. MoCP acknowledges support from the Illinois Arts Council. Image: Wendy Ewald, Self-portrait reaching for the Red Star sky –Denise Dixon, from the “Portraits and Dreams” series, 1975-1982

The first issue of Provoke magazine, published in Tokyo in November 1968, declared that “we as photographers must capture with our own eyes the fragments of reality that can no longer be grasped through existing language.” With this manifesto, Provoke encapsulated the energy of a time in which established conventions were discarded, and a new generation experimented with fresh outlooks and new technologies that shattered assumptions of what a photograph could be. Photobooks became the primary vehicle for transmitting radical approaches to visuality, and photographers transformed the fields of design, sculpture, installation, and film. This exhibition focuses on three innovations developed in Japan in the 1970s—are-bure-boke (grainy-blurry-out of focus), konpora (contemporary), and I-photography (first-person). These intertwined concepts profoundly impacted late-twentieth-century Japanese culture and art around the world.    Photographers featured include Shōtarō Akiyama, Nobuyoshi Araki, Shigeo Gocho, Yasuhiro Ishimoto, Kosuke Kimura, Jun Morinaga, Daido Moriyama, Masatoshi Naito, Takuma Nakahira, Tamiko Nishimura, Yutaka Takanashi, and Shomei Tomatsu. Special thanks to Hirsch Library and the Manfred Heiting Book Collection at the Museum of Fine Arts Houston, Anton Kern Gallery, and Alison Bradley Projects for generously loaning artworks for this exhibition, which is presented in conjunction with the 2025 Louisville Photo Biennial.  Image: Masatoshi Naito, [a street performer swallowing a snake], in Ken, no. 2 (pp. 22-23), October 1970, magazine, 9 x 7 ½ x 1/2 inches (23 x 18.9 x 1.3 cm). Courtesy of The Museum of Fine Arts, Houston, The Manfred Heiting Book Collection. Photo: Paul Hester, Hester + Hardaway Photographers. .

Over his nearly six-decade career, Robert Rauschenberg (1925–2008) continually captured the zeitgeist of his time, from moon landings to the globalization of contemporary art. For his paintings, sculptures, prints, photographs, and performances he mined cultural detritus, imagery, and objects. Through stacking, layering, and transferring elements into nonlinear narratives, Rauschenberg achieved what he believed was a true representation of the twentieth century: “I was bombarded with TV sets and magazines, by the excesses of the world . . . I thought an honest work should incorporate all of these elements, which were and are a reality.” The term “flatbed picture plane” in this show’s title refers to the flatbed printing press, a horizontal bed in which a surface to be printed rests. Art historian Leo Steinberg coined the phrase during a lecture in 1968, claiming it denoted a monumental perspectival shift that took place in artmaking in the early 1950s: from the vertical to horizontal. Steinberg believed this change began with artists including Rauschenberg who, rather than continue to employ the “window to the world” approach—one that “affirms verticality” and had dominated painting since the Renaissance—began treating artwork surfaces as if they were horizontal tabletops or studio floors. They also shifted their subject matter from nature to culture: “The pictures of the last fifteen to twenty years insist on a radically new orientation, in which the painted surface is no longer the analogue of a visual experience of nature but of operational processes.” This exhibition examines Rauschenberg’s work through the concept of Steinberg’s flatbed picture plane. Created with a variety of printmaking techniques, each of the works presented here was conceived with horizontality in mind and reveals new images and meanings as the beholder meanders through the composition. Acquired for Sheldon Museum of Art’s collection between 1970 and 2018, the nine editioned works in this exhibition are presented together for the very first time. Robert Rauschenberg and the Flatbed Picture Plane is organized by Christian Wurst, associate curator for exhibitions.

The Ruth and Seymour Landfield Atrium, Xcel Energy Gallery, and Starion Bank Gallery Fifty Years of Photography and Design is a retrospective exhibition celebrating Murray Lemley’s artistic career. The exhibit features a wide range of imagery, including extensive black-and-white analogue street photography from Europe in the 1970s and 80s, documentary portrait studies of people from his hometown of Hope, powerful portraits of Native Americans on the Fort Berthold Reservation, and a radical transition in later years to creating modern Polaroid images he calls “STREET COLLAGE GRAFFITI.” With this more recent work, he has, in one sense, returned to the streets he haunted in Europe in the 1970s, but in vivid color and with a new point of view and style. After leaving his home on the family farm near Hope, Lemley studied architecture at North Dakota State University, but after disagreements with his design professor, he shifted his focus to photography, journalism, graphic design, and anti-establishment activism. This journey inspired him to launch three independent magazines, work in radio, and edit the controversial yearbook The Last Picture Book, which famously omitted the name of the university from its cover and led to a temporary discontinuation of yearbooks at NDSU. Despite amassing double the required credits for a degree, his political activism resulted in the administration, in an act of petty revenge, from granting him a degree. Lemley’s photography career took off after two pivotal experiences in the early 70s: photographing for the Concordia College May Seminars Abroad and attending the Apeiron Photo Workshops in New York, which deepened his creative vision and marked a shift from photojournalism to more artistic photography. His design career flourished as well, working at Atomic Press in Seattle and later in Amsterdam, where he designed books for artists and photographers. After the years in Seattle and San Francisco Lemley moved to Amsterdam in the early 90s and has lived primarily in Europe ever since. During his early years there, Lemley worked at many things from construction to graphic design and art. He managed an art gallery for a prolific painter and designed eight books for artists and photographers, many of which are featured in this retrospective exhibition at Plains Art Museum. Lemley has had several exhibitions of this photography at the Plains as well at Suzanne Biederberg Gallery, Ververs Gallery and the Zamen Art Gallery.

The museum’s photography collection originated in 1972, when Duke University Museum of Art purchased a portrait of artist Barbara S. Thompson by noted North Carolina photographer and educator John Menapace. Twenty years later, Duke University purchased its second photograph: Cindy Sherman’s Untitled #140, depicting a human-pig hybrid creature and part of the celebrated artist’s portrayal of female characters in classic fairy tales. The opening of the Nasher Museum in 2005 initiated a more focused approach to collecting photography building upon these two earlier acquisitions. Within its first decade, the museum acquired significant groups of works by Andy Warhol, Barkley L. Hendricks, and Mike Disfarmer, among many others, as it built a robust collection of national, international, and regional photography. More recently the Nasher has added over 2,000 photographs to its collection that allow us, for the first time, to chronicle a broad historical sweep of the medium from its dawn in the 1830s and 40s to more recent innovative, experimental approaches. A five-year donation of over 1,500 photographs by Linda and Charles Googe (A.B. ’84) has more than doubled the museum’s photography holdings and included works by the best-known practitioners from the nineteenth and twentieth centuries, such as Edouard Baldus, Ilse Bing, Henri Cartier-Bresson, André Kertész, Arthur Rothstein, Nadar, and Edward Weston. Coming into Focus: A Snapshot of Photography at the Nasher celebrates these gifts and other acquisitions, highlighting a sampling of gems and illuminating a bright future of continued collecting and presenting of photography in innovative and ambitious ways. Coming into Focus: A Snapshot of Photography at the Nasher was organized by Ellen C. Raimond, Associate Curator of Academic Initiatives and Marshall N. Price, Chief Curator and Nancy A. Nasher and David J. Haemisegger Curator of Modern and Contemporary Art., with assistance from Nasher interns, Charles Blocksidge, III (’25) and Jordan Moyd (Robertson Scholar ’26, University of North Carolina, Chapel Hill), and Ghita Basurto-Covarrubias (University of North Carolina, Chapel Hill, ‘26). This exhibition is made possible by The Nancy A. Nasher and David J. Haemisegger Family Fund for Exhibitions; the Frank Edward Hanscom Endowment; the Janine and J. Tomilson Hill Family; the Neely Family Fund; the E.T. Rollins Jr. and Frances P. Rollins Fund; the J. Horst and Ruth Mary Meyer Fund; and the K. Brantley and Maxine E. Watson Endowment Fund. Image: Genevieve Gaignard, The Quietest Room in the House, 2018. © Genevieve Gaignard. Image courtesy of the artist and Vielmetter Los Angeles.

During the 1930s and early 1940s, George Hurrell (1904–1992) reigned as Hollywood’s preeminent portrait photographer. Hired by the Publicity Department at Metro-Goldwyn-Mayer (MGM) when he was only twenty-five, Hurrell advanced rapidly to become the studio’s principal portraitist. With a keen eye for artful posing, innovative lighting effects, and skillful retouching, he produced timeless portraits that burnished the luster of many of the “Golden Age’s” greatest stars. “They were truly glamorous people,” he recalled, “and that was the image I wanted to portray.” In 1933, Hurrell left MGM to open a photography studio on Sunset Boulevard. There, he created some of his most iconic portraits of MGM stars as well as memorable images of leading actors from the other major studios. After closing his Sunset studio in 1938, Hurrell worked briefly for Warner Bros. and Columbia Pictures before serving with a military film production unit during World War II. Following the war, candid photographs, made with portable, small-format cameras, rose to replace the meticulously crafted, large-format studio portraits that epitomized Hurrell’s style. For George Hurrell, Hollywood’s “Golden Age” had come to an end. “When we stopped using those 8 x 10 cameras,” he declared, “the glamour was gone.” This exhibition has been made possible in part through the generous support of Mark and Cindy Aron. Image: Clark Gable and Joan Crawford by George Hurrell / 1936, Gelatin silver print / National Portrait Gallery, Smithsonian Institution; acquired in part through the generosity of an anonymous donor

Spanning nearly the entire history of the medium, Funny Business: Photography and Humor offers a compelling view into the ways artists have utilized visual humor not only to provoke laughter and delight, but also as a means of resistance, an antidote to the heaviness of the world, and a way to interrogate and subvert norms and hierarchies. Drawn primarily from the collection of the Center for Creative Photography (CCP) at the University of Arizona in Tucson, the exhibition presents 70 photographs that showcase the mechanics of photographic humor, while examining the reasons for which artists throughout time have employed it as a strategy in their work. Featured artists include Liz Cohen, Steffi Faircloth, Jeff Mermelstein, Bucky Miller, Reynier Leyva Novo, among others. Funny Business is arranged in four thematic sections. All the World’s a Stage highlights slapstick and observational comedy through a constellation of early 20th-century gelatin silver prints and snapshots displayed in conversation with examples of canonical mid-20th century street photography. Inside Jokes charts the medium’s evolution in the 1970s, when art institutions began accepting and exhibiting photography as a legitimate art form. Featured works highlight photographers’ adoption of a tongue-in-cheek attitude toward their predecessors and the conventions and aesthetics of the medium itself. Context is Everything explores how subjects and photographic images can become absurd, ironic, and nonsensical when shown outside of their original contexts or in unexpected juxtaposition with one another. Comic Relief features the work of contemporary artists who use humor in a critical or subversive manner to explore issues of identity and belonging, politics, and general dimensions of contemporary life. Humor operates in their work as a means of resistance, a coping mechanism, a refusal to become cynical, or a way to subvert power structures and challenge stereotypes. Image: Jo Ann Callis, Parrot and Sailboat, 1980, 1980. Dye transfer print. Center for Creative Photography, University of Arizona: Purchase, 86.16.5. © Jo Ann Callis

Named by the influential German artist and teacher László Moholy-Nagy, the “New Vision” comprised an expansive variety of photographic exploration that took place in Europe, America, and beyond in the 1920s and 1930s. The movement was characterized by its departure from traditional photographic methods. New Vision photographers foregrounded experimental techniques, including photograms, photomontages, and light studies, and made photographs that favored extreme angles and unusual viewpoints. This exhibition, uniting more than one hundred works from the High’s robust photography collection, will trace the impact of the New Vision movement from its origins in the 1920s to today. Photographs from that era by Ilse Bing, Alexander Rodchenko, Imogen Cunningham, and Moholy-Nagy will be complemented by a multitude of works by modern and contemporary artists such as Barbara Kasten, Jerry Uelsmann, Hiroshi Sugimoto, and Abelardo Morell to demonstrate the long-standing impact of the movement on subsequent generations. Image: Imogen Cunningham (American, 1883-1976), Agave Design I, ca. 1920

Lines of Belonging marks the 40th anniversary of New Photography with an exhibition featuring 13 artists and collectives who delve into the complexities of identity, community, and interconnectedness. As artist Sabelo Mlangeni eloquently stated, "Love is the key that takes cultures from oppression to joy," reflecting how, in his work, the concept of love serves as a powerful force for liberation and political unity. Through their varied practices, these artists explore places of belonging and trace connections that transcend generations, histories, and geographies. Some use their personal experiences to connect with broader political narratives, while others challenge historical archives and reimagine future communities through their art. Lines of Belonging focuses on four cities—Kathmandu, New Orleans, Johannesburg, and Mexico City—each of which has long been a hub for life, creativity, and cultural exchange, often predating the modern nation-states in which they now reside. The work presented here offers a stark contrast to the rapid, profit-driven pace of contemporary image production, digital technologies, and artificial intelligence. Instead, these artists advocate for slowness, persistence, and care as a response to the overwhelming speed and commodification of the modern world. This exhibition marks the first time these artists and collectives are being presented at MoMA, and it includes Sandra Blow, Tania Franco Klein, and Lake Verea (Francisca Rivero-Lake and Carla Verea) from Mexico City; Gabrielle Goliath, Lebohang Kganye, Sabelo Mlangeni, and Lindokuhle Sobekwa from Johannesburg; Nepal Picture Library, Sheelasha Rajbhandari, and Prasiit Sthapit from Kathmandu; and L. Kasimu Harris, Renee Royale, and Gabrielle Garcia Steib from New Orleans. Together, these artists offer fresh perspectives on the intersection of place, memory, and identity. Image: L. Kasimu Harris. Come Tuesday (Marwan Pleasant at Sportsman’s Corner), New Orleans. 2020. Inkjet print, 24 × 36" (61 × 91 cm). Courtesy the artist

With a diversifying population, rapidly evolving cities, and transforming ecology, North Carolina has undergone immense change, especially in recent years. This exhibition features works by artists who are reckoning with the inevitability of the passage of time across our state. While some artists reflect on deeply personal memories of their home and their relationship with the land and built environment, others highlight the consequences of climate change and the legacy of social injustice. Then and There, Here and Now challenges viewers to consider their own relationship to the past—however nostalgic, mournful, disorienting, or hopeful—and its impact on the present. Organized by the North Carolina Museum of Art. This exhibition is made possible, in part, by the North Carolina Department of Natural and Cultural Resources; the North Carolina Museum of Art Foundation, Inc.; and the William R. Kenan Jr. Endowment for Educational Exhibitions. Research for this exhibition was made possible by Ann and Jim Goodnight/The Andrew W. Mellon Foundation Fund for Curatorial and Conservation Research and Travel. Image: Elizabeth Matheson, Pinecrest Pool, 2004

More Is More: Reinventing Photography Beyond the Frame presents singular works of art created from multiple photographs. Set in the experimental time of the mid-1960s to 1980s, the exhibition features artists who deconstructed, reconstructed, and multiplied photographs, playfully pushing photography’s physical boundaries and conceptual limits. By the 1970s photography had clawed its way from the margins of the art world, gaining greater acceptance in museums, galleries, and university classrooms. A new generation of artists began integrating photography into their artistic practice, working alongside photographers who were already fully engaged in the medium. With this newfound adoption—particularly among Conceptual and Performance artists—photography found itself at the vanguard of creativity. More Is More features 43 photographs by 25 artists, many of which are on view for the first time at the Nelson-Atkins. Artists in the exhibition include David Hockney, Gordon Matta-Clark, Andy Warhol, Barbara Crane, Nancy Burson, Jan Groover, John Baldessari, Lew Thomas, Vito Acconci, Eleanor Antin, Barbara Blondeau, and Ray Metzker, among many others. More Is More is accompanied by a selection of photographs in gallery L10, featuring works by Eadweard Muybridge, Ilse Bing, Irving Penn, Edward Weston, Doris Ulmann, Clarence White, Louise Dahl-Wolfe, Louis-Rémy Robert, and William Henry Jackson among others. Organized by The Nelson-Atkins Museum of Art. Generous support provided by the Hall Family Foundation.

How does learning from cultures different from our own shift our perspectives and understanding of the world? Africa Past, Present, and Future: Celebrating 65 Years of the MSU African Studies Center marks this major anniversary year while also forwarding important questions about the role of collections and object-based learning to expand our knowledge and understanding of the world around us—and our place therein. In 2025, the MSU African Studies Center (ASC) celebrates its 65th anniversary, a remarkable achievement with so many impactful years of service to the university community and across the African continent. Composed of works from the collections of the MSU Broad Art Museum and MSU Museum, the works on view present a wide range of African art and cultural objects that help narrate the relationship of MSU to Africa and its many countries, ethnic groups, and peoples. The museums’ collections of African art grew in significance at the same time that MSU became more deeply involved with the founding of the University of Nigeria, Nsukka—a partnership forged between then-MSU president John Hannah and the Nigerian government. At this same moment, in 1960, Hannah initiated the formalization of the ASC, the second such organization to be inaugurated in the United States at that time. Through this shared history and building upon the incredible work of the ASC today, this exhibition offers experiential opportunities for visitors to learn about the ASC’s captivating work and how university collections continue to advance teaching and learning about and from the many cultures of Africa—past, present, and future. Africa Past, Present, and Future: Celebrating 65 Years of the MSU African Studies Center is organized by the Eli and Edythe Broad Art Museum at Michigan State University and co-curated by Steven L. Bridges, senior curator and director of curatorial affairs at the MSU Broad Art Museum; Kurt Dewhurst, professor and curator at the MSU Museum, and director of arts and cultural partnerships at University Outreach & Engagement; Leo Zulu, director of the MSU African Studies Center; and Erik Ponder, African Studies Librarian; with additional curatorial advisors: Candace Keller, associate professor of art history and visual culture at MSU; Marsha MacDowell, professor and curator at the MSU Museum, and director of the Michigan Traditional Arts Program; Ray Silverman, former professor of art history and visual culture, curator of African Arts, and director of museum studies at MSU; Lynne Swanson, cultural collections manager at the MSU Museum; and Chris Worland, textile artist and former guest curator at the MSU Museum. Support for this series is provided by the MSU Federal Credit Union. This exhibition is the result of a partnership between the MSU African Studies Center, International Studies and Programs; MSU Broad Art Museum; MSU Museum; and MSU Libraries.

Photojournalism is work and it is livelihood, it is craft and it is documentation, it is a way to be in the world and to share the world, it is a way to resist oppression while insisting on the fullness of life. Black Photojournalism presents work by more than 40 photographers chronicling historic events and daily life in the United States from the conclusion of World War II in 1945 to the presidential campaigns of 1984, including the civil rights movements through the 1950s, 60s, and 70s. Drawn from archives and collections in the care of journalists, libraries, museums, newspapers, photographers, and universities, the original work prints in the exhibition were circulated and reviewed in publishing offices before anything went to print. Each one represents the energy of many dedicated individuals who worked to get out the news every single day. One picture leads to another, making visible multiple experiences of history while proposing ways of understanding today as tomorrow is being created. Responding to a dearth of stories about Black lives told from the perspectives of Black people, Black publishers and their staff created groundbreaking editorial and photojournalistic methods and news networks. During a period of urgent social change and civil rights advocacy, newspapers and magazines, including the Afro American News, Atlanta Daily World, Pittsburgh Courier, Chicago Defender, and Ebony, transformed how people were able to access seeing themselves and their communities. Their impact on the media landscape continues into the digital present. The exhibition, designed by artist David Hartt, is co-organized by Dan Leers, curator of photography, and Charlene Foggie-Barnett, Charles “Teenie” Harris community archivist, in dialogue with an expanded network of scholars, archivists, curators, and historians.

Since the 1990s, photographer Peter Moriarty has traveled to greenhouses, orangeries, conservatories, and arboretums to capture the characteristics of these “warm rooms” constructed to preserve and propagate prized plants. From the Royal Botanic Gardens at Kew in England to Longwood Gardens in nearby Kennett Square, Moriarty documents the unique structures and specimens as encountered through his personal, graphic sensibility. He produces traditional gelatin-silver prints that convey the light-filled, atmospheric spaces of historic greenhouses.

Organized by the National Portrait Gallery, London, this exhibition is an intimate and historic opportunity to see the extraordinary archive of recently discovered photographs taken by Paul McCartney between December 1963 and February 1964. Over the course of these three short months, the Beatles—Paul McCartney, John Lennon, George Harrison, and Ringo Starr—were propelled from being the most popular band in Britain to an unprecedented international cultural phenomenon.. The photographs in this exhibition, taken by McCartney with his own camera, provide a uniquely personal perspective on what it was like to be a Beatle at the start of Beatlemania—from gigs in Liverpool and London to performing on the Ed Sullivan show in New York for an unparalleled television audience of 73 million people.. Drawn from McCartney’s own personal archive, the majority of these images have never been seen before. They allow us to experience the Beatles’ extraordinarily rapid rise from a successful regional band to global stardom through McCartney’s eyes. At a time when so many camera lenses were on them, this perspective—from the inside—brings fresh insight to the band, their experiences, the fans, and the early 1960s.. Paul McCartney Photographs 1963–64: Eyes of the Storm has been organized by the National Portrait Gallery, London, England, in collaboration with Paul McCartney. It is curated by Sir Paul McCartney with Sarah Brown for MPL Communications and Rosie Broadley for the National Portrait Gallery. Image: Paul McCartney. Self-portrait. London, 1963. © 1963-1964 Paul McCartney under exclusive license to MPL Archives LLP

Planned to complement the exhibition of Peter Moriarity’s photographs, this show draws from the Museum’s photography collection and features plant pictures from the 20th and 21st centuries. Represented artists include Tom Baril, Paul Caponigro, Imogen Cunningham, Alida Fish, and Erica Lennard.

In 1966, the George Eastman House of Photography in Rochester, New York, hosted a pivotal exhibition curated by Nathan Lyons called Toward a Social Landscape. The slim, accompanying catalog was shared amongst photographers who were especially encouraged by Duane Michals’s observation that “when a great photographer does infuse the snapshot with his personality and vision, it can be transformed into something truly moving and beautiful.” The UK Art Museum has a robust collection of photographers included in and inspired by this exhibition including Ruth Bernhard, Bruce Davidson, Lee Friedlander, Danny Lyon, Alen MacWeeney, Ralph Eugene Meatyard, Duane Michals, Peter Turnley, and Garry Winogrand. Their photographs are not merely records of scenes they observed, rather they are charged emotional moments formed in the relationship between the person behind and the world in front of the camera.     This exhibition of photography from the United States is installed on the floor above Self and Others: Japanese Photography after 1968 so visitors can compare and contrast two parallel discourses on opposite shores of the Pacific Ocean. Shared concepts and processes indicate a growing sense of international contemporaneity in the 1970s. Both exhibitions are presented in conjunction with the 2025 Louisville Photo Biennial.   Image: Duane Michals, Untitled from Alice’s Mirror, 1974, gelatin silver print. Collection of the UK Art Museum, purchase: The Robert C. May Photography Fund.

This focus exhibition explores artistic engagement with the natural environment as a source of creative inspiration worth celebrating and protecting. Approximately 25 photographs, prints, drawings, and textiles illustrate the elements of air, water, earth, and fire against broader themes of ecological awareness and preservation. These range from how artists have used visual language to convey the act of locating oneself in nature; works that depict natural forms through the physical integration of environmental components; and artists’ commentary on sites of environmental disaster, the socio-political ramifications of human impact, and the potential of symbiotic healing for this planet and its occupants. Presented as part of the Turn Again to the Earth environmental initiative. Curated by Andaleeb Badiee Banta, BMA Senior Curator of Prints, Drawings, and Photographs.

When Langston Hughes Came to Town explores the history and legacy of Langston Hughes through the lens of his largely unknown travels to Nevada and highlights the vital role Hughes played in the Harlem Renaissance and beyond. James Mercer Langston Hughes (1902-1967) was born in Joplin, Missouri. Hughes studied at Columbia University in 1921 for one year and would eventually become one of leading writers of the Harlem Renaissance. A writer with a distinctive style inspired by jazz rhythms, Hughes documented all facets of Black culture but became renowned for his incisive poetry. The exhibition begins by examining the relationship of this literary giant to the state of Nevada through a unique presentation of archival photographs, ephemera, and short stories he wrote that were informed by his visit to the area. The writer’s first trip to Nevada took place in 1932, when he investigated the working conditions at the Hoover Dam Project. He returned to the state in 1934, at the height of his career, making an unexpected trip to Reno, and found solace and a great night life in the city. The presentation continues with work created by leading artists of the Harlem Renaissance who had close ties to Hughes, including sculptures by Augusta Savage and Meta Vaux Warrick Fuller, and paintings by Beauford Delaney, Aaron Douglas, Norman Lewis, and Archibald Motley, Jr., among others. The range of work on display foregrounds the rich expressions of dance, music, and fashion prevalent during the influential movement. The final section of the exhibition features contemporary artists who were inspired by Hughes and made work about his life. Excerpts from Hughes’s poems and short stories are juxtaposed with related works of art, demonstrating how his legacy endures in the twenty-first century. Isaac Julien, Kwame Brathwaite, Glenn Ligon, and Deborah Willis are among the artists whose works are included. Julien, for example, in his renowned series Looking for Langston Hughes reimagines scenarios of Hughes’s life in Harlem during the 1920s. His black-and-white pictures are paired with Hughes poem No Regrets. Similarly, Brathwaite’s impactful photographs highlight the continuation of the Harlem Renaissance through the Black pride movement of the 1960s and are coupled with the poem My People. Finally, Glenn Ligon’s black neon sculpture relates to Hughes’s poignant poem Let America Be America Again, which both leave viewers to ponder the question of belonging in America.

During her long, prolific, and groundbreaking career, the American photographer Dorothea Lange made some of the most iconic portraits of the 20th century. Dorothea Lange: Seeing People reframes Lange’s work through the lens of portraiture, highlighting her unique ability to discover and reveal the character and resilience of those she photographed. Featuring 100 photographs, the exhibition addresses her innovative approaches to picturing people, emphasizing her work on social issues including economic disparity, migration, poverty, and racism. This exhibition debuted at the National Gallery of Art in 2023 and is curated by Philip Brookman, consulting curator in the department of photographs, National Gallery of Art. The Nevada Museum of Art’s presentation of Dorothea Lange: Seeing People will be the only West Coast venue for this exhibition. This exhibition is organized by the National Gallery of Art, and is part of its Across the Nation program to share the nation’s collection with museums around the country.

French photographer and visual artist Nicolas Floc’h’s Fleuves-Océan project traces the movement of water across our planet, exploring its flow through varied habitats and representing the ways we are all connected by water cycles and systems. This exhibition pairs vibrant monochromatic photographs of the color of water made under the surface with dramatic black-and-white landscape photographs made along the banks of the Mississippi and its tributaries—from Louisiana and across the country. Nicolas Floc’h documented the entire span of the Mississippi during a 2022 artist residency in the United States with Villa Albertine in collaboration with the Camargo Foundation and Artconnexion. This exhibition, organized by the New Orleans Museum of Art, is a clarion call illustrating illustrating the importance of a network of water that links people across the entire continent. Floc’h’s photography translates important scientific concerns—like climate change and the looming water crisis—into an overwhelming aesthetic experience, without sacrificing any urgency or insistence. A monumental arrangement of Floc’h’s “water color” photographs constitutes a central element of the exhibition. Floc’h made each image by lowering the camera underwater to the same prescribed depths, repeating the process at different locations in the Mississippi and its source waters. Light passing through the water appears as an unbelievable range of colors and shades, influenced by factors like plant and animal life, mineral run-off, and other determinants of the river’s chemical content. NOMA’s presentation combines nearly 300 individual photographs into a monumental grid of vibrant color, a new kind of polychromatic map plotting the health of the Mississippi between New Orleans and the Gulf of Mexico. In tandem with this wall of color, the exhibition includes compelling landscape photographs that illustrate the full span of the watershed, from Minnesota and the Dakotas, through Illinois, West Virginia, Missouri, Texas, and more. Floc’h traces the movement of water through the many tributaries that combine to make the Mississippi, chronicles human efforts to harness and direct the power of the river, and the alarming absence from dry reservoirs and creek beds. Floch’s striking landscapes are presented in tandem with water color photographs specific to that place, making a visual connection between what we can see happening on the land and the quality of the water that surrounds us. Image: The Color of Water, Mississippi River, Ohio River Confluence 2022

American, Born Hungary: Kertész, Capa, and the Hungarian American Photographic Legacy traces the extraordinary artistic journeys of Hungarian-born photographers who shaped the visual landscape of the 20th century. Against backdrops of war, exile, and reinvention, these artists migrated from Hungary to Berlin and Paris, and ultimately to New York, Chicago, and Los Angeles, where they redefined American photography. This exhibition offers the first comprehensive exploration of their odyssey—spanning two world wars and the 1956 Hungarian Revolution—and the remarkable artistic contributions that emerged along the way. Featuring over 150 striking and surreal photographs, the exhibition captures the poetic interplay of light and shadow, the grit of urban life, the allure of celebrity, and the ever-present promise of America. Included are works by renowned photographers such as André Kertész, Nickolas Muray, Martin Munkácsi, and György Kepes, alongside lesser-known artists whose images have become iconic. Among them is Robert Capa, a pioneer of modern photojournalism, whose harrowing images of D-Day at Omaha Beach remain among the most defining photographs of World War II. This exhibition fills a missing chapter in art history, revealing the profound impact of Hungarian émigrés on American photography, particularly in major urban centers. László Moholy-Nagy, whose avant-garde experiments at the Bauhaus in Germany laid the foundation for Chicago’s “New Bauhaus,” emerges as a key figure in this transatlantic movement. Meanwhile, John Albok’s Depression-era street photography captured New York life with raw emotion, and on the West Coast, André de Dienes’ portraits of Hollywood icons, including Marilyn Monroe, played a pivotal role in shaping the Golden Age of cinema. From evocative street scenes and high-fashion imagery to haunting war photography and cinematic portraiture, the exhibition showcases the work of more than thirty Hungarian-born artists who transformed photography in the 20th century. American, Born Hungary is organized by the Virginia Museum of Fine Arts and curated by Alex Nyerges, VMFA Director and CEO, in collaboration with Károly Kincses, founding director of the Hungarian Museum of Photography. The exhibition premiered at the Museum of Fine Arts in Budapest on April 5, 2024, to inaugurate its newly renovated galleries, before traveling to the Virginia Museum of Fine Arts in October 2024. The George Eastman Museum serves as the final stop for this landmark exhibition. Image: Nickolas Muray (American, b. Hungary, 1892–1965), Joan Crawford and Douglas Fairbanks Jr., Santa Monica, California, 1929. Gelatin silver print. George Eastman Museum, gift of Mrs. Nickolas Muray. © Nickolas Muray Photo Archives

Postcards from Nowhere presents an intimate installation of 42 photographs of people at work and play by South Florida humanist photographer Eduardo Chacon. This is a combined special exhibition that also features a selection of iconic street photographers from the Museum collection that inspire Chacon’s practice. Eduardo Chacon shoots straight photography with no cropping, no auto-focus, and all manual settings. By maintaining the integrity of the original scene, Chacon captures his surroundings rife with that thing most fleeting: human emotion. As a counter to a society obsessed with peering into our phones’ black mirrors, Chacon turns his camera’s eye ever outward and up and, in the blink of a lens, creates visual chronicles of human interaction, from a bartender mid-pour to a family fishing trip, to an embrace while gazing at the stars. Postcards from Nowhere, using only Chacon’s masterful control of timing, contrast, and composition in black-and-white, transports the viewer on a trip to their own personal realm. As the exhibition reveals, this could be anywhere worldwide, as long as it avoids modern technology in favor of a simpler time. Image: Eduardo Chacon, Hangover Bros, 2022 (printed 2023), archival print. Courtesy of the Artist

The Unending Stream is a two-part exhibition that showcases the thriving community of photographers living and working in New Orleans. The title of the exhibition pays homage to a Clarence John Laughlin photograph of the same title, which is a part of the permanent collection at Ogden Museum of Southern Art. Considered “the Father of American Surrealism,” Laughlin was perhaps the most important Southern photographer of the mid-twentieth century. His seminal work, created between the 1935 and 1965, is an important chapter in the long-storied relationship between New Orleans and photography. Following in Laughlin’s visionary footsteps, this exhibition focuses on contemporary photographers who are visually defining the Crescent City in the twenty-first century. The Unending Stream celebrates of the city of New Orleans’ continuing role as one of America’s most important cultural capitals while also highlighting the role the arts have played in revitalizing the region over the past twenty years since Hurricane Katrina. The Unending Stream highlights the work of six photographers who investigate themes similar to Laughlin’s of memory, place, time and identity while capturing the mysterious beauty of America’s most unique city. Each photographer brings a contemporary twist to the exhibition, creating work that provokes thought and conjures emotion. The Unending Stream: Chapter II features photographers (Casey Joiner, Eric Waters, Virginia Hanusik, Giancarlo D’Agostaro, Steve Pyke and Clint Maedgen) who work in both analogue and digital photography. Casey Joiner uses the camera to explore themes of family and grief; Eric Waters documents the complex culture of New Orleans’ Black masking traditions; Virginia Hanusik captures Louisiana’s disappearing coastline in a time of climate change; Giancarlo D’Agostaro makes moody nocturnal photographs of Mardi Gras parades; Steve Pyke records the lush urban forest contained within City Park; and Clint Maedgen fuses multiple images and self-portraiture to create scroll-like collages informed by his musical background. New Orleans has been both muse and home to some of the most important and celebrated photographers of the ninetieth and twentieth century. The Unending Stream sheds light on the current trajectory of photography being created in New Orleans today. Image: Eric Waters, Victor Harris “Mandingo Warriors” FiYiYi, 2015, Pigment Print, 30 x 24 inches, Collection of the Artist

Invented in France by Louis-Jacques-Mandé Daguerre in the 1830s, the daguerreotype rapidly became the first widely practiced photographic process worldwide. By 1853, photographers in the United States produced an estimated three million a year, mostly portraits. But between 1840 and 1860, an innovative language of scenic outdoor daguerreotypes developed despite the technical challenges of the process. Surviving examples of these jewel-like scenic daguerreotypes number in the few thousands. This exhibition looks at eighty three, most selected from an important private collection. Included are two of the earliest American landscape photographs, extraordinary full-plate daguerreotypes made in 1840-41 by Samuel Bemis (1789–1881) and never before exhibited in public, and a street scene in Cincinnati made around 1851 by James Presley Ball (1825–1904). Gain an incredible view into mid-nineteenth-century American life and the beginnings of American landscape photography that emerged concurrently with the Hudson River School of painters. These forgotten but pioneering daguerreotypes laid the foundation for the scenic and urban landscape tradition that would dominate American photography in the twentieth century. Image: St. Anthony Falls, Minneapolis, Minnesota, Attributed to Alexander Hesler (1823-1895) and Joel Whitney (1822-1886). Sixth plate daguerreotype. Greg French Collection.

Internationally renowned artist Ann Hamilton is best known for large-scale ephemeral installations, performances, and civic monuments, but the use of photography and video runs throughout her 35-year career and has become increasingly important to her practice over the past decade. This exhibition juxtaposes past works with new creations, including some related to the museum and its collections. Explored in all this work is the relationship between touch, sight, and language. Hamilton’s interest in tactility recalls her origins as a textile artist. A central theme of her practice is the connection between feeling, understanding, and sensory experience, especially touch. Born in Lima, Ohio, and living in Columbus, Hamilton is Ohio’s most influential and best-known living visual artist. Among her many honors are the National Medal of the Arts, Heinz Award, MacArthur Fellowship, United States Artists Fellowship, NEA Visual Arts Fellowship, Louis Comfort Tiffany Foundation Award, Skowhegan Medal for Sculpture, and the Guggenheim Memorial Fellowship. Hamilton represented the United States in the 1991 Sao Paulo Bienal and the 1999 Venice Biennale and has exhibited extensively around the world. Image: sense • stone, 2022. Ann Hamilton (American, b. 1956). Archival pigment print on Japanese gampi paper

Can a photographic portrait inspire political imagination? Ideas of Africa: Portraiture and Political Imagination examines how photographers and their sitters contributed to the proliferation of Pan-African solidarity during the mid-20th century. Embracing the international spirit of the time, the exhibition gathers striking pictures by photographers working in Central and West African cities. They created images of everyday citizens, dazzling music scenes, and potent manifestations of youth culture that reflected emerging political realities. Photographs by Jean Depara, Seydou Keïta, Malick Sidibé, and Sanlé Sory portray residents across Bamako, Bobo-Dioulasso, and Kinshasa at a time when the winds of decolonial change swept the African continent in tandem with the burgeoning US Civil Rights movement. The exhibition also spotlights James Barnor and Kwame Brathwaite—photographers living in Europe and North America who contributed to the construction of Africa as a political idea. Contemporary works by artists such as Samuel Fosso, Silvia Rosi, and Njideka Akunyili Crosby show the enduring relevance of these themes. Brimming with possibility, Ideas of Africa: Portraits and Political Imagination embraces the creative potential of the photographic portrait and its political resonance across the globe. Image: Sanlé Sory. Traveller (Le Voyageur). 1970–85.

A largely self-taught photographer, Ralph Eugene Meatyard (American, 1925–1972) was a pioneering and inventive artist who created some of the most original images of the mid-twentieth century. His work defies easy categorization as he experimented across various genres and subjects, and throughout his career, he maintained the ethos of an amateur, approaching photography with a sense of affection, discovery, and surprise. He is best known for his staged scenes that suggest an absurd fantasy set in the dilapidated houses and banal suburban environs near his home in Lexington, Kentucky. These scenes, often featuring his family as actors and using props such as masks and dolls, reveal Meatyard’s search for inner truths amid the ordinary. This exhibition, coinciding with the artist’s centenary, will feature the thirty-six prints that comprise the artist’s first monograph (Gnomon Press, 1970)—one of only two books he published in his lifetime—which Meatyard intended to stand as his definitive artistic statement. Through his idiosyncratic selection of images, this exhibition will explore how Meatyard’s singular approach and voracious curiosity expanded photography’s expressive and conceptual potential. Image: Self-Portrait (Frontispiece), ca. 1964–1966

Femme ’n isms is a multi-year series of exhibitions celebrating intersectional feminist artmaking in the Allen’s collection. Inspired by a recent gift of prints and photographs by German artists Käthe Kollwitz and Lotte Jacobi, the third installment of Femme ’n isms features portraits of girls and women, almost entirely by women and femme-identifying artists.. Some works depict artists, musicians, and actors in self-conscious poses, while others capture an exchange of casualness and honesty between women artists and subjects. Nearly half the works are self-portraits in artists’ studios or other intimate spaces, highlighting the overlooked labor of women artists. Spanning more than a century, changing attitudes toward self-fashioning in these works demonstrate that making one’s own image is a crucial means of asserting agency over one’s representation and ultimately oneself.. The exhibition includes works by Emma Amos, Cecilia Beaux, Martine Gutierrez, Lotte Jacobi, Käthe Kollwitz, Marie Laurencin, Joan Semmel, Cindy Sherman, and others.

Erica Baum: The Bite in the Ribbon—A Paper Show invites viewers into a world where text and image converge in unexpected ways. Through the careful selection, transformation, and reinterpretation of printed materials, Baum constructs a poetic interplay of language and form, encouraging both deep looking and reading. This exhibition presents a dynamic juxtaposition of her early and ongoing projects alongside her latest work, including never-before-seen pieces. At the heart of the show, Dog Ear, displayed in the Potter Peristyle, exemplifies Baum’s signature method of repurposing found books. By folding pages at precise angles, she creates surprising interactions between words and images, generating new narratives and abstract compositions from existing texts. This simple yet radical intervention challenges traditional notions of reading, inviting fresh interpretations with every fold. In the Project Gallery, Baum’s recent series, Patterns and Fabrications, explore the aesthetics of fashion and craft through printed media. Patterns focuses on the striking geometries, colors, and textual fragments found in mid-century sewing pattern designs, while Fabrications expands this investigation to include materials from magazines, catalogs, and books on fashion and craft. By incorporating advertisements and coupons, Baum reframes the domestic and commercial imagery embedded in these everyday objects, offering a meditation on material culture and visual storytelling. Through these interwoven series, The Bite in the Ribbon—A Paper Show highlights Baum’s ongoing fascination with the interplay between print, language, and image, revealing the hidden beauty and meaning within overlooked materials. Image: Erica Baum (American, b. 1961), Wrought Iron, from Fabrications, 2024. Inkjet print. Courtesy of the artist and Bureau, New York. © Erica Baum

Photographers seeking customers during the medium’s early years often urged the public to “Secure the shadow, ere the substance fade.” Hinting at life’s fragility, this tagline underscored photography’s ability to capture a fleeting likeness and preserve it for posterity. Portraits in the impressive whole-plate format—measuring 8 ½ × 6 ½ inches—were among the premier offerings of the nation’s leading photographic studios. Drawing on the National Portrait Gallery’s extensive early photography collection, this exhibition traces the evolution of the grand-scale, whole-plate format from the high-end daguerreotype to the mid-range ambrotype to the more affordable tintype. Examples of whole plates in each of these mediums illustrate how the format evolved as new photographic processes were introduced. Featured works include daguerreotypes representing U.S. senators Daniel Webster and John C. Calhoun, as well as papal nuncio Gaetano Bedini; an ambrotype portrait of American landscape artist John Frederick Kensett; and a tintype likeness of an unidentified African American woman.

Born in Inglewood, California in 1977, Cara Romero is known for dramatic fine art photography that examines Indigenous life in contemporary contexts. An enrolled citizen of the Chemehuevi Indian Tribe, Romero was raised between contrasting settings: the rural Chemehuevi reservation in Mojave Desert, California, and the urban sprawl of Houston, Texas. Informed by her identity, Romero’s visceral approach to representing Indigenous and non-Indigenous cultural memory—both collective history and lived experiences—results in a blending of fine art and editorial styles. Her visual storytelling brilliantly challenges dominant narratives of Indigenous decline and erasure and disrupts preconceived notions about what it means to be a Native American, showing the diversity within Indigenous nations and communities. Organized by the Hood Museum of Art, Cara Romero: Panûpünüwügai (Living Light) is the first major solo exhibition exploring the narrative artistic practice of the Chemehuevi photographer and presents more than 50 works Romero created between 2013 and 2024. The exhibition features new and never-before-seen photographs, site-specific installations, large scale photographs, and iconic views across five thematic sections. Image: Cara Romero, Devil’s Claw No. 1, 2025, archival pigment print. © Cara Romero. Image courtesy of the artist.

Coinciding with the Semiquincentennial in 2026, Citizen Artist will meet a moment of national reflection with a celebration of artist workers in America. Beginning in 1933, artists painted, photographed, wrote, acted, and taught for New Deal programs including the Public Works of Art Project, the Works Progress Administration, Farm Security Administration, and the Treasury Section on Fine Arts. President Franklin D. Roosevelt’s New Deal initiated dedicated arts and cultural support at the national level. Four decades later, the Comprehensive Employment and Training Act (CETA) funded unemployment relief and jobs training programs through local Department of Labor offices. Across the United States, artists and their allies adapted, designing programs that mobilized the skills of out-of-work professional artists in service of their local communities. CETA wasn’t designed to support artists – it was designed to create jobs. Yet in the 1970s, the Department of Labor did both. With CETA support, the creative sector saw professionalization of the field, the founding of new arts organizations, and an expansion of community-based arts programs. Artists used CETA to fund community connections, and in Delaware, it ignited energy that helped shape programs at the Delaware Art Museum and develop the foundation for The Delaware Contemporary. By reactivating CETA’s legacy of creative ingenuity, we thread the lines of creativity, innovation, and collaboration across generations. Citizen Artist brings artworks from the interconnected eras of the New Deal and CETA together, alongside original commissions that document, amplify and imagine new possibilities for artists’ roles today.

Photographer George Platt Lynes enriched creative life in New York City in the 1930s and 1940s with his ambitious and multifaceted art. To be photographed by Lynes was to enter a world of refined style, liberated desire, and artistic possibility. A self-taught craftsman of the medium and an intuitive master of studio lighting, he created thousands of images both for commercial use and private consumption, imbuing each with love and candor. His image repertoire, which is long overdue for consideration in its fullness, has since exerted an undeniable influence on subsequent generations of artists and on various trajectories of American visual culture. This exhibition features some 120 photographs revealing the full scope of the artist’s work in the studio—from lavish fashion imagery for Vogue and Harper’s Bazaar and commercial work for luxury brands to his stylized portraits of celebrities, his dance photography for the New York City Ballet, and his inimitable male nudes. At their very best, Lynes’ images transcend genre and artfully disclose the intimacies of his life—from friends and lovers to artists, writers, poets, choreographers, and the many dynamic figures of the era who influenced Lynes and were influenced by him. Drawn from private and public collections, including the Kinsey Institute at Indiana University, the show represents a rare opportunity for museum visitors to explore in depth the life and career of one of the most consequential photographers of the twentieth century. The exhibition is organized by Eric Crosby, Henry J. Heinz II Director, Carnegie Museum of Art, and Vice President, Carnegie Museums of Pittsburgh. Image: George Platt Lynes, Surrealist Nude, ca. 1935, Carnegie Museum of Art, The Henry L. Hillman Fund, © Estate of George Platt Lynes

Photographer Mathew Brady (c. 1823 –1896) may be best remembered today for his role in producing a remarkable visual record of the Civil War (1861–65). Yet he initially gained fame as a portrait photographer more than a decade before the war began. Among Brady’s most popular offerings were small, card-mounted photographs known as cartes de visite. Modestly priced, they fueled the rapid growth of a mass market for photographic portraiture from the time of their introduction in the United States in 1859. Brady’s studios produced thousands of glass-plate negatives from which countless prints were made. In 1981, the National Portrait Gallery acquired more than 5,400 Brady studio negatives. Originally assembled as part of a larger collection by amateur historian Frederick Hill Meserve, they offer an extraordinary pictorial index of the prominent figures of the Civil War era. The exhibition includes nine modern prints from Brady’s original photographic negatives. Portraits of Abraham Lincoln, Mary Todd Lincoln, Nathaniel Hawthorne, Ulysses S. Grant, and Emma, Queen of Hawai‘i are featured, along with an original, glass-plate negative and one of Brady’s wooden storage boxes.