Photo Exhibitions

Etherton Gallery’s new exhibition, Redux: Selections from The Photography Show presented by AIPAD, highlights examples of rare, vintage, and iconic photography from the 20th and 21st century that Etherton Gallery exhibited at The AIPAD Photography Show in New York this past spring. AIPAD is the largest art fair in the United States dedicated to fine art photography, and it brings together everyone in the photography community once a year. The best galleries in the world apply to participate in the fair, and the process is highly selective. Exhibiting at AIPAD places a gallery from Tucson on the same footing as a gallery from New York, London or Paris. Participating in AIPAD since 1985, Etherton Gallery has earned its reputation as one of the best galleries in the United States. For the 2024 edition of AIPAD, Terry Etherton, Gallery Director and owner of Etherton Gallery, selected a unique combination of photographs and photographic objects, which we are excited to share with the Tucson community. Image: Edith, Danville, Virginia, 1980 © Emmet Gowin

This landmark exhibition presents the work of Christina Fernandez, whose photographs and installations explore migration, labor, gender, and her Mexican American identity. Christina Fernandez: Multiple Exposures surveys over three decades of Fernadez’s most important photographic series and installations. Informed by her family’s involvement in the Chicano movement, Fernandez’s conceptual practice has paired aesthetic inquiry with political commitment since the 1990s. Working between portraiture and landscape photography, Fernandez addresses the intersections between the personal and the political as grounded in her immediate community in East Los Angeles and her family’s history of migration. Fernandez’s first monographic museum exhibition invites us to reconsider history, borders, and the lives that cross and inhabit both. Image: Christina Fernandez, Untitled Multiple Exposure #4 (Bravo), 1999 © Christina Fernandez

Drawing together photographs and installations from both his celebrated and lesser-known series, Lyle Ashton Harris: Our first and last love charts new connections across the artistic practice of Lyle Ashton Harris (b. 1965, Bronx, NY). The exhibition explores Harris’s critical examination of identity and self-portraiture while tracing central themes and formal approaches in his work of the last 35 years. The artist’s recently-completed Shadow Works anchor the exhibition. In these meticulous constructions, photographic prints are set within geometric frames of stretched Ghanaian funerary textiles, along with shells, shards of pottery, and cuttings of the artist’s own hair. Our first and last love follows the cues of the Shadow Works’ collaged and pictured elements—which include earlier artworks and reference materials, personal snapshots, and handwritten notes—to shed light on Harris’s layered approach to his practice. Harris’s work engages with broad social and political dialogues while also speaking with revelatory tenderness to his own communities, and to personal struggles, sorrows, and self-illuminations. Groupings centered around singular Shadow Works will expand upon these multiple throughlines, including Harris’s continued examination of otherness and belonging; the framing and self-presentation of Black and queer individuals; violence as a dark undercurrent of intimacy and desire; tenderness and vulnerability; and notions of legacy—both inherited and self-defined. Lyle Ashton Harris: Our first and last love is co-organized by the Queens Museum and the Rose Art Museum, Brandeis University, and is co-curated by Lauren Haynes, Director of Curatorial Affairs and Programs, Queens Museum and Caitlin Julia Rubin, Associate Curator, Rose Art Museum. Image: Lyle Ashton Harris, "Succession", 2020. Ghanaian cloth, dye sublimation prints, and artist’s ephemera. Rose Art Museum, Brandeis University, Mortimer and Sara Hays Acquisition Fund, 2023.4. Courtesy the artist. © Lyle Ashton Harris

This exhibition is a dynamic retrospective of Frank Stewart’s photography that centers on his sensitive and spontaneous approach to portraying world cultures and Black life in many forms—including music, art, travel, food, and dance. His work over the years captured intimate and empathetic images of lives experienced and observed across subjects, cities, and countries. Tracing both Stewart’s explorations of life on the road and the trajectory of his stylistic journey, the exhibition brings together a comprehensive visual autobiography through over 100 black-and-white and color photographs as well as a selection of cameras from Stewart’s personal archives. Frank Stewart’s Nexus explores Stewart’s avid experimentation and numerous subjects over the course of half a century, including aspects and rituals of Black culture, trips to Africa and Cuba, and music. As the senior staff photographer for Jazz at Lincoln Center Orchestra for 30 years, Stewart captured both public performances and candid, personal moments, including well-known photographs of jazz legends Miles Davis, Ahmad Jamal, and Wynton Marsalis. Frank Stewart’s Nexus also provides a window into less-explored aspects of Stewart’s practice, including his more abstract and painterly Drawings series, inspired by his travels. Color has dominated Stewart’s photography for the past two decades, and he has also increased the sizes for many images. In more recent images, he captures the ever-changing landscape and environmental catastrophes. At the center of his varied practice is a familiarity Stewart creates with the people and places that inhabit his works. Image: Frank Stewart, Stomping the Blues, 1997, gelatin silver print, 16 x 20 in. Collection of Rob Gibson, Savannah © Frank Stewart

Almost from the moment that photography was invented—an artistic medium that recorded the physical world in extraordinary, mirror-accurate detail—artists wanted to find a way to capture color in those images. This exhibition explores the history of how artists added life-like tints to the silvery or sooty tones of black and white photographs, eventually leading to the development of color photography. Throughout most of the 1800s, color was added through hand-painting directly onto metal plates, such as Daguerreotypes or tintypes, or onto paper images, such as salt or albumen prints. However, photographers also developed revolutionary techniques to produce even richer, more accurate color. Among these were Opalotypes, a photographic technique printed onto milk glass which, when hand-tinted, produced incredibly realistic effects. By 1900, the quest for photography which could accurately capture all the hues of the prism lead to the invention of Autochromes—the first commercially successful photographic color process. Drawn from both private collections and the Museum of Fine Art’s extensive holdings, True to The Tint offers a chance to look at the remarkably innovative and evocative history of early tinted and color photography. This exhibition is curated by Chief Curator Dr. Stanton Thomas and Director of Collections Management Jason Wyatt. The exhibition’s title, True to the Tint, is taken from the 1851 article “Photographing in Natural Colors.” That work is one of hundreds that were published during the 19th century which explored not only the development of new black and white photography techniques, but also chronicled the search for how to capture the world in all its hues. The desire to create color photographs reflects one of the greatest artistic goals of that period: realism. While black and white photography captures the world in all its detail, it sometimes lacks the vitality and sense of vivacity associated with color. Indeed, tinted or color images, because of their heightened realism, often evoke a stronger emotional response. Thus for decades photographers sought a way to produce works in color—thus enhancing the evocative, personal, emotive aspects of their works, whether portraits, landscapes, or still lifes.

The Asheville Art Museum proudly presents Shifting Perceptions: Photographs from the Collection, an exhibition on view from May 17 to September 23, 2024. Shifting Perceptions continues the Museum's 75th-anniversary celebration and magnifies its expanding Collection of photographs. This exhibition is guest-curated by Katherine Ware, curator of photography at the New Mexico Museum of Art, and features over 125 artworks organized into three sections: Inside/Out, Together/Apart, and Natural/Unnatural. Each section explores seemingly opposing forces, prompting viewers to reconsider the nuances and complexities of life. "Our brains gravitate toward hard distinctions, but life is filled with gradations, complexities, and ambiguities. The categories offer a context for considering the pictures," said Ware. "They sound like opposites, but it is up to visitors to decide if these dualities are different or part of a continuum." Shifting Perceptions showcases photographs by 20th-century masters such as Ruth Bernhard, Bruce Davidson, Donna Ferrato, Carrie Mae Weems, and Jerry Uelsmann, alongside contemporary images by Jess T. Dugan, Matthew Pillsbury, and Cara Romero, among others. While some photographs offer a distinct point of view, many invite contemplation of the intersections and contradictions within each category. Recent acquisitions and longtime favorites are presented in new juxtapositions, providing fresh insights into the evolving landscape of photography. The exhibition includes prints from the 19th century but predominantly represents developments in the field in the 20th and 21st centuries. It emphasizes images made by regional artists and those exploring varied aspects of the Southern experience. In-depth holdings include suites of images by Shelby Lee Adams, Rob Amberg, photojournalists for the Asheville Citizen-Times, Bruce Davidson, Sally Gall, Walter Iooss Jr., Robert Glenn Ketchum, Joel Meyerowitz, Bea Nettles, Jo Sandman, Joyce Tenneson, Kent Washburn, and Jonathan Williams. Pamela L. Myers, Executive Director of the Asheville Art Museum, shares, "Our photographic holdings are extraordinary, and Katherine has taken a new look at the national and regional dialogues reflected in the Collection. Shifting Perceptions: Photographs from the Collection is a captivating exploration of photography's multifaceted nature. It invites viewers to challenge their preconceptions and embrace the rich tapestry of visual storytelling. Image: Cara Romero, T.V. Indians, 2017 (printed 2023), archival pigment print on Epson Legacy Platine paper, 38 ⅞ × 59 ⅝ inches, edition 1/3. Museum purchase with funds provided by 2023 Collectors’ Circle members Butch & Kathy Patrick, 2023.47.01. © Cara Romero

Vision(ary) is the Griffin Museum of Photography’s 5th Annual summer public art exhibition dedicated to the art of visual storytelling. Presented as a part of Winchester Waterfield Summer Arts Festival, the instillation will feature 18 individual installations with distinct photographic styles. The Town of Winchester plays host to this summer exhibition, with installations throughout Winchester Town Center. Photographers from around New England and across the country are highlighted in a unique format. The exhibition concept and Photo Cube structures are designed by our long time partner, Photoville. Creating a photographic walking trail around the town of Winchester, where the Griffin Museum is located, Vision(ary) is a public art installation showcasing national, international and New England photo based artists. Downtown Winchester is filled with sidewalk art, featuring the students of local Winchester schools and local Winchester based photographic artists. The Griffin Museum is happy to partner with Photoville and the Winchester Cultural District again this year to bring this installation to life. It is also a pleasure to collaborate with the students of Network for Social Justice and MassArt. Photosynthesis, our student portfolio development program, now in its 20th year, hangs on a banner in the Town Common. The students of Winchester and Burlington High Schools have worked this spring to develop visually engaging personal portfolios about their family, community and world around them. This program is sponsored by the John & Mary Murphy Foundation. We are grateful for their support of this project each year. In a community initiative, Our Town is also featured on the wall at the Town Common, and on the walls of the Griffin Museum. We asked the local community for a vision of their family and community, and we recieved many images highlighting what we love about our surroundings, including the people and place of Winchester. We want to thank the Winchester Cultural Council and En Ka Society for their generous support in producing this exhibition. Additional banners hung on light standards and sidewalk art installations can be found throughout Winchester’s downtown.. Image: © Natalya Getman, Sisters

Television and film director and photographer Daniel Sackheim presents photographs from his series Unseen in a black-and-white photography exhibition at the SE Center 8/2 - 9/27, opening reception 9/6 6-8 PM. “This body of work explores life in the shadows of an urban jungle,” says Sackheim. “My inquisitiveness is rooted in a need to discover the secrets that lie hidden deep within even the most forbidding corners of the city. To excavate the past, to stare into the faces of ghosts long forgotten. Inspired by the visual aesthetic of Film Noir, this work explores isolated fragments of subjects once there but now gone, as a means of shining a light on what is hidden, if only for an instant.”

POOL is a series of underwater photographs captured across The United States, documenting the country from the bottom of its swimming pools, looking up to the sky. Pools are iconic. A place of leisure and carelessness, they rhyme with fun and lush. But they also underscores the potential drawbacks associated with these desires in terms of sustainability and resource consumption. This ambiguity makes it a fascinating subject. Ovid’s fable of Narcissus stands as a timeless exploration of self-absorption and its consequences. At the heart of the story lies a reflective pool, a mirror-like surface that beckons Narcissus into the depths of his own image. MarieVic’s project invites Narcissus’ reflection to express its point of view, across the United States. The series presents a distorted reality that enhances the disturbing effects of consumerism on the American landscape and presents a world that operates by its own set of rules.

Our annual Member, Staff & Volunteer Show portrays the current look at what is being created in our darkrooms and digital lab here at the Harvey Milk Photo Center. This exciting exhibit is showcasing each photographers chosen and personal best. It has been curated by the staff, members and our generous volunteers and encompasses a wide and exciting range of subject matter. Show Participants: Aaron F. Anderson, Adam Cavan, Adam Goldring, Alan Kikuchi, Allan Barnes, Amanda Chi, Aviv Delgadillo, Bernardita Ried Guachalla, Bill Swerbo, Bryan Yasukawa, Charlotte Seekamp, Chris Cummins, Chris S A Gould, Christian Perez, Courtney Liss, David Gutierrez, David Rizzoli, Deepak Talwar, Eli Woo, Elijah Martin, Eric Lam, Erin Rademacher, Forrest Bottomley, Garrett Schmid, George Clapper, Grahame Lesh, Grant Rusk, Hugo Wehner, Irina Levental, Irwin Lewis, James Estevez, Jane Waterbury, Janett Perez, Jazmin Manchester, Jennifer Simon, Joel H. Davidson, John Longyear, Justin Pham, Katherine Akey, Kelsey Bower, Libby Keesor, Louise Matsushima, Lucia Rosenast, Madison Blanchard, Magali Gauthier, Marcus Oringer, Marcus Valderrama, Marilyn Montúfar, Mark Heija, Martin Strauss, Matt Schaefer, Matthew Silvey, Max Otake, Melissa Castro Keesor, Mia Nicolacoudis, Mike Albertson, Mike Nelsen, Mitsu Yoshikawa, Nick Dean, Nick Stewart, Nick Sylva, Nina Phillips, Omar Matias, Oz Skinner, Parker Mosby, Pavel Guevarra, Pedro Lange-Churion, Peter Cihon, Peter Kupfer, Qin Bian, Robert L. Elvin, Roger Thoms, Ross Tinline, Roz Plotzker, Ryan Jacobs, Sophia Grimani, Stuart Goldstein, Theodore Maider, Thomas Back, Toby Watters, Val Kai, Victor de Fontnouvelle

"Before I depart I rest my body in the place the lighthouse misses, the dark swaths of grass (missed too by the man who mows the lawn every other Wednesday) on the slope of the small hill behind the keeper’s house. This place is made darker still as the eyes adjust unwillingly to the circle of light that sprints along the tops of the black pines that crown the hill, anointing each for just a moment; tonight I pick You. I pick you, and then you and then you, and then you and then you and then you. The only thing I can hear is the quiet squeal of the island’s generator a hundred yards away, the gears working slowly, smallest to largest, pulling a swath of indigo cotton across the sky inch by inch, the stars and their small sounds curled in the dark spaces between the bayberry leaves." - Neville Caulfield Amy Wilton Andrew O’Brien Brandon Simpson Cole Caswell Chelsea Ellis Dave Hanson mathis benestebe Jack Montgomery Jan Pieter van Voorst van Beest Jason Freeman Jodi Colella John Woodruff Lynn Karlin Melonie Bennett Neville Caulfield Mona Sartoveh Robert Tomlinson Susan Rosenberg Jones Thomas Whitworth Nancy Grace Horton Barbara Peacock Image: Neville Caulfield, The Lighthouse, At Last, 2024

Born in New York in 1926, Vivian Maier spent her early years in the Bronx. Throughout her years in New York City, she began to photograph and build her visual language, all while working as a nanny. Nearly a century later, Maier now figures in the history of photography alongside the greatest masters of the twentieth century. Unseen focuses on the whole of her work, from the early 1950s to the mid-1980s, through around 200 works, vintage or modern prints, color, black and white, super 8 films and soundtracks, offering a complete vision of the dense, rich and complex architecture of this archive that provides a fascinating testimony to post-war America and the hell of the American dream. The exhibition is organized by diChroma photography and Fotografiska New York, in collaboration with the John Maloof Collection, Chicago, and the Howard Greenberg Gallery, New York. Presented for the first time at Musée du Luxembourg, Paris, from September 15th, 2021 to January 16th, 2022, the exhibition was co-organized by diChroma photography and the Réunion des musées nationaux Grand Palais. The exhibition is supported by Women In Motion, a Kering program that shines a light on the talent of women in the fields of arts and culture.

Exposure 2024 celebrates 28 years of the Photographic Resource Center’s annual national juried exhibition. This year’s juror is Samantha Johnston, Executive Director and Curator, Colorado Photographic Arts Center. Exposure 2024 will be on view from August 9 – September 29, 2024, in the VanDernoot Gallery at Lesley University (1815 Massachusetts Avenue, Cambridge, MA). There will be a closing gallery reception, with the Juror, on Saturday, September 29, 5-7pm. The PRC has been educating and inspiring photographers and photo-enthusiasts since its founding in 1976, and for almost 30 years has been providing this unique juried exhibition opportunity for member photographers. Most member exhibitions display one image per artist, but Exposure features several works each, thus offering an opportunity to showcase bodies of work at a deeper level, for a more enriching experience. From nearly 200 submissions, 13 photographers have been selected for this much anticipated annual exhibition, hailing from New England and around the United States: Amy Giese (Allston, MA), Abbey Hepner (St. Louis, Missouri), Jeffrey Heyne (Boston, MA), Kim Llerena (Miami, Florida), Greer Muldowney (Somerville, MA), Laura Beth Reese (Boston, MA), Astrid Reischwitz (Bedford, MA), Anastasia Sierra (Cambridge, MA), J. David Tabor (Phoenix, AZ), Lisa Tang Liu (Stoughton, MA), Dean Terasaki (Phoenix, AZ), Suzanne Theodora White (Appleton, ME), Elizabeth Wiese (Duxbury, MA), and Andrew Zou (Jamaica Plain, MA). Andrew Zou, Self-portrait with Chinese Calligraphy, 1 of 3, 2023 In 2021, to commemorate 25 years of Exposure and further our support of the photography community, the PRC Board of Directors initiated the PRC Choice Awards with the top award of $500 and two additional awards of $250. These awards will be announced at the Exposure 2024 reception on Saturday, September 29th.

In the last days of August, we long for that last bit of summer warmth, to connection with family and hold close that moment of peace and quiet before we all head back into the fall with darker days, colder weather and dispersed family. Time vanishes here, days don’t matter, with days filled with kids splashing in the pool and the nights filled with BBQ, s’mores and ghost stories. Backyards are the American dream, a patch of land we can call our own. Backyards become the gathering space, the place we live outside and filled with individuality. This Griffin @ Lafayette City Center exhibition in the last days of summer features two artists whose work revolves around the gathering place we call home and the intersection of natural and familial landscapes, urban and suburban living. David Oxton and Gary Beeber create an oasis of color, life and connection to nature in a confined space, suburban backyards. These two artists have given unique vision to how we inhabit the patch of land, urban or suburban. Image: © Gary Beeber

All About Photo proudly presents an exclusive online exhibition featuring the work of the British photographer Matthew Portch. On view throughout September 2024, this captivating showcase includes twenty street photographs from his acclaimed series ‘Lost America’ Lost America Lost America examines a quiet stillness in a forgotten landscape that is, in a sense, ‘on pause’. Backwater towns and rural corners are juxtaposed with the ambiguity of detached suburbia. Places appear frozen in time, their inhabitants absent or long since departed. Ardently stagnant in appearance, the spaces yearn to instil a melancholic feeling of familiarity. One might not notice the scenes when viewed within the vast stretch of America’s panorama. Yet, framed as a vignette, each could appear to echo a moment of mournful reverie and reflective contemplation.

Dennis Church, known for his vibrant and dynamic street photography, brings a painter’s sensitivity to his depiction of urban environments. His latest collection, Urban Color Fields, showcases twenty carefully selected works that uniquely capture the complex interplay of color, shape and form in everyday urban scenes.Dennis Church, known for his vibrant and dynamic street photography, brings a painter’s sensitivity to his depiction of urban environments. His latest collection, Urban Color Fields, showcases twenty carefully selected works that uniquely capture the complex interplay of color, shape and form in everyday urban scenes. Church’s photographic journey began with a childhood trauma that altered his perception of color, influencing his unique visual language. This profound experience is evident in his ability to transform mundane urban scenes into intricate compositions of geometric shapes and harmonious color patterns. His photographs reveal an underlying order within the apparent chaos of urban life, drawing viewers into a visual symphony that is both captivating and thought-provoking.. Color plays a central role in Church’s work, with his transition from black-and-white to color photography marking a significant evolution in his artistic approach. His images convey emotion and narrative through a rich palette, turning everyday scenes into vivid, painterly compositions. This mastery of color is comparable to the works of abstract painters, creating a visual dialogue between photography and fine art. . In Urban Color Fields, Church’s relentless exploration of urban landscapes is on full display. His images document the ever-changing nature of city streets, construction sites, deserted alleys, and abandoned lots. The omnipresence of advertising in his photographs serves incorporates the pervasive influence of commercialism, transforming billboards and shop signs from mere visual clutter into integral elements of the urban narrative.. Church’s background in psychology and sociology deeply informs his photographic practice. His work offers a sociological commentary on contemporary urban life, reflecting the subconscious social coordination among city dwellers. This perspective adds depth to his images, encouraging viewers to contemplate the underlying social dynamics of the environments he captures.. Church’s ability to capture the perfect moment is evident in his meticulous timing and composition. He often waits for the ideal moment to press the shutter, resulting in photographs that feel both spontaneous and carefully crafted. His instinctual framing, which sometimes disregards conventional rules, allows him to present a raw and authentic perspective on urban life.. Dennis Church’s work has received significant recognition in the field of street photography. His photographs have been featured in the seminal book Bystander: A History of Street Photography, authored by Colin Westerbeck and Joel Meyerowitz. He has exhibited widely in the USA and his photographs are in the permanent collections of several public institutions. His works have appeared in hard copy and on-line magazines in the USA, Italy, France, England, Russia and the Czech Republic.

Lisandra Alvarez Valdés, Josh Bergeron, Melissa Breyer, Vanessa Charlot, Farnaz Damnabi, Armando Geneyro, Natela Grigalashvili, Hiroko Hirota, Yojimbo Jack, B Jane Levine, Gulnara Lyabib Samoilova, Anthony Maes, Rudy Ortega, Stephen W. Podrasky, Matthew Steaffens, Jeff Tidwell, Regula Tschumi, and Kenneth Wajda. “Views From the Street” presents a curated group exhibition featuring 18 photographers, including nine local artists from Denver and nine international members of the Women Street Photographers group. Street photography has historically been associated with urban environments like New York City, notably through the work of photographers like Lee Friedlander, Garry Winogrand, Robert Frank, Diane Arbus, and Helen Levitt. Today, the genre remains immensely popular. Advancements in technology, particularly the widespread adoption of smartphones and Internet access, have significantly broadened the definition of “the street.” From Natela Grigalashvili’s quiet depictions of Georgia’s rural Adjara region to Farnaz Damnabi’s poignant portrayal of Iranian women, the exhibit offers insights into varied cultural landscapes. Similarly, the local contributions from Denver photographers such as Rudy Ortega and Josh Bergeron offer fresh interpretations of familiar urban scenes, infused with elements of playfulness and profound observation. While curating this show, I was interested to see these two perspectives – local and global – together in a visual conversation. Like most photographic genres, street photography has been traditionally male-dominated. In recognition of the genre’s traditional gender disparity, we collaborated with Women Street Photographers in New York, to highlight the diverse and compelling perspectives of women photographers worldwide. Each photograph in this exhibition not only captures candid moments of everyday life but also expands the conventional boundaries of street photography, showcasing a heightened spatial awareness and innovative approaches. As articulated by Ana F. Martín in her essay “In Defense of Street Photography,” these images help to remind us that “we are all human, that under our apparent differences we all like to laugh, talk, enjoy the sun and the rain, and everything else that drives us out in the streets to enjoy this life.” Image: Red Orange Glove © B Jane Levine

As part of the slate of programs in honor of the 75th anniversary of the public opening of the George Eastman Museum, New Directions: Recent Acquisitions features work acquired by the museum over the past five years and showcases significant developments in photographic practice. The exhibition title echoes New Acquisitions/New Directions/New Work, 1981–1989, organized by curator Robert Sobieszek on what was the museum’s 40th anniversary. Throughout New Directions, the photographic image figures as a tool to fortify—but also unsettle—ideas about history and identity. Performances staged for the camera enable artists to explore and break with the conventions of gender, making the home or studio an experimental theater for engaging the world at large. While some of the artists embrace photography as a documentary medium, others develop strategies to destabilize the authority of the image. Some work to explicitly make visible the myriad ways that the past shapes the present. As instruments of power, archives become platforms to be challenged, subject to reinterpretation and reconfiguration. Found and appropriated materials offer practical, but also critical, approaches to reflecting on contemporary life and the status of images in the digital era. Likewise, recent approaches to the natural environment and the human landscape register the legacies of modern warfare, industrial pollution, and social inequity. Alongside photographs made in the past decade, the exhibition includes works by artists who were often overlooked or marginalized in the past, but whose contributions are touchstones for contemporary art. New Directions also features a selection of photobooks from the museum’s Richard and Ronay Menschel Library. In addition to prints intended for gallery walls, photobooks are a vital way for artists to share their work. In the printed book, an artist can combine and sequence a series of photographs to offer a visual narrative, or they can experiment with printing, layout, or texture. The featured publications take many forms, from traditionally bound pages to more sculptural or even puzzle-like constructions. Photographers and artists in the exhibition include Aaron R. Turner, An-My Lê, Annie Hsiao-Ching Wang, Antony Cairns, Baldwin Lee, Brad Temkin, Curran Hatleberg, David Alekhuogie, Eileen Quinlan, Ephraim Asili, Erica Baum, Frida Orupabo, Ilse Cardoen, Janice Guy, Joan Lyons, Justine Kurland, Keith Smith, Ken Gonzales-Day, Lola Flash, Meghann Riepenhoff, Motoyuki Shitamichi, Penelope Umbrico, Sasha Phyars-Burgess, Sophie Calle, Steffani Jemison, Wyatt Naoki Conlon, and Zanele Muholi. Curated by Phil Taylor and Louis Chavez, Department of Photography.

Peter Knapp was born on June 5th, 1931, in Bäretswil, Switzerland. He studied at the Kunstgewerbeschule in Zurich, where he was influenced by the thinking and aesthetics of the Bauhaus movement. He learned about the beauty of function and modernity, which he came to expertly demonstrate in his typography, logo work, catalogue and poster design, and scenography. This led him to work, in the 1950s, as art director for the magazine Nouveau Fémina and the Groupe Galeries Lafayette. He subsequently won a competition to design the pavilions for the Brussels World’s Fair in 1956 alongside the Russian designer Slavik. In 1959, the legendary magazine creator Hélène Lazareff recruited Knapp to art direct ELLE, which was then an insurgent, iconoclastic publication on the fashion-magazine scene. Knapp served there until 1966 and then again from 1974 until 1977. During the same years, Knapp also became a photographer in his own right, grafting the Bauhaus tenet of applied art onto the practice of fashion photography in his elegant, expertly composed, and subtly challenging photographs. Fashion photography, when considered an applied art, has interesting links to older forms of expression such as genre painting in Western Europe by artists like Pieter Bruegel and Johannes Vermeer, and Japanese ukiyo-e woodblock prints or paintings. In Japan, these things are considered fuzoku, which refers to customs and manners of daily life (including food, clothing, and housing) that are characteristic of a certain period, society, region, or class. And just as ukiyo-e in Japan and genre paintings in Western Europe are now considered critically important art movements, we should also consider applied fashion photography as a new form of art, and Peter Knapp as one of its foundational practitioners. Image: Stern, 1978, Taroudant, Morocco © Peter Knapp

Shoshana Wayne Gallery is pleased to present Dinh Q. Lê: Survey 1998-2023. This is the artist’s eighth solo exhibition with the gallery, and the gallery’s first posthumous showing of Lê’s work. Survey 1998-2023 serves as a memorial exhibition celebrating Dinh’s life and legacy. The exhibition will be on view August 27th through October 11th. Survey 1998-2023 traces the arc of Lê’s career, beginning with works shown in 1998 at the Los Angeles Center for Photographic Studies and concluding with the artist’s most recent and final works from the Cambodia-Reamker series. Bringing together work from Lê’s series: From Vietnam to Hollywood, Persistence of Memory, A Quagmire This Time, Empire, and Cambodia Reamker, the exhibition foregrounds the artist’s investigations into memory and homeland. It also honors the relationship Dinh had with Shoshana Wayne Gallery, presenting previously exhibited works alongside pieces never shown by the gallery. The main exhibition space features a selection of photo-weaving works by Lê, exemplifying the work he was known for. Inspired by a traditional Vietnamese matmaking technique taught to the artist by his aunt, Lê’s woven works exposed contradictions between American depictions and memories of the Vietnam War, and the lived realities of those who experienced it. By uniting disparate images, Dinh exposed western audiences to the reality of the war (called the American War by the Vietnamese people) and the long shadow it cast over his homeland. Hollywood productions, victims of the Khmer Rouge, and archival images of war are some of the many images Lê mined to force viewers to confront these truths. Survey 1998-2023 is the first exhibition of Lê’s work following his death in April 2024, and it showcases a decades-long relationships between the gallery and the artist. This relationship was cultivated by trips to Vietnam over the years, where Lê shared the beauty and culture of his home country, and a mutual collaboration to found San Art. Dinh was not only an incredible artist, but also an incredible human being. His absence is felt by everyone who had the privilege of knowing him. Dinh Q. Lê has exhibited extensively nationally and internationally at prestigious venues including: Hiroshima Museum of Contemporary Art, Japan; Mori Art Museum, Japan; dOCUMENTA (13), Kassell, Germany; and the Venice Biennale, Venice, Italy. Solo exhibitions include: Projects 93: Dinh Q. Lê (MoMA, New York), True Journey Is Return (San Jose Museum of Art, California), Photographing the thread of memory (Musée du Quai Branly, Paris, France), and Memory for Tomorrow (Mori Art Museum, Tokyo, Japan). His work is in the permanent collections of the Museum of Modern Art, New York; the Israel Museum, Jerusalem; Fukuoka Asian Art and the Mori Museum in Japan; San Francisco Museum of Modern Art and Los Angeles County Museum of Art amongst many others. Lê has been the recipient of the Rockefeller Foundation’s Bellagio Residency Award and the Prince Claus Fund for Cultural and Development amongst others.

In Dark Waters, a tour de force of Southern Gothic Noir, Kristine Potter reinvents a centuries-old genre with coolness and clarity. With this recent collection of seductive and darkly brooding photographs, Potter reflects on the Southern Gothic mythos found in the popular imagination of “murder ballads”— traditional songs from the nineteenth and twentieth centuries that often end in death and despair. Her richly detailed black-and-white images channel the setting and characters of these songs, capturing the landscape of the American South and creating portraits that stand in for the oft-unnamed women at the center of their stories. In doing so, she both evokes and exorcizes the ambient sense of threat that women often grapple with as they move through the world.

Sheila Pree Bright, Liesa Cole, Hank Willis Thomas, Karen Graffeo, Spider Martin From the Collection of Doug McCraw This exhibition explores the complexities of human existence through the interplay of myths, secrets, lies, and truths through the lens of five brilliant artists from Doug McCraw's collection. Hank Willis Thomas, Spider Martin, Sheila Pree Bright, Liesa Cole, and Karen Graffeo capture moments that transcend the ordinary, reveal truths, and explore how myths shape our perceptions, how secrets veil the truth, and how lies distort our beliefs. Hank Willis Thomas' Unbranded is a series depicting years of advertisements created by white ad executives for the Black consumer market that are full of myth, disrespect, disinformation, and, in some cases, outright racism. Spider Martin's iconic photographs from the 1965 Selma to Montgomery March documented protests by African Americans demanding the right to vote. Martin enlarged the three photos featured in the exhibition to express the drama of this critical historical moment. They are part of a series of enlarged photographs titled Selma Is Now. Sheila Pree Bright presents works from her powerful Young Americans series in which she photographed her subjects posing with the American flag while recording what they say the flag means to them. Liesa Cole’s photographs, projections, and installation are about those who share secrets and those who keep them. Most people are uncomfortable sharing secrets unless they know they can trust someone to keep their confidence. In the exhibition, visitors will hear anonymous people telling secrets that can be funny, tragic, ridiculous, surprising, or raw and visceral. Karen Graffeo’s Cuba series is part of an ongoing project expressing the beauty and inventiveness of a culture experiencing many challenges, hardships, and poverty. She photographs moments of everyday life in Cuba with an eye to the vibrant designs, colors, patterns, and textures that reflect the unique spirit and aesthetics of the island nation. In 2013 she was awarded a Fulbright Senior Scholar appointment in Romania and in 2014 she received a Tanne Foundation award for her humanitarian work. Myths, Secrets, Lies, and Truths is a thought-provoking and transformative exhibition that challenges and inspires us to seek deeper truths in our world.. Image: Miss. Anita, 2019 © Liesa Cole

Koslov Larsen is pleased to present a group show for the commencement of the fall art gallery season. Earthly Delights walks us down a path of fantasy and fiction, through the winding walkways of the mind and out into the sun of a world crafted by imagination. This exhibition largely centers on the Fantastical Feasts by Claire Rosen, a series of whimsical panoramic photographs depicting animals reveling around elaborate banquet tables, visually inspired by the Dutch Masters and Leonardo da Vinci’s The Last Supper. From honeybees to hedgehogs to elephants, photographed across the world in collaboration with nature preserves and animal rescues, the images communicate a sense of humanity intrinsic in nature, a peculiar and yet profound kinship. “The feasts invite the viewers to reflect on the nature of society, our relationship and responsibility to the creatures we share the planet with.” Each staged image captures a magical moment which, while rooted firmly in reality, transports us directly into the realm of imagination. Rosen’s Fantastical Feasts series was exhibited earlier this year at AIPAD’s The Photography Show in New York City where it captured the attention of critics and collectors alike to much acclaim. The works were concurrently curated into the second edition of AIPAD’s Monumental exhibition. Also included in Earthly Delights is the work of Amanda Marchand, Torrie Groening, Margeaux Walter, and Kelda Van Patten. Marchand breaks nature down into its most abstracted forms through constructed lumen prints, exploring the relationship between endangered flora and fauna and humanity’s mark on time. Margeaux Walter’s playful trompe l’œil engages the viewer in staged, site-specific installations in the environment which toe the line between what is real and what is constructed and sensationalized, echoing a similar dissonance found in our current political and social landscape. Van Patten’s constructed photographs take us through layers of time and intervention, occupying a liminal space between artifice and truth as we delve through the many stages of physical and digital processing to arrive at a “final” image in a permanent state of suspense. Groening creates scenes of self-contradiction, bite-sized worlds which compel questioning and inspire fantasy. Throughout the exhibition, we find tension between that which is apparent and that which lies below the surface, scratching at the edges of our comprehension and animating limitless possibilities. Earthly Delights beckons us into a world which we will surely emerge from changed. Image: Cumulus © Margeaux Walter

In conjunction with the 2024 Filter Photo Festival, Filter Photo is pleased to present, On the Shelf, a photo book exhibition, juried by Clint Woodside—photographer, curator and founder of Deadbeat Club. Featured Artists Jaime Alvarez Trent Davis Bailey Julia Boytsova & Lina Nieminen Simon Chang Maureen Drennan Jess Dugan Matt Eich Morten Eriksen Rich-Joseph Facun Nick Gervin Conner Gordon Shane Hallinan Samuel Huryn Tetsuo Kashiwada Tommy Keith Claudio Majorana Aspen Mays Christian Nicolas Patrick D. Pagnano Wendy Ploger Jared Ragland & Sara J. Winston Benjamin Rasmussen Joshua Simpson Daria Sinaiskaia Laidric Stevenson Jamey Stillings Brandon Tauszik Angie Terrell Ryan Thompson Paul Turounet About the Juror Clint Woodside is a photographer, curator, and founder of Deadbeat Club, an acclaimed independent publishing house rooted in contemporary photography. Based in Los Angeles, Woodside works with artists around the world with the expectation of close collaboration and long standing partnership. With thoughtful design, innovative editing and meticulous print quality, each title is one Deadbeat Club is proud to share with its community. Woodside has curated shows and exhibited work extensively throughout Europe, Asia, Australia and the US.

In conjunction with the 2024 Filter Photo Festival, Filter Photo is pleased to present, Out the E, a solo exhibition of work by Harlan Bozeman. Out the E is a photographic project about the rural Arkansas Delta town of Elaine. In 1919, as cotton prices skyrocketed, Black sharecroppers—trapped in a vortex of debt and underpayment—began to organize for better conditions and fair payment. On September 30, a meeting of these farmers was disrupted by several white men, one of whom was killed. Hours later, spurred on by a “Black insurrection,” a white mob—including federal troops—descended on the area. Two days later, more than 500 Black people were killed in what is considered to be the deadliest racial conflict in the U.S. In Elaine today, there are some who don’t want to remember the events that began that day in 1919. There are others who have to talk about it. And there are others still, who believe it never happened. The racial divide is as strong as ever in Elaine, creating a culture of silence and negligence in this small community that has yet to truly heal. Law and way of life operate differently in this region and more than a century later, most of the town’s black residents live in a familiar cycle where they lack sufficient resources. In 2005, the town’s school district closed, forcing children to attend school in a town about an hour away. Arkansas Public Schools do not teach students about the Elaine massacre, leaving a majority of children without the knowledge of this tragedy that occurred in their own town. Having a taxable job forces you to lose government assistance, and government assistance prevents you from getting above the poverty line. The only employment opportunities in Elaine are a few local businesses or working on soybean farms, and the farming jobs tend to be offered exclusively to white people. To make money or discover opportunities, you have to leave. As more Americans are grappling with the country’s history of extracting wealth and resources from Black communities, Out the E is necessary to bring attention to a town and community that has long been forgotten.

Mitch Epstein’s newest series of photographs, Old Growth, continues the artist’s career-long exploration of American culture and the nation’s fraught relationship with the natural world. The exhibition will be on view at Yancey Richardson from September 5 through October 19, 2024. An opening reception will be held on September 12, from 6 – 8pm, with an artist walkthrough at 5:30pm. Following the exhibition at Yancey Richardson, Old Growth will be on view in a solo show at Gallerie d’Italia in Turin, Italy from October 16 through March 2. Steidl will publish a monograph of the series, due to be released in August 2024. From 2017–2024, Epstein traveled across America, photographing some of the country’s most ancient trees, among them bigleaf maples, eastern white pines, moss-covered cedars, sequoias, bristlecone pines, and bald cypresses. Old growth forests are crucial for human survival in our fight against climate change, as they hold significantly more carbon than replanted saplings. Yet humans have destroyed more than 95 percent of America’s irreplaceable original forests. Using a large format camera to describe the exquisite details of our arboreal ancestors, Epstein brings the forest to the gallery, creating an immersive environment that enables the viewer to absorb the sculptural beauty of trees and the multiple dimensions of biosystems that have flourished in the wild for centuries or millennia. These photographs evoke an other-worldly mystery. In the one photograph that contains a human figure, Congress Trail, Sequoia National Park, California, 2021, we gain some sense of the epic proportions of these life-giving trees. This series is also an inquiry into the concept of time. Old Growth underscores the tension between the medium of photography – the camera can record its subject in a split-second – and the forests depicted, which have potentially infinite lifespans. This oscillation between the instant and the ancient, between human mortality and cosmic perpetuity, resonates through the exhibition. Old Growth articulates the forest’s resilience and fragility, highlighting the need for us to act now to realign our relationship to these precious natural resources. “It is not about how we can save trees,” says Epstein, borrowing from ecologist Suzanne Simard; “It is about how the trees might save us.” Forest Waves, a new multi-channel video and sound installation by Epstein, will premiere in the project gallery. The piece takes viewers through four seasons in the Berkshires forests in Massachusetts. Epstein uses careful juxtapositions of visual and sonic rhythms and formal compositions to propel and disorient as we venture deep into the woods of his childhood. Through image and sound, we engage with a complex ecological network that, left to itself, can endure for millennia. How, the work asks, might this vibrant infinitude help us understand the relatively short timeframe of human life? Sound is integral to this piece. Epstein brought tonal musicians Mike Tamburo and Samer Ghadry into these same woods, where he filmed and recorded them improvising in response to the wilderness that surrounds them. Less performance than sonic communion, their music seems to emerge from the forest rather than impose itself upon it. Through its kinetic depiction of flora and fauna, and its mix of instrumental and ambient sound, Forest Waves engulfs the audience, offering a visceral, awe-inducing connection to wilderness. Born in 1952 in Holyoke, Massachusetts, Epstein lives and works in New York City. His work has been collected by major museums, including the Art Institute of Chicago; Museum of Modern Art, New York; Metropolitan Museum, New York; Whitney Museum of American Art, New York; The San Francisco Museum of Modern Art; J Paul Getty Museum, Los Angeles; Tate Modern, London; and The Victoria and Albert Museum, London. He has worked as a director, cinematographer, and production designer on several films, including Dad, Salaam Bombay!, and Mississippi Masala. Epstein has won numerous awards including the Cooper Union Alumni Association Augustus Saint-Gaudens Award (2023); the Prix Pictet Photography Prize (2010); the Berlin Prize in Arts and Letters (2008); and a Guggenheim Fellowship (2003). Epstein’s seventeen books, most published by Steidl Verlag, include Recreation (2022); Property Rights (2021); In India (2021); Rocks and Clouds (2017); New York Arbor (2013); Berlin (Steidl/The American Academy in Berlin 2011); American Power (2009); and Family Business (2003), winner of the 2004 Kraszna-Krausz Photography Book Award. Image: Lynn Saville, Plymouth Water Tower, 2019. © Lynn Saville

Gagosian is pleased to announce Nan Goldin: You never did anything wrong at 522 West 21st Street, New York. Opening on September 12, the exhibition consists of two new moving-image works presented in specially designed pavilions and an extensive body of new photographs. This is Goldin’s first exhibition of new work since joining Gagosian in 2023. Stendhal Syndrome (2024) is a moving-image work, with a score composed by Soundwalk Collective, that juxtaposes photographs Goldin has taken over the last twenty years of Classical, Renaissance, and Baroque masterpieces with portraits of her own friends, family, and lovers. Photographs of paintings and sculptures from museums around the world including the Galleria Borghese, Louvre, Metropolitan Museum of Art, and Prado flow seamlessly with images of Goldin’s community, crossing centuries to resonate in harmony with each other, revealing uncanny resemblances in composition, color, form, and emotional tone. Goldin’s ability to draw such precise visual connections raises profound questions about traditional hierarchies within art, and the enduring human compulsion to memorialize beauty in works fueled by love, and grief. You never did anything wrong, Part 1 (2024) is a home movie centered around the totality of the solar eclipse, filmed in Super 8 and 16mm. The soundtrack includes a mournful piece by Valerij Fedorenko, a chilling new score composed by Mica Levi, and ambient sounds of nature recorded during the eclipse. It is Goldin’s first abstract work, born from an ancient myth that an eclipse is caused by animals stealing the sun. The moving-image works are projected within freestanding pavilions designed by Goldin in collaboration with Lebanese-French architect Hala Wardé. Each structure is conceived to echo the corresponding film therein, creating a Gesamtkunstwerk that fuses architecture, image, and sound. Drawing from the same associative impulse that informed Stendhal Syndrome, Goldin created an expansive body of new grid photographs in which her own autobiographical images are mirrored by photographs taken in museums of artworks spanning millennia. The grid format, which has been a key element of Goldin’s work for three decades, echoes the cinematic structure of her moving-image works, encapsulating her understanding of history and time. These photographs line the walls of the gallery, surrounding the pavilions. Many of the grids explore stories of love and loss from antiquity, as in Orpheus Dying (2024), in which an 1866 Baroque painting by Émile Lévy of Orpheus is paired with a 1977 photograph of Goldin’s lover Tony. The visual parallels are striking, as both figures lie in nearly identical, seductive positions. Their pronounced rib cages create a haunting symmetry, and both bodies are draped against rumpled blue sheets that further unify the images, despite one being a classical nude and the other of a modern man wearing jeans. The shared palette and eerie shadowing of the two scenes blur the lines between past and present, high art and personal narrative, making their connection almost surreal—and evoking the pleasure and terror of the Stendhal Syndrome. Throughout her storied fifty-year career, Goldin has fearlessly probed the depths of the human condition, capturing raw moments from everyday life that reveal universal experiences of love, loss, and the truths that connect us all. Image: Hermaphroditus, 2024 © Nan Goldin

Fazal Sheikh: Thirst | Exposure | In Place is an exhibition created from three projects photographer Fazal Sheikh made on the Colorado Plateau from 2017 to early 2023. Sheikh’s portraits and landscapes shed light on the far-reaching consequences of extractive industry and climate change. Born in 1965 in New York City, Sheikh creates images of displaced communities and marginalized people that prompt awareness of the world beyond the museum. The photographs in Thirst ǀ Exposure ǀ In Place expose indelible marks on the Colorado Plateau and American Southwest landscape that have been etched by both geological and human forces. Through this beautiful and sometimes frightening new work, Sheikh encourages viewers to witness the consequences of the past and imagine the shape of the future. The exhibition presents Sheikh’s recent work in three interrelated sections: Thirst is a new series of aerial photographs that document the decline of the Great Salt Lake in northeast Utah, which is shrinking due to overconsumption and dwindling rain and snowfall. Exposure examines the impacts of uranium, coal, oil and natural-gas extraction on the American Southwest and on its Indigenous inhabitants. In Place evokes the enduring landscapes of the Bears Ears region in Utah, bringing Sheikh’s photographs together with contributions from scientists and Indigenous communities in and around Bears Ears in southeastern Utah. Visitors will reflect upon the transformation—and often devastation—of these landscapes in the context of the past, present and future, while considering the juxtaposition of beauty and catastrophe, as well as intimate, human-scale stories and those spanning vast geological eras and changes. Image: Fazal Sheikh, from the series Thirst: Great Salt Lake, November 2022 © Fazal Sheikh

Cara Romero is an enrolled citizen of the Chemehuevi Indian Tribe, and was raised between the contrasting settings of the reservation in Mojave Desert, California and the urban sprawl of Houston, Texas. Romero’s identity informs her visceral approach to representing cultural memory, collective history, and lived experience from a female Native American perspective. Romero is focused on researching historical and contemporary narratives of identity and heritage. By staging theatrical compositions infused with dramatic color, she takes on the role of storyteller, using contemporary photographic techniques to depict the modernity of Indigenous culture, illuminating Native worldviews alluding to the supernatural in everyday life. The exhibition is divided into three sections—Native California, Imagining Indigenous Futures, and Native Woman. LOU STOUMEN PRIZE Cara Romero is the 7th recipient of the Lou Stoumen Prize in Photography. The Lou Stoumen Prize in Photography is awarded to a mid-career photographer whose work relates in spirit to Stoumen’s own humanistic approach to photography. The museum has previously awarded the Lou Stoumen Prize six times. The first award went to Debbie Fleming Caffery in 1996. Following recipients include Kenro Izu (1998), James Nachtwey (2002), Gary Schneider (2006), Michael Subotzky (2009), and Fazel Sheikh (2016). Image: Cara Romero, Naomi, 2017. Archival pigment print. © Cara Romero

Black and white photography captures a rare “Blue Sky” outdoor performance by the Clyde Beatty-Cole Bros. Circus in 1972, when wet grounds prevented the Big Top tent from going up at the Bousquet ski area near Pittsfield, Massachusetts. Shelburne Museum is deeply grateful for the ongoing support and generosity of Elliot and Phyllis Fenander. Support for A Grand Spectacle in the Great Outdoors: Elliot Fenander’s Circus Photography is generously provided by Donna and Marvin Schwartz. Image: Elliot Fenander, The Les Blocks on Tightrope, 1972. Negative, 1 1/2 x 1 in. Collection of Shelburne Museum, gift of Elliot and Phyllis Fenander. 2011‑37.603.

Raúl Gonzo stages relatable, yet unrealistic scenes of everyday life. In each of Gonzo’s highly saturated photographs, there are satirical and humorous nods to childhood, consumerism, music videos, Pop art, television game shows, Alfred Hitchcock films, and ideals of beauty. Gonzo employs models and performers to play the characters within his artist-made sets. His works present an interesting dichotomy: he asks viewers to embrace surface-level color and composition while questioning how American culture can be critiqued and reimagined through the smallest of details. Raúl Gonzo: Color Madness will be the first museum exhibition of this Sacramento-based artist. Image:Raúl Gonzo (American, born 1979), Synchronized Swimmer Drama, 2015. Digital print, 16 x 22 in. Crocker Art Museum, gift of the Artist, 2021.23.1.

Clarissa Bonet uses urban spaces as a dynamic backdrops for the subtle, often overlooked dramas of daily life in the city. Bonet studies the shape and behavior of sunlight and shadow, and then carefully constructs street scenes that are suspended in time, briefly illuminating the psychological space that runs under the daily routines. Bonet’s photographs have been exhibited at the Aperture Foundation and the Smithsonian Portrait Gallery, and are held in numerous museum collections. The exhibition at Pictura brings together three related series by the artist, City Space, Stray Light, and From Shadow to Sun, each one a distinct expression of her finely-tuned urban light stalking.

Edwynn Houk Gallery presents Erwin Olaf: Stages, an exhibition of key series centered on the concept of performance, a recurring theme in the artist’s four-decade career. Stages includes Olaf’s 1980s documentation of Amsterdam’s gay and nightlife scenes, highly produced series such as Hope (2005) and Grief (2007) that dramatize social norms, and ongoing engagement with dance. These tableaux — whether occurring on a social stage, theatrical stage, or studio set— portray beautiful but not necessarily camera-ready moments, often lit by a flash of unscripted emotional experience. Erwin Olaf emerged onto the Amsterdam photography scene in his young 20s. His first formal self-portrait shows influence from New York artists such as Andy Warhol and Robert Mapplethorpe, while also signaling the signatures of his aesthetic throughout his career. His compositions emphasized layering props and details in open-ended narrative relationships, leading viewers to fantasize about what story is being told. Throughout the 1980s, Olaf became a well-known and well-loved artist and gay rights activist in The Netherlands, photographing drag queens, bodybuilders, fetishists, and celebrities at discotheques and performances. Olaf’s artwork illuminated and celebrated underground scenes, claiming a spotlight for LGBTQ+ identities that expanded everyday possibilities for gay people throughout the country. Olaf’s meticulously crafted scenes, most of which were produced entirely inside his studio, launched his career onto the international stage. His series such as Gay Couples (2008), Keyhole (2011-13), and Palm Springs (2018) show elaborately designed mise-en-scene and beautifully coiffed ensembles, yet each detail alludes to emotional tension and mystery. As the artist described, each photograph shows “a perfect world with a crack,” as if projecting a private moment to the public, holding a magnifying glass to the uncanny elements of taken-for-granted domesticity. Perfectly polished yet transgressive, these scenes peer into rooms we were told not go into, addressing social issues, taboos, and conventions. Similar to preceding artists such as Mapplethorpe, Olaf also became preoccupied with still life photographs of floral arrangements in his studio, compositions that could be read as evading or embodying these human dramas. Olaf’s intimate and formal relationship with dance is this exhibiton’s final lens onto the stage. The artist discussed ballet as a major source of inspiration for his personal work, in particular the precision and tension between beauty and gritty strength the genre requires. After Rodin (2016) evokes the sculptural characteristics of the dancers of the Dutch National Ballet, paying homage to the founder of modern sculptor and Impressionist artist August Rodin by emulating the poses of his sculptural masterpieces. Olaf’s final completed series, Dance in Close Up (2022), represents a collaboration between the artist and choreographer Hans van Manen, celebrating their shared vision of evocative gesture and the gifts of the stage. Image: The Farewell, 2018 © Erwin Olaf

With great power comes great responsibility. The power of visual images and the unregulated dynamic of AI have created a world untethered from reality. Disinformation and misinformation in this election year is at an all time high. The ability to think critically is challenged. The general public being swayed or falling into rabbit holes or the digital abyss is not only possible but probable. Artificial intelligence, taking data sets to perform complex tasks to mimic human behavior including the various virtual assistants like ChatGPT or Gemini, or art generators Mid-Journey, Dall-E all scrape data in a large feast, learning, growing, expanding. The programs complex computations become better at anticipating behaviors and inevitably rewrite our history based on the information exchange. This exhibition, focused on Artificial Intelligence, includes five artists all looking at the complexities of the visual image as truth, fiction, muse and outlier. All use technology to inform their work, stretch their truth, follow myths and legends, rewrite history and manufacture new realities. Image: Another America © Phillip Toledano

EUQINOM Gallery is thrilled to announce "When The Water Sings," the first solo exhibition of Adama Delphine Fawundu with the gallery. The exhibition will run from September 7 to October 26, 2024, with an opening reception on Saturday, September 7, 2024, from 2-5 PM, featuring an artist walkthrough. Adama Delphine Fawundu, celebrated for her profound exploration of identity, history, and diaspora, presents a collection of new works developed over the past four years. This exhibition encapsulates Fawundu's rich artistic journey blending personal and collective narratives with ancestral heritage and contemporary discourse. Scholar Niama Safia Sandy eloquently captures the essence of Fawundu's work: “Adama Delphine Fawundu’s work is about finding ways to connect with her kin – a group not merely confined to those who share a direct common ancestor but an expansive definition inclusive of the many who descend from the dispersed, the stolen, those for whom the violence, and opportunity wrought by the sea is at once a specter and a fact of everyday life.” A highlight of the exhibition is the centerpiece "For Mama Adama Hymns & Parables." In these large-scale hanging works, Fawundu manifests her grandmother's presence, incorporating hand-dyed and batik Garra fabrics from Mama Adama's thriving textile business in Sierra Leone. These pieces are created from large film negatives and positives through labor-intensive, camera-less photographic processes. Reflecting on her process, Fawundu states, “So much of this work is about creating new patterns and new languages while activating my body and ancestral memory. My process includes allowing my body to move intuitively as it performs and makes gestures through these camera-less photographic processes.” The completed pieces incorporate a mélange of materials and techniques such as photo lumens, cyanotypes, screen printing, mixed media on Guinea Brocade textiles, and cotton paper. The materiality of the work and the layered compositions speak to the complex nature of identities and the multifaceted connections between the African continent and its diaspora. The exhibition also features a selection of self-portraits, including "Ngewo Whispers." In this work, Fawundu occupies ghostly sites that bore witness to events of the African diaspora, such as Savannah, GA. Dressed in a bright blue dress and wearing cowries in her hair, she captures herself amidst a verdant setting. This scene situates the artist's body as a bridge between the human and more-than-human worlds, threading a connective strand of exchange between the energetically active space of nature and the material structures of history. In "Black like Blue in Argentina" and "Oxum at Eko," Fawundu generates connective threads of exchange between the magical space of nature and the material structures of history. Inhabiting colonial architecture, wooded forests, balls of cotton, and her childhood hairdo of the crescent curl, she reformulates spaces of positivity and empowerment in the shadows of cultural annihilation and historical violence. In "For Mama Adama," Fawundu appropriates motifs from her grandmother's fabrics, transforming them into patterns of exploration. Using textiles, papers, and various photographic processes, she examines the relationship between materiality and identity. Reflecting on her connection, Fawundu writes, “For Mama Adama is a spiritual conversation between myself and my grandma Adama, who passed away in 1997. Inspired by her Garra textile business in Pujehun, Sierra Leone, I use her 50-year-old textiles to generate the negatives and positives for my prints. By combining these processes, I create new patterns and languages, activating body memory and ancestral consciousness. This work explores the complex nature of identity and reproduction, awakening the radical imagination to dynamically express who we were, who we are, and who we want to be.” The "For the Ancestors at Malaga Island" series honors the legacy of the inhabitants of Malaga Island in Maine, a fishing community of African and European descent forcibly removed by the state in 1912. Communicating with that ancestral energy and earth, Fawundu made a series of monoprints on silver gelatin prints using photographs and organic materials from Malaga Island. In each of these works from "When The Water Sings," Fawundu explores the symbolic depths of water and hair, weaving narratives that confront historical traumas and celebrate the power in cultural endurance. Water serves as a life force and a portal between the past, present, and future, highlighting the symbiotic nature between humans and the environment. Hair represents DNA, indigenous intelligence, and ancestral memory. Through these symbols, Fawundu reimagines and glorifies the strength of her identity, culture, and network of kin. Additionally, she delves into how indigenous knowledge can be harnessed to activate our radical imaginations for equitable and sustainable futures. Adama Delphine Fawundu's work is a testament to the power of art in connecting the past and present, the individual and collective, and the material and spiritual. Her exploration of identity, history, and diaspora offers a rich and nuanced perspective on the complex nature of our shared human experience. Image: ADAMA DELPHINE FAWUNDU Black Like Blue in Argentina, 2018

Kapp Kapp is pleased to present Bombshell, an exhibition of photographs by Ethan James Green. Shot over the course of a year, Green’s latest body of work subverts the idea of the stereotypical “bombshell,” exploring and reinterpreting the concept by inviting his models to style and pose themselves in ways that embody their personal perspective on femininity, glamor, and sex appeal. Green is known for his uncompromising black-and-white portraits which capture the lives of his New York friends. Bombshell is a continuation of this work, with an increased focus on the collaborative exchange between photographer and subject, further exploring how this relationship manifests in the image. Starring iconic faces such as actress Hari Nef, artist Connie Fleming, Interview Magazine fashion director Dara Allen, artist and actress Martine Gutierrez, and fashion editor Gabriella Karefa-Johnson, the project was produced alongside hair stylists Lucas Wilson, Jimmy Paul, and Sonny Molina. A selection of Polaroids from the project was first published as a zine by Dashwood Books, New York. Green states, “The zine was the first rendition of this collaborative project we embarked on over the summer of 2021. Once we began shooting, the title Bombshell became the driving force behind our days of dressing up and performance. The presentation at Kapp Kapp brings this project full circle.” The exhibition is accompanied by a limited edition book published by Baron Books, with art direction by Ben Kelway, the creative director of Arena Homme Plus and POP Magazine, and an essay by Devan Diaz, whose writing has appeared in publications such as Artforum, Los Angeles Times, Vogue, and The Guardian, among others.

Atlanta native Tyler Mitchell (born 1995) ascended to global prominence when he photographed Beyoncé for the September 2018 issue of Vogue — the first Black artist to shoot the cover in the magazine’s history. This summer, the High will present a major exhibition featuring his seamless blend of fine art and fashion photography, along with a new photo-sculptural artwork. In his practice, he centers Black self-determination and empowerment with affirmative images of people who are often shown enjoying the freedom of leisure, play, and recreation. This homecoming exhibition will feature more than thirty photographs considering his examination of themes such as masculinity, motherhood, domesticity, rest, and the natural world. The playfully theatrical, expressive works explore style, beauty, and identity and delve into the profound themes of family and connection, capturing not just moments but the essence of relationships, as they weave a narrative of love, intimacy, and shared experiences. Image: Ancestors, 2021, archival pigment print, courtesy of the artist © Tyler Mitchell.

Larry Fink’s Social Graces series contrasts two social worlds that seem a world apart: those of Manhattan high society and Pennsylvania farm country. In the city, coiffed and bejeweled patrons of the arts dance and drink at gallery openings, benefits, and the famed Studio 54 nightclub; in Martin’s Creek, Pennsylvania, a farming family and their circle celebrate birthdays and graduations, gathering at the roller rink and the Legion. The dress and comportment of Fink’s subjects, and the environments in which they exist, diverge as one might expect. What they share is a desire to be seen—to be photographed. “People like to have their pictures taken,” Fink wrote. “It is a profound aspect of our culture, this compulsion for proof. It allows me to wade into a party.” Fink was born in 1941 into a politically radical Brooklyn household, and his images in this series dramatize the class divide that long fascinated and troubled him. When he began photographing Manhattan galas in the mid-1970s, he was driven by curiosity about and anger at the rich, and his images of the people he winkingly called his “political enemies” are often unflattering. But so too are those he made in Martin’s Creek, to where he moved from New York City around 1980. Ultimately, the series is a highly subjective view of the actions and interactions of people Fink observed as an outsider, and a monument to his ability, with his cameras and flash, to make a theater of everyday life. Social Graces was first exhibited at the Museum of Modern Art in New York City in 1979 and published as a book in 1984, establishing Fink as one of his generation’s great photographers of people. It remains his best-known series. Larry Fink died at his home in Martin’s Creek in November 2023. The photographs on view were gifts to the permanent collection from Gary Davis, Class of 1976. This exhibition was curated by Kate Addleman-Frankel, the Gary and Ellen Davis Curator of Photography, and supported in part by the Appel and Ames Exhibition Endowments.

In the 21st century, with the ubiquity of digital imaging, the omnipresence of the internet as a means of exchange, and the rise of artificial intelligence, we face a new era where the camera is now an active participant in the role of seeing. Imagery and photography are being significantly used to control our lives. Yet, this massive ideological paradigm shift in image-making and interpretation remains invisible to most. My work investigates the various ways in which visual technology transforms, commodifies, and regulates our lives – with specific attention devoted to the notion of privacy. The average person is largely unaware of the ways in which image-based technology is invading their private sphere; actively dismantling any reasonable expectation of privacy. If these systems remain unseen than how will this average citizen begin to understand how they are affected? These invisible technological systems are turned visible through my work for the viewer so they can understand the constraints placed on their lives. My work uses image- making in a performative way to interact with these technological tools of control to make the viewer aware of the convoluted architecture and infrastructure of machine vision and the authority embedded within. I intentionally misuse, re-imagine, and repurpose a variety of surveillance technology to create my photographic work. I actively subvert the original intention of this technology through my art as an act of protest. Algorithms, neural networks, and the language of the computer are transformed into artwork that relies on pictorial traditions for the viewer to more easily grasp the information they are receiving. My work turns the abstract and intangible into something material for the viewer to recognize and interpret. This process of transformation is central for the viewer to understand the politics entrenched in this technological battleground. Ultimately, at the core of my work is an interrogation of the reliance on this visual technology as a mechanism of power and what this means for our future as we rely on automated computer programming. There are irreparable consequences surveillance technology has on us as a global society and the 21st century requires a new form of visual literacy to understand what is at stake.

The Smithsonian’s National Museum of American History will open a second complete rotation of 20 extraordinary Richard Avedon portraits spanning two decades and curated from the museum’s extensive photo history collection. The new iteration of the “(re)Framing Conversations: Photographs by Richard Avedon, 1946–1965” exhibition will launch Wednesday, Nov. 22, and is scheduled to run through 2024. In November 1962, the National Museum of American History hosted Avedon’s very first one-man exhibition that included a range of photographic materials, including photographs, proof prints, contact sheets, a printing plate and more. Avedon gifted the whole of that show to the museum followed shortly by two additional donations of his work including photographs and negatives. It is from those gifts that “(re)Framing Conversations: Photographs by Richard Avedon 1946–1965” are drawn. Presented in conjunction with Avedon’s Centennial year, the exhibit offers both beauty and stark realism from a time when photographic film dominated. Internationally recognized as one of the 20th century’s most influential photographers, Avedon's photography captured depth and dimension, embracing the emotions, psychology and aging of his subjects. Though high fashion brought him his initial fame, his passion for social and political issues became evident as his popularity rose. The exhibition’s themes of politics, personal decision making, and identity are explored in six sections with questions around music, marriage, women and politics, who decides what’s sexy, can we change our minds, and who do you stand with. Included in the exhibit is a living room with a rotation of magazines from the 1940s through the 1960s for visitors to peruse, as well as interactive tabletops about portraiture, encouraging visitors to sit, pause, reflect and engage. Visitors can use their phone to access visual descriptions with QR codes located throughout the exhibition. “As a history museum holding a vast and exceptional collection of photography, we are pleased to reveal how fine art provides a key lens to understand and explore the nation’s complicated history,” said Anthea M. Hartig, the museum’s Elizabeth MacMillan Director. “The visual impact of Avedon’s photographs capture some of the cultural and social tensions of the era through the mass media platform of magazines which he used masterfully as one of the nation’s culturemakers.” “Photographs embody social, cultural, and political messages that we quickly absorb, whether we know it or not,” said Shannon Perich, curator of the photographic history collection. “Revisiting these historical photographs we can contemplate people of the past whose actions continue to resonate today, and point to our contemporary ability to continue to impact American culture by what music we listen to, how we engage with issues that matter to us, and who we vote for. Avedon’s portraits humanize people that have been elevated through history reminding us that we are all people who have power. We just have to decide how we are going to employ it.” The last opportunity to see the initial rotation of 20 portraits featured in “(re) Framing Conversations” which includes portraits of Charlie Chaplin, Malcolm X, Judy Garland and others, will be Nov. 5. Image: Marilyn Monroe and Arthur Miller, 1958. Photograph by Richard Avedon, courtesy of the Smithsonian’s National Museum of American History© Richard Avedon

Inspired by the timeless back-to-school essay prompt, “How I Spent My Summer Vacation…” celebrates the joys of a carefree summer through the lens of nostalgic reflection. “How I Spent My Summer Vacation” shares the vividness of summer memories, capturing the glow of endless sunlit days and warm summer nights. This exhibition features 23 photographs by twelve photographers—each image a poignant answer to the classic essay question. From sun-drenched afternoons and family road trips, to tranquil moments of summer solitude, these images tell personal stories that resonate with a universal sense of summer nostalgia. Image: © Matthew Cosby

The Robert Koch Gallery is pleased to present Elliott Erwitt: Dogs, an exhibition that explores the whimsical and touching world of man's best friend as captured by iconic American photographer Elliott Erwitt (1928–2023). On view September 16 through November 1, 2024, the exhibition features a selection of Erwitt's iconic black-and-white images that highlight the unique bond between humans and dogs, captured with the photographer’s instantly recognizable style and signature wit. Spanning decades, the exhibition reflects Erwitt's deep affection for canine companionship and his ability to capture their personalities in a way that is both humorous and disarmingly poignant. From playful puppies to stately hounds, his photographs offer a glimpse into the diverse and endearing world of man’s best friend, seen through Erwitt's unique vantage point. Elliott Erwitt: Dogs serves as a testament to Erwitt's enduring legacy as a master of street photography. His ability to find the extraordinary in the ordinary and to capture fleeting moments of connection between animals and their human counterparts is consistently evident throughout his work. This exhibition not only honors the memory of the beloved photographer but also highlights the universal themes of canine companionship and the simple joys of life and humor that his work so eloquently conveys.

Featuring work by: Trent Davis Bailey, Matt Black, Edward Burtynsky, Tamas Dezsö, Chris Dorley-Brown, Steve Fitch, Adam Katseff, Josef Koudelka, Michael Wolf, and others. The Robert Koch Gallery is pleased to present Divergent Landscapes, a group exhibition on view September 16 to November 1, 2024. Moving beyond traditional portrayals of landscapes, this exhibition explores the psychological terrains we construct and inhabit. Featuring the work of photographers Trent Davis Bailey, Matt Black, Edward Burtynsky, Tamas Dezsö, Chris Dorley-Brown, Steve Fitch, Adam Katseff, Josef Koudelka, Michael Wolf, and others, Divergent Landscapes reflects on the intricate relationship between personal experience and external environments. The exhibition invites viewers to explore how various forces shape our understanding of place. Through images that blend the natural and built worlds, it reveals moments where these boundaries dissolve, reflecting both the tangible and the fleeting aspects of our surroundings. Divergent Landscapes challenges viewers to engage with the spaces we often overlook, encouraging a deeper reflection on the subtle forces shaping our interactions with the world around us. These photographs reveal how landscapes—whether natural or constructed—reside not just outside of us, but within our minds, shaping our perception and understanding of our place in the world.

Solas Gallery is proud to present Jason Hendardy’s This Is A Test. This Is A Test reflects on a family’s shifting identity as they assimilate into a new culture, and a child’s view of that process. Building on childhood experiences of documenting family moments with a Hi8 camera, Hendardy interrogates the role of media, the camera, and the screen in shaping and controlling society. Through the use of vintage and contemporary images, some translated through the Hi8 camera, This Is A Test explores how different generations experience the same process of assimilation into American society, the relationship between documentation and memory, and questions our idealized concepts of the American Dream. The title refers to the Emergency Broadcast System messages that aired on American televisions from 1963 to 1997, a system intended as a public safety measure that also cultivated a sense a danger and threat. Jason Hendardy is a photographic artist born in the San Francisco Bay Area to Indonesian immigrants, currently residing in Seattle, WA. His visual work is characterized as existential and subjective documentary, featuring layered narratives that often delve into themes of assimilation and Foucault’s disciplinary society. He studied photography and media arts at the California College of the Arts and is currently pursuing an M.F.A. in photography at the University of Hartford. The book, This Is A Test, will be released in late 2024 with independent publisher Gnomic Book. Image: Untitled (2022) from This Is A Test (2024), Jason Hendardy

I am always on the lookout for art that will contribute to my understanding, art that will broaden my perspective or make me feel a sense of connection. Most importantly, it needs to be distinctive enough that I want to experience it again. The exhibition includes a selection of recent additions to the gallery inventory, mostly from my trip to Paris this summer. They are a diverse group and made in the 1920s through 1960s, yet all were created with an avant-garde style, ranging from Modernism to Surrealism to abstraction to conceptual portraiture. It is fascinating to see how well these works from periods gone by hold up and speak to a contemporary perspective. They were created by artists, some heralded, some lesser known, who were adding their own original expression to an ongoing discourse. Artists included are: Laure Albin-Guillot, Pierre Boucher, Émeric Feher, Raymond Journeaux, Francois Kollar, Helmar Lerski, Daniel Masclet, Ralph Eugene Meatyard, Jean Moral, Jean Painlevé, Roger Parry, Jaroslav Rossler, Frederick Sommer, and Raoul Ubac.

Altman Siegel is pleased to present CARDINALS, a new body of work marking Trevor Paglen's fifth solo exhibition with the gallery. The show is composed of photographs of novel aerial phenomena taken by Paglen over the last two decades. In conjunction with the exhibition, Minnesota Street Project Foundation will screen Paglen's single-channel video Doty (2023) from September 19 through October 5, 2024. "The calls started around 2006. I'd spent years poking around and photographing classified Air Force installations, talking to former workers on top-secret airplanes, visiting CIA 'black sites,' and hunting down anyone I could find with knowledge of the Pentagon's 'black world.' I was furiously working on a book about what I'd discovered. That's when the calls started. Every few weeks, I'd end up in long conversations with people alleging to be sources deep in the military and intelligence establishments. One man, claiming to work on top-secret projects at Edwards Air Force Base told me about a highly-classified manned spaceflight program, and described an obscure unit patch fabricated from material found on experimental space-suits. Another told me about crash-recovery teams charged with collecting debris from downed foreign satellites and even more 'exotic' technologies, while acknowledging an active CIA misinformation campaign around said tech. UFOs were a constant theme. I never met any of these characters in person, and I didn't make much of those calls at the time. As far as I was concerned, anything I couldn't validate was irrelevant. I forgot about them. Only in retrospect did I come to believe that I may have been the target of a disinformation campaign. More recently, I made a video installation profiling Richard Doty, an Air Force counterintelligence officer and 'Mirage Man' who used UFO lore to spread disinformation about Air Force technology programs. Doty is a strange and mercurial character: after leaving the Air Force he came out as a UFO 'whistleblower,' telling stories about 'real' UFO programs he was tasked with protecting. In our conversations, he mentioned that the Air Force has an unofficial code name for exotic aircraft of unknown origin: CARDINALS. Why UFOs? Why have they been so closely linked to technology and disinformation? UFOs are deeply weird: they simultaneously exist and do not exist. Like quasi-magical objects, they blur lines between perception, imagination, and 'objective' reality (whatever that may or may not be). UFOs live in the latent space between the material, the sensible, and the perceptual. 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. They conjure a fantasy that somewhere, somehow, someone knows a 'Truth' so powerful that it could spell the end of modernity and capitalism. Against this backdrop, Erik Davis, author of the book 'Techgnosis' on the interplay of technology and mysticism, puts it, 'the question of whether or not UFOs are real is… too crude and too philosophically taxing to broach.' I don't think it's an accident that a proliferation of UFO sightings is concomitant with the emergence of Artificial Intelligence. Each comes with their own forms of optimism and pessimism, wonder and doomsaying. Nor do I think it's a coincidence that the UFO has reemerged in this era of synthetic media, disinformation, and political and cultural fracture. A historical moment wherein our relationships to text, images, information, and media are being entirely upended. An emerging media environment characterized less by crude forms of spectacle or surveillance than by ubiquitous psyops. In many ways, UFO photographs distill the essence of photography itself. The photograph is a record, but it's not clear what of. An exposed sheet of film has some relationship to the light that facilitated that exposure, but it's impossible to pinpoint the exact nature of that relationship (over the last 150 years, the best answer the theorists have been able to come up with is: 'it's complicated.') Like UFOs, photographs lack context; they don't explain themselves no matter how loudly they speak. They lend themselves to laborious forensic analysis but make no promise of yielding anything conclusive, much less constructive. In other words, all photos are UFO photos. The works in this series are made with various cameras: a Phillips Compact II 8x10, a Wista 4x5 field camera, a Pentax medium-format handheld, a Canon 35mm, and two digital medium-format cameras, one modified to shoot infrared. The vast majority are shot on analog film - usually Kodak Portra, T-Max, and Fuji FP instant. They are undoctored." - Trevor Paglen

Obscura Gallery presents Norman Mauskopf: Descendants, a photographic exhibition of rare and vintage, black and white gelatin silver prints that were made by the photographer for the publication by the same name, published by Twin Palms in 2010. The prints in the exhibition include both published and unpublished images made for the book, which focuses on the Hispanic peoples and cultures of Northern New Mexico. Many of the prints were included in the application for the very first W. Eugene Smith Fellowship, which Mauskopf was then awarded in 2002. Northern New Mexico is a complex weave of pride and history. In this region of ancient traditions and striking environmental and ethnic diversity, Norman Mauskopf spent a decade photographing the Hispanic people and their culture. The photographs that emerged depict the intersection of religion, injustice, community, and transcendence. The book also includes the poetry of New Mexican poet Jimmy Santiago Baca. A segment from the poem, Singing at the Gates, reads: and newborns scream their arrivals, and fathers with wrist chains and tattoos cling to their little loves in parks, and the circle widens and expands and ripples toward every closed gate, with tribal drums beating, gourds blowing and rattles rattling we are here, we are here, we are here. Born in 1952 in Santa Fe of Chicano and Apache descent, Jimmy Santiago Baca was 21 in 1973, when he was convicted on drug charges and spent five years in prison. It was there that he learned to read and began writing poetry and is now a prominent poet and screenwriter. Baca is the winner of the Pushcart Prize, the American Book Award, the International Hispanic Heritage Award, and, for his memoir A Place to Stand, the prestigious International Award. Baca has devoted his post-prison life to writing and teaching others who are overcoming hardship. His themes include American Southwest barrios, addiction, injustice, education, community, love, and cultural difference. He has conducted hundreds of writing workshops in prisons, community centers, libraries, and universities throughout the country. During a distinguished 35-year photography career, Norman Mauskopf has had four award- winning books of his photographs published by Twin Palms/Twelvetrees Press, and he has been the recipient of a W. Eugene Smith Fellowship. His most recent book, Descendants, published in 2010, was a pictorial exploration of Latino culture in northern New Mexico—its ancient traditions, striking landscapes and ethnic diversity. A Time Not Here, published in 1997, focuses on African-American musical and spiritual traditions in Mississippi and was described as “a focused documentary of astonishing beauty.” His second book, Dark Horses, published in 1988, documents the world of thoroughbred horseracing and was described as “classic photojournalism slyly refracted through prisms of drama, majesty and humor.” Norman’s first book, Rodeo, published in 1985, looks into the lives of professional rodeo cowboys. About the images in Rodeo, author Ben Maddow wrote, “They are not merely photographs but observations deeply seen and deeply felt. . . . Norman has uncovered something profound and instinctive.” Norman has also completed a rare documentary on the legal brothels of Mustang, Nevada. Norman Mauskopf’s photographs have been included in solo and group exhibitions, including two shows at the International Festival of Photojournalism in Perpignan, France. He has been a photographic educator for more than 30 years, including teaching at the Santa Fe Workshops, the Maine Photographic Workshops, and at Art Center College of Design in Pasadena, California

The Space Art Gallery welcomes Craig Blankenhorn and his inaugural show of his fine art. Craig has worked as a still photographer on some of the most iconic television shows in America - Sex and the City, The Sopranos, Boardwalk Empire, Succession and Only Murders in the Building are a few examples. His perfectly captured dramatic moments are regularly displayed in Times Square and the like. But, unbeknown to most, Craig has also been capturing the dramatic moments of New Yorkers and others across the country. Now, for the first time, Craig is sharing his personal work—telling the stories of everyday people in a single shot.

The Memory of Our Skin is a long-term photography project that connects two distinct communities: One in Half Moon Bay and the other in Santiago, Chile. By visually exploring their human responses to traumatic events, the project reveals the shared processes of grief and healing. Artist Statement: “The Memory Of Our Skin is a reminder that our histories are not only from our past, but they are lived within ourselves. Our memories are an act of remembering, we can find fragments in vigils, protests, community, art, music, gardening, and the creation of memorials that make space to heal.” –Pablo Unzueta Image: © Pablo Unzueta

PDNB Gallery is excited to present two exhibitions this summer: Portraits of Frida will include extraordinary photographs of the celebrated painter, Frida Kahlo, by two artists, Lucienne Bloch and Nickolas Muray. Lucienne Bloch (1909 – 1999, b. Geneva, Switzerland) met the married artist couple, Frida and Diego in 1932 when hired to work with the very notable painter, Diego Rivera, in Detroit. This project at the Detroit Institute of Art became the most important Diego Rivera mural in the United States. Lucienne and Frida became fast friends and cared for Frida during her tragic miscarriage while in Detroit. Some of Lucienne's portraits of Frida in Detroit will be exhibited in this show. Nickolas Muray (1892 – 1965, b. Szeged, Hungary) was a successful commercial photographer and two-time Olympic fencer based in New York. He was known for his portraits of actors, playwrights, ballet dancers and other notable figures in the arts. Muray was a pioneer in color photography advertising. Ladies Home Journal produced the first natural color advertising photograph in 1931, Muray's grand Miami image of a swimming pool with 17 models in swimwear. He was a master printer, using the three-color carbon printing process, revealing deeply saturated color, which became a signature of his photographs. Muray met Frida in Mexico through their mutual friend, the artist, Miguel Covarrubias. Nick and Frida became lovers for the next ten years, resulting in some of the most important portraits of Frida, featured in this show. Image: Lucienne Bloch, Frida Biting Her Necklace, 1933

The Fahey/Klein Gallery is pleased to present SINK / RISE: The Day May Break, Chapter Three and THE ECHO OF OUR VOICES: The Day May Break, Chapter Four, an exhibition of new works, made as part of an ongoing global series of images portraying people and animals that have been impacted by environmental degradation and destruction. SINK / RISE: The Day May Break, Chapter Three highlights South Pacific Islanders in Fiji grappling with rising ocean levels. THE ECHO OF OUR VOICES: The Day May Break, Chapter Four focuses on Syrian refugee families battling water scarcity in the deserts of southern Jordan. This dual exhibition underscores the diverse ways climate change affects communities around the world, revealing the universal threat to our lives and homes. Brandt’s cohesive bodies of work offer a unique approach to climate-conscious photography and celebrates the resilience of the human spirit and the stabilizing effects of community in the face of adversity. Throughout the series, local subjects represent their individual communities and highlight the strength and solidarity that emerge in challenging times. Captured in camera underwater off the coast of Fiji, the photographs in SINK / RISE: The Day May Break, Chapter Three depict local people, representatives of the many people whose homes, land and livelihoods will be lost in the coming decades as the water rises. In serene, everyday poses—sitting on sofas or standing on chairs—amidst an otherworldly aquatic environment, the photographs convey a striking contrast between the familiar and the surreal, while foreshadowing a possible reckoning as sea levels rise. The subjects in THE ECHO OF OUR VOICES: The Day May Break, Chapter Four, almost all Syrian refugee families, are posed together atop stacks of boxes against the vast painterly deserts in southern Jordan. These individuals are forced to relocate multiple times a year in search of destinations with adequate rainfall for crops in one of the most water scarce regions in the world. The portraits from the series monumentalize a loss of place and show connection and strength in the face of adversity, that when so much else is lost, in theory you still have each other. THE ECHO OF OUR VOICES: The Day May Break Chapter Four was partially funded by Gallerie d’Italia Museum, Turin, Italy. Born in England, Nick Brandt studied film and painting at St. Martin’s School of Art in London. He turned to photography in 2001 with his trilogy On This Earth, A Shadow Falls, Across the Ravaged Land – to be followed up by Inherit the Dust and This Empty World. He began The Day May Break series in 2020. Nick Brandt co-founded Big Life Foundation with one of the most respected conservationists in East Africa, Richard Bonham. Image: Women with Sleeping Children, Jordan, 2024 © Nick Brandt

For the first exhibition of the fall art gallery season, PDNB Gallery presents a solo show of photographs by Al Satterwhite (b. 1944, Biloxi, Mississippi), who has worked professionally in photography since he was a high school intern taking photographs for the St. Petersburg Times. The passion of capturing the decisive moment has never left him. His talent for photography led him to the job of personal photographer for the then Governor of Florida, Claude Kirk. He later worked as a freelance photographer, doing magazine work for major publications including Life, Newsweek, Sports Illustrated, Fortune, and Car & Driver. Satterwhite then started a production company in New York in 1980 where he became widely known in the advertising world working with corporations including American Express, Coca Cola, Eastman Kodak, Oldsmobile, and Sony. In 1992 he moved west to Los Angeles to work in filmmaking as a Director of Photography. Many books were published on Satterwhite’s photography, and he lectured often at universities and workshops around the country. His photographs are in major museum collections including the Smithsonian National Portrait Gallery, the Museum of Fine Arts Houston, and the Santa Barbara Museum of Art. Satterwhite met many fascinating people while working on assignments. One meeting with Hunter S. Thompson resulted in some of his most popular photographs when he traveled to Cozumel, Mexico to meet the infamous Gonzo journalist . He photographed Muhammad Ali while training in a gym in Miami Beach, Florida. Some of these images are iconic of Ali, showing him young, powerful, and full-of-life. Satterwhite had a great opportunity to photograph Paul Newman as an authentic race car driver at the important Sebring 12-Hour race in Florida. In 1978 Satterwhite photographed him in his racing gear, revealing the iconic ‘Paul Newman’ Rolex Daytona watch that his wife, Joanne Woodward, gave him with an inscription on the back, “Drive Very Slowly, Joanne.” This watch later sold in 2017 for a record $17,752,500! PDNB Gallery will show a suite of photographs from Satterwhite's early, personal work taken in Florida. His vintage images of young surfers in the 1960’s have become very nostalgic because they represent a more innocent culture reminiscent of the beach party teen films like Beach Blanket Bingo and How to Stuff a Wild Bikini.

ROSEGALLERY is pleased to present The Alchemy in Materiality, an exhibition of works by John Chiara as part of PST ART: Art & Science Collide. The Alchemy in Materiality offers an enthralling journey through John Chiara’s innovative career. It presents a comprehensive retrospective of his work, inviting viewers to contemplate the elusive essence of the present moment, seamlessly bridging the realms of art and science with a captivating, visceral aesthetic. Seamlessly fusing art and science, John Chiara’s practice forges a unique process which combines photography, sculpture, and immersive experience. At its core are his meticulously crafted cameras; essentially large scale yet portable camera obscuras. Within the dark chamber of these cameras, Chiara choreographs a precise interplay of light and chemistry on positive color photographic paper, deftly controlling light and manipulating the emerging images with an innate touch. The resulting pieces are profoundly perceptual bearing traces of their unconventional origin, rendered in soft, ephemeral hues that evoke materiality and transience. More importantly, they are all unique. With color positive photographic paper, no photo negative is created or needed, creating an image that is ultimately impossible to reproduce or duplicate. Chiara’s works are truly individual instances His artistry showcases the convergence of ingenuity, invention, and patient craftsmanship, transcending conventional photography to embody the interplay of light, time, and human perception.

When I arrived as a young Frenchman in 1964, New York City was chaotic, dirty, gritty, loud and dangerous, but it was also attractive, provocative, brave, enchanting, joyous and free. “New York Noir” is inspired by the 1940 Film Noir. It is filled with a sense of danger, it is violent and upbeat, simple and timeless like my New York. Everything seemed possible and vibrant. I hated it one day and loved it the next. I responded to the city with my heart and never stopped capturing the monumental mess that it is and the exhilaration it provokes. All my wildest dreams came true in New York, and I hope my photos captured a city that I viewed critically but affectionally and to which I bear an immense gratitude.

For 30 years, the photographs of artist An-My Lê have engaged the complex fictions that inform how we justify, represent, and mythologize warfare and other forms of conflict. Lê does not take a straightforward photojournalistic approach to depicting combat. Rather, with poetic attention to politics and landscape, she meditates on the meaning of perpetual violence, war’s environmental impact, and the significance of diaspora. “Being a landscape photographer,” she has said, “means creating a relationship between various categories—the individual within a larger construct such as the military, history, and culture.” An-My Lê: Between Two Rivers/Giữa hai giòng sông/Entre deux rivières is the first exhibition to present Lê’s powerful photographs alongside her forays into film, video, textiles, and sculpture. Never-before-seen embroideries—some large scale, others the size of a laptop screen—and rarely shown photographs from her Delta and Gabinetto series explore the relationship between mass media, gender, labor, and violence. And an immersive installation created especially for the exhibition attests to the artist’s long-standing consideration of the cinematic dimensions of photography and war. Born in Vietnam in 1960, Lê came to the United States in 1975, after the fall of Saigon, as a political refugee. The two rivers in the exhibition’s title refer to the Mekong and Mississippi river deltas, to Vietnam and the United States. The phrase also gestures toward other subjects that Lê has inflected with her own experiences of war and displacement, from the Seine, to the Hudson River, to the Mexican-American border along the Rio Grande. It is a metaphor that invites viewers to reflect on the circularity of time and history, the layering of disparate geographies, and the intimacies that paradoxically grow out of conflict.

The Hulett Collection in collaboration with FAS44 Gallery in Las Vegas and Michael Frey are pleased to present Pieter Henket's series, Congo Tales, September 26 - November 16, 2024. This series embodies the stories passed down from generation to generation, magnificently personifying fable and myth through portraits of people from the Mbomo District residing deep in the Congolese rainforest. These boldly authentic photographs transform the subjects into painterly creations filled with raw emotions and character depictions. Pieter Henket is a Dutch photographer living and working in New York City. Known for a photographic style inspired by the 17th century Dutch Golden Age of painting, his work has been exhibited at the Metropolitan Museum of Art in New York, the Museum de Fundatie in The Netherlands, and the Museum Barberini in Germany. A mastermind of integrating people and place, Henket has an innate storytelling ability that provides an authentically emotional experience for all who view his work.

Laura Aguilar: Nudes in Nature showcases photographic works by a groundbreaking yet underrecognized artist who challenged perceptions of beauty by examining the female body in dialogue with the natural world. Born and raised in California’s San Gabriel Valley, Laura Aguilar created photographic representations of historically excluded and marginalized groups of women from various communities across Los Angeles. She eventually turned the camera on herself to consider the multitude of factors that defined her own identity as a Chicana and a lesbian who lived in poverty and with depression and learning disabilities. Later in her career, Aguilar began to capture intimate portraits of nude, large-bodied women in natural settings. She created various series within this framework to highlight the inherent connections between nature and the female form. Laura Aguilar: Nudes in Nature brings together nearly 60 photographic works from the most-recognized of those series, including Nature Self-Portrait (1996) Stillness (1999) Motion (1999) Center (2000–2001) and Grounded (2006–2007). Featured works either directly explore the relationship between physical features of the body and the landscape or adopt an abstract approach. Exhibited in conversation, they encourage reflection on the ways female bodies are perceived within the natural world in comparison to how they are viewed in social and cultural spaces. All of the images in Nudes in Nature were made in the Southwestern region of the United States. With this particular backdrop, the exhibition provides a unique opportunity to consider Aguilar’s trailblazing work within the context of our desert region. Image: Motion #59, 1999 © Laura Aguilar Trust of 2016

Highlights from the museum’s collection of contemporary photography hang in Avery Court. Featuring recent gifts alongside familiar collection works, the installation surveys diverse approaches to portraiture and landscape by some of the leading artists of the past four decades, including Nan Goldin, Paul Mpagi Sepuya, and Ellen Carey. Image: Philip-Lorca diCorcia (American, born 1951), Roy, ‘in his 20s,’ Los Angeles, California, $50, 1990-92. Chromogenic print; ed. 12/20. Alexander A. Goldfarb Contemporary Art Acquistion Fund, 2017.20.1

For me, photography is not a means by which to create beautiful art, but a unique way of encountering genuine reality.” ― Daido Moriyama Please join us for a rare and special exhibition of works by renowned photographer Daido Moriyama. The Center for Photographic Art is honored to present 33 images from this master photographer spanning five decades, 1966 - 2007. From his early series such as Japan: A Photo Theater and Karyūdo (A Hunter) to more recent projects and prints, we'll get to view the progression of this legendary artist's work. A selection of Moriyama's books will also be on view. On opening night we have the pleasure of hearing Asako Shimazaki, one of Moriyama's students, speak about his long career and his influence. Not to be missed! Daido Moriyama was born in 1938 in Ikeda City, Osaka, Japan. Switching from designer to photographer, he worked as an assistant for Takeji Iwamiya and Eikoh Hosoe, before embarking on his career as a freelance photographer in 1964. For series such as “Japan: A Photo Theater,” which appeared in Camera Mainichi in 1967, he received the New Artist Award from the Japan Photo-Critics Association. Large-scale exhibitions of Moriyama’s work have been held at a number of major institutions including at the San Francisco Museum of Modern Art (1999; traveling to the Metropolitan Museum of Art and Japan Society, New York), the National Museum of Art, Osaka (2011), and London’s Tate Modern (two person exhibition with William Klein 2012-13). In 2012, Moriyama received the Infinity Award from the International Center of Photography (New York), was ordered Ordre des Arts et des Lettres in 2018 by the French government, and he was also the winner of The Hasselblad Foundation International Award in Photography in 2019 which cemented his international reputation. Moriyama has also produced more than 150 photobooks since 1968.

By cutting out, reshuffling, and layering multiple photographs, artists create composite artworks called photomontages and collages. First coined by Berlin Dada artists John Heartfield and Raoul Hausmann at the beginning of the First World War, the photomontage was originally conceived as a form of social and political critique. With further developments from Cubist and Surrealist artists, both techniques gained widespread appeal for their capacity for abstraction, experimentation, and narrative building. Photomontages and collages can create both seamless compositions, as well as generate new relationships and dialogues between individual pictures. Cut Up/Cut Out: Photomontage and Collage explores these photographic techniques as enduring forms of artistic engagement, highlighting several new acquisitions and contemporary examples from the Norton’s Collection, as well as a selection of special loans. These hybrid forms can even point us to the foundations of our contemporary digital experience, as such widespread and rapid access to information continues to change and accelerate our ability to cut, mix, and paste each day. Image: Pittsburg Memory 1964 © Romare Bearden

Peter Fetterman Gallery is delighted to announce the upcoming exhibition, "Her: The Great Women Photographers," celebrating the extraordinary talents of women in photography. Opening on August 17th, 2024, this exhibition promises to illuminate the gallery with the diverse and powerful works of some of the most influential female photographers. "Her: The Great Women Photographers" will feature the remarkable works of artists such as Lillian Bassman, Sarah Moon, Ruth Bernhard, Julia Margaret Cameron, Cig Harvey, Bernice Abbott, Judy Dater, Eve Arnold, Doris Ullmann, Martine Franck, Flor Garduno, Judy Glickman Lauder, Ilona Langbroek, Grace Robertson, Anastasia Samoylova, and Sabine Weiss, amongst others. With each carefully curated work, a testament to the unique vision and artistic prowess of these pioneering women. The exhibition will include a selection of iconic images, as well as some unseen gems. "Her: The Great Women Photographers" is a must-see event for art lovers and photography enthusiasts alike. The exhibition will be on view from August 17th to November 23rd at Peter Fetterman Gallery, located in Santa Monica, CA. Image: La Robe Rouge 2010 © Sarah Moon

pina Americana, my study of a very narrow corridor of the central United States, was born with violence on the mind and trepidation in the heart. In reaction to the gaining momentum of a fractious American identity, and what it means for our future as a nation going forward, ‘Spina Americana’ (American Spine) attempts to understand a critical and often misunderstood area of the United States, in a time of political division not seen here since the 1850s. I decided to focus my attention on a 100-mile-wide path of land, 50 miles east/west of the geographic center. It runs vertically from Mexico to Canada, traversing the spine of the United States, as an independent and unique feature that deserves its own examination, where most of its occupants have been ignored politically, socially, and culturally for many decades. The commonly used expression for this area is “flyover country”, which denotes a land of banality and unimportance, culturally and otherwise. This series reflects my general philosophy towards photography as an anvil for activism, as well as my opening argument for a new direction in the hope for a more collective and persistent empathy. As Americans, our duty, I believe, is to always remember that in the end, the only thing holding the line between our honour and the windblown dust of a collapsed empire, is us. My hope is that this work and the work that is to come, will serve as a call to action for individuals convinced they are powerless against the forces actively opposing this very kind of national cohesiveness. Love (without prerequisite) has been endlessly shown as a powerful force; it only requires a sense of duty, proper action and the will to initiate it.

Gallery Luisotti is thrilled to announce its fall PST ART exhibition, Mark Ruwedel: Los Angeles, Landscapes of Four Ecologies. This exhibition will celebrate Ruwedel’s decade long project, which has never before been shown in all four parts. Mark Ruwedel’s Los Angeles, Landscapes of Four Ecologies includes photographs and handdrawn maps, capturing the Los Angeles Basin’s distinct natural environments. Ruwedel’s photographs find evidence of fires, floods, landslides, and coastal erosion, all entangled within the city’s urban infrastructure. Landscapes of Four Ecologies takes its name from Reyner Banham’s 1971 publication, Los Angeles: The Architecture of Four Ecologies, yet surveys those interstitial spaces Banham downplayed: the river, the coast, the hills and canyons, and that which is“haunted by the desert” (in Joan Didion’s words.) In this PST ART: Art & Science Collide exhibit of nearly three dozen carefully crafted pictures, one will find many scenes containing fragments of long-forgotten endeavors. Like an archaeologist, Ruwedel does his best to tread lightly so that others might have the experience of uncovering for themselves faint traces of that which precedes and may still survive us. If we look intently, we might be struck by how brief and small – though still consequential – is our time on earth. The ultimate beauty in these pictures may be the way they, like the writings of Carey Mc Williams, Joan Didion, Mike Davis, Jared Farmer etc., leave us with a deeper and less settled sense of our complex habitat. Image: Mark Ruwedel, Pacific Palisades #5, 2015

Following World War I, light abstraction emerged as a central preoccupation of photographers and filmmakers who began using innovative methods of projecting, reflecting, and refracting rays of light to create non-traditional works of photographic art. Abstracted Light: Experimental Photography, on view August 20 through November 24, 2024 at the Getty Center, focuses on light abstraction as one of the primary aesthetic concerns of avant-garde photography from the 1920s to the 1950s. Drawn from the rich holdings of the J. Paul Getty Museum’s collection, the exhibition features photographs by international artists including László Moholy-Nagy (Hungarian, 1895–1946), Francis Bruguière (American, 1879–1945), Man Ray (American, 1890–1976), Tōyō Miyatake (American, born in Japan, 1895–1979), Asahachi Kono (Japanese, 1876–1943), and Barbara Morgan (American, 1900–1992).. The exhibition is presented in conjunction with PST ART: Art & Science Collide, a groundbreaking regional cultural collaboration that unites more than 70 exhibition and performance spaces around a singular theme, the intersection of art and science.. “Whether explicitly or implicitly, light is the physical, conceptual and aesthetic fundament of photography,” says Timothy Potts, Maria Hummer-Tuttle and Robert Tuttle Director of the Getty Museum. “This exhibition focuses especially on the myriad ways light has been harnessed, abstracted, and manipulated in the creation of some of the most inventive and innovative photography of the 20th century. Abstracted Light will make a major contribution both to PST ART, as well as to the history of photography.”. The works in this exhibition represent a variety of approaches to light abstraction, starting with the photogram process. One of the earliest forms of photography, a photogram is made by placing objects directly on chemically treated paper and exposing them to light to capture their silhouettes. Photographers revived this technique as they sought novel ways to create abstract images. The Hungarian-born artist Lászlo Moholy-Nagy, working in Germany, became one of the photogram’s fiercest advocates, writing that it enabled photographers to “sketch with light” in the same way that painters work with paintbrushes and pigment. In Paris, the American expatriate Man Ray also embraced the photogram, mistakenly claiming that he had invented the technique and naming it the “Rayograph” after himself. Through international exhibitions and photography journals, the popularity of the photogram spread far and wide.. Another technique modern photographers adopted to create dynamic abstract compositions came to be known as “light painting.” This method involves moving a light source in front of the camera during a long exposure. The motion of the light creates glowing patterns and shapes on the negative that may appear as ethereal calligraphy. A photographer can achieve a similar effect by moving the camera itself during the exposure while aiming it toward static light sources, such as street lamps or neon signs, capturing a sort of luminous graffiti. These methods may be combined with other experimental techniques, such as superimposing multiple exposures, to create even more elaborate abstractions.. Included in the exhibition are four short films of the 1920s and ’30s (screening continuously) in which avant-garde artists explored light abstraction using innovative techniques that pushed the boundaries of the art form. Their experiments with varying styles of animation, as well as with a montage, multiple exposures, and other special effects, challenged conventional cinematic storytelling, providing audiences with immersive and mesmerizing visual experiences.. One gallery is devoted to the work of Thomas Wilfred (American, born Denmark, 1889–1968), a pioneer in light art which he referred to as “Lumia.” From the 1910’s to the 1960s, he designed and built a series of mechanical devices that generate choreographed displays of moving abstract forms. Wilfred’s inventions include the organ-like Clavilux, a keyboard controlling arrays of projectors for public performances, and self-contained Lumia instruments resembling television sets for adventurous collectors, four of which will be on view in the exhibition.. “I am excited to bring together such an exciting array of photographs, films and Lumia instruments which demonstrate the incredible synergy and energy of vanguard artists working across the globe in light abstraction,” says Jim Ganz, Getty Museum’s senior curator of photographs and the organizer of the exhibition. “This show provides a rare opportunity to view some of Getty’s most important 20th-century photographs which have not been displayed here in many years.”. Abstracted Light: Experimental Photography is curated by Jim Ganz, senior curator in the Department of Photographs. A companion exhibition, Sculpting with Light: Contemporary Artists and Holography, on view August 20 through November 24, 2024, features artists who incorporated the technology and magic of holography into their work in the late 1990s through 2020.. This exhibition is part of PST ART, a Getty initiative presenting over 70 exhibitions at institutions across Southern California tied to the theme Art & Science Collide. PST ART is presented by Getty. Lead partners are Bank of America, Alicia Miñana & Rob Lovelace, Getty Patron Program. The principal partner is Simons Foundation. Image: Untitled, about 1950, Hy Hirsh. Ansco Printon chromogenic print 7 7/8 × 9 7/8 in. Getty Museum, 2013.63. Gift of Deborah Bell

The Rebecca Hossack Art Gallery, Little Havana Project presents an exhibition of new work by the British artist Jason Shulman. Featuring a series of long- exposure photographs of critical moments of our recent history, the show marks a new chapter in the artist’s decade-long practice of multimedia experimentation. By manipulating temporality and technology, Shulman opens a new door to our perception of some of the most iconic events and images of our shared cultural world. The project began when the London-based Shulman decided to photograph the coverage of the 2014 Winter Olympics in Sochi: training his camera on his television, he took a series of long-exposure photographs of selected events, freezing dreamlike, fluid, action-charged representations of what the rest of the world was experiencing as HD motion on their screens. This idea of gathering all the light present in an event led to his celebrated series 'Photographs of Films' where the entire running time of a movie is captured in a single image. His new body of work takes iconic filmed moments from history as the subject for visual investigation. The 'History Photographs' inhabit a liminal third space between the moving and the static, opening up a new way of experiencing culturally familiar events. From Muhammad Ali’s knock-out punch on George Foreman, to the interment of Queen Elizabeth II and Marilyn Monroe’s rendition of ‘Happy Birthday Mr. President’ to Stanley Kubrick’s masterpiece, '2001: A Space Odyssey,' Shulman reconfigures the flow of the moving-image through his own fixed lens, extending the exposure-time on his camera for seconds, minutes, or hours, to create a new category of representation. He captures feelings that are not seen by the naked eye, giving us the aura rather than just the details of what has happened. The atmospheric shift created through his process provides a transformative lens to an unseen world which is strangely dynamic and suffused with surreality. Currently living and working in London, Shulman has exhibited across Europe and the United States since the 1990s, and his works are held in important private collections across the globe. His work has been shown at COB (2021); Somerset House, London (2014); Shoreditch Town Hall, London (2014); La Maison Rouge, Paris (2013); The Wand, Berlin (2013); MONA, Tasmania, Australia (2012); The Rachofsky House, Dallas, Texas, USA (2011) and White Cube Gallery (Hoxton), London (2008). His work was also presented at Photo London, Somerset House, London (2017) and the Third Moscow Biennale, Garage Museum of Contemporary Art, Moscow (2009)

In fall 2024, the Raclin Murphy will present the first major exhibition in the United States featuring the work of Father Francis Browne, SJ, one of the most intriguing Irish photographers of the twentieth century. The Museum recently acquired this selection of 100 works from the artist’s archive. Born into an affluent family in Cork, Francis Mary Patrick Browne (1880-1960) was the youngest of eight children. By the time he was nine, both of his parents had died, and he became the ward of his uncle, Robert Browne, Bishop of Cloyne. The bishop gave Browne his first camera at his graduation from secondary school at age seventeen. In spring 1912, Browne received the gift of a ticket on the maiden voyage of RMS Titanic. He sailed from Southampton in England, to Cherbourg, France, then to Cobh in County Cork where he disembarked before the ship steamed into the North Atlantic. Following the Titanic disaster, Browne’s photographs of the ship, her passengers and crew, appeared in newspapers and magazines worldwide. Their popularity enticed the Eastman Kodak Company in England to provide him with a continuing supply of film.

This presentation marks the first U.S. solo museum exhibition dedicated to Joanna Piotrowska (b. 1985), a Polish artist based in London whose work examines the human condition through performative acts, photography, and film. Self-defense manuals and psychotherapeutic methods are used as reference points as Piotrowska explores the complex roles that play out in everyday life. The exhibition features large-scale, silver gelatin prints of subjects that probe human behavior and the dynamics of domestic relations, exploring intimacy, violence, control, and self-protection with an emphasis on gesture and touch. Throughout the galleries, the artist creates a space with domestic references from which contrasting image placement and content create an uncanny experience that reveals moments of care as well as hierarchies of power.

Michelle V. Agins is a Pulitzer Prize-winning photojournalist whose images tell unforgettable stories about life in America. The second Black woman ever hired as a staff photographer at The New York Times, Agins’s groundbreaking assignments offer some of the most important documentation of race relations, celebrity culture, sports, spirituality, and economic disparity in America. Over the course of her five-decade career as a photojournalist, Agins has covered a vast array of news moments, from her early pictures of the protests surrounding the murder of Black teenager, Yusef Hawkins, and the 1992 Democratic National Convention, through more recent images of the Kamala Harris campaign and portraits of Storme DeLarueri, a Stonewall Riots survivor. Agins has captured other iconic figures, such as James Baldwin, Prince, Aretha Franklin, Serena Williams, Anthony Mason, and Anita Hill, among many others. Each photograph demonstrates Agins’s powerful humanizing vision. “Storytelling is the only way I’ve done my work,” Agins said, and “my words are my images.” Her visual storytelling also brings to light the lives of many New Yorkers (some on view here) who have been aided by The New York Times Neediest Cases Fund, now called the Communities Fund. Her series Another America: Life on 129th Street (1994), also on view here, studies the effects of gun violence on a Harlem neighborhood. This museum exhibition, Agins’s first, comprises sixty-eight images taken during her thirty-five years at The New York Times. Organized by Maura Foley, Picture Editor, The New York Times, and Maura Reilly, Director, Zimmerli Art Museum. 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

Traces of the Manifest encompasses photographs, ephemera and video made by Victoria Sambunaris between 2015 and 2023. The exhibition uncovers new meanings and alternative perceptions beyond Sambunaris’ well-known or customary large-scale murals of American landscape which examine the external imprint from deep time to human time. By showing artifacts, found objects and photographs this exhibition reveals the working method, perceptions, intimacies and even unconscious views that are part of the essential and incidental elements of Sambunaris’ work as a photographer and explorer. Photographs from the Texas Gulf Coast to the desert regions of southern California reveal three dimensions of the animating forces behind Sambunaris’ larger concerns: the impact of industrial sites, geological forces and human traces found in landscape today. The intimate scale of this exhibition has given Sambunaris the opportunity to include journals, road logs, gifts, mineral collections, books, and snapshot documentation to reveal a personal story of her time on the road.

Charles Clayton ("Todd") Webb III was born in 1905 in Detroit, Michigan. After achieving success as a stockbroker during the 1920s, he lost everything in the financial collapse of 1929. In the aftermath, during the Great Depression, Webb took on various jobs, including gold prospecting, working as a forest ranger, and writing unpublished short stories. It was during this time, in the 1930s, that he developed an interest in photography, which soon overshadowed his writing. Photography allowed him to combine his passions for travel, meeting new people, and capturing their lives through his lens. In 1938, Webb became a member of the Chrysler Camera Club in Detroit, where he met fellow photographer Harry Callahan. His participation in a workshop led by Ansel Adams solidified Webb's dedication to "straight photography," known for its crisp focus and sharp details. After serving in World War II, he relocated to New York City, where he befriended Alfred Stieglitz and Georgia O'Keeffe. This connection introduced him to Beaumont Newhall, who later curated Webb's first major exhibition at the Museum of The City of New York. Around this time, Webb also worked with Roy Stryker and the Standard Oil Company, further establishing himself in the photographic world. In 1949, Webb moved to Paris, where he met his wife, Lucille. The couple lived in France for the next four years. Webb was awarded two Guggenheim fellowships in 1955 and 1956, allowing him to document the pioneer trails that early settlers took to Oregon and California. Unlike his contemporary, Robert Frank, who drove across the country, Webb journeyed on foot, photographing as he went from the East Coast to the West. Webb continued to photograph well into the 1980s, creating a distinctive body of work that has earned a significant place in American photographic history. Often called "a historian with a camera," Webb's images offer rich documentation of life across the globe. His work has been exhibited nationally and internationally and is held in numerous major museum collections, including the Museum of Modern Art, the Metropolitan Museum of Art, the Minneapolis Art Institute, and the Art Institute of Chicago. Todd Webb passed away in May 2000 at the age of 94 in Central Maine. His life, much like his photographs, may have seemed simple at first glance but revealed increasing complexity and depth upon closer inspection.

As the George Eastman Museum approaches and celebrates its 75th anniversary, we are featuring a group of exhibitions that highlight a wide range of holdings from the museum’s collection. With this selection of objects in the Collection Gallery, we continue our broad survey of works to draw parallels and connections between photography, history, and culture. The objects chosen for this exhibition will chart a course through this history, identifying notable movements and trends while giving context to a breadth of photographic practices, technologies, communities, and traditions. In this exhibition, direct comparisons are made between early photographic print processes, such as the daguerreotypes produced by Southworth & Hawes in the United States and the salted paper prints of Hill & Adamson in Scotland. These objects showcase the resources and technologies that were present at the time of their making, as well as the competing interests that propelled their development in the 19th century. Other pairings in this exhibition examine the development of photographic styles and aesthetics, each a response to specific cultural or artistic trends that emerged throughout the 20th century: Pictorialism, Group f/64, photojournalism and reportage, abstraction and experimentation, and the influence of postmodern practices in contemporary art. The response to these photographic traditions has been varied and complex, and not without critical discourse and debate. These evolutions, however, have increased access to photographic tools and technologies while expanding our understanding of photography and its wider cultural implications. The history of photography has grown to encompass a multitude of voices and diverse perspectives, each of them bringing forth new challenges and provocative assessments of that which came before. This selection includes works by Julia Margaret Cameron, Alfred Stieglitz, László Moholy-Nagy, Dorothea Lange, Gordon Parks, Robert Frank, Imogen Cunningham, Diane Arbus, Andy Warhol, Nan Goldin, and many others. Certain photographs in the exhibition will be alternated over the course of the next year, when the exhibition will coincide with the George Eastman Museum’s 75th Anniversary exhibition in the main galleries. Image: Capitol Police Officer Eugene Goodman stands firm as rioters push toward the Senate chamber during the Jan. 6 siege in the United States Capitol © Ashley Gilbertson

Just over twenty years ago, scientists introduced a term to denote a new geological epoch in which human activity has had a marked impact on the global climate: the Anthropocene. Since that time, the concept of the Anthropocene has been exposed to a wider public audience through expanding environmental studies and scholarship, increasing coverage in the popular press, widespread and fervent activism, and a variety of artistic responses. Second Nature: Photography in the Age of the Anthropocene is the first major exhibition to examine the Anthropocene through the lens of contemporary photography. Comprised of forty-five photo-based artists working in a variety of artistic methods from studios and sites across the globe, Second Nature explores the complexities of this proposed new age. Collectively, these artists offer compelling visual imagery necessary for picturing the Anthropocene: aerial views of beautiful but toxic sites, collages that incorporate archival photographs to counter colonial narratives, depictions of urbanism on an unimaginable scale, and imagined yet precarious futures. In doing so, they address urgent issues such as 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. Image: Gideon Mendel, Anchalee Koyama, Taweewattana District, Bangkok, Thailand, November 2011 from the series Drowning World: Submerged Portraits, 2011. Laser print on fabric, dimensions variable. Courtesy of the artist and Axis Gallery, New York & New Jersey. © Gideon Mendel.

Widely regarded as the preeminent Hollywood portrait photographer of the 1930s and 1940s, George Hurrell (1904–1992) created definitive, timeless images of many of the most glamorous figures of filmdom’s golden era. Hurrell began his Hollywood career in 1930 as a photographer for Metro-Goldwyn-Mayer, the studio (founded in 1924) that claimed to have “more stars than there are in heaven.” With a keen eye for lighting effects and artful posing, he developed a style of presentation that magnified the stars and influenced popular standards of glamour. Advancing rapidly to become MGM’s in-house portraitist, he produced memorable images of film royalty, from Joan Crawford and Clark Gable to Spencer Tracy and Greta Garbo. He established his own studio on Sunset Boulevard in 1933, where he continued to photograph actors for MGM as well as those under contract with other major studios. After closing his studio in 1938, Hurrell concluded the decade as the head of photography for Warner Bros. Selected from the National Portrait Gallery’s collection by senior curator of photographs Ann Shumard, this exhibition features golden-era portraits that reveal Hurrell’s skill in shaping the images of Hollywood’s brightest stars.

The Western landscape is a place where the transformation of physical space involves both visualization and manipulation, where the connections between what can be physically seen and how it is visually represented are not always clear; technologies originally designed to render places visible often became instruments of invisibility and surveillance, severing western lands from the populations that depend on them. Out of Site focuses on three technological revolutions to examine how visual technologies, artistic interventions, and the workings of state power have evolved in tandem with the Western landscape: wet-plate photography, used to theorize geological processes; the rise of aerial photography and pattern recognition; and the increasing use of drones, satellites, and other long-range photographic technologies to image secretive sites, military installations, and other technologically-mediated locales. The exhibition features 90 artworks, archival materials, and devices ranging from mammoth plate cameras to drones. Carleton Watkins’ Nevada mining photographs,19th-century geological reports, and stereoviews, and Margaret Bourke-White’s aerial surveys published in LIFE magazine in 1936 are juxtaposed with contemporary photographic and video pieces by David Maisel, Michael Light, and Steven Yazzie, among other artists. Image: Blue with Exceptions, B16576 from George Air Force Base, John Divola, 2020. © John Divola

Josh Kline’s Climate Change is both an exhibition and a total work of art—an ambitious, immersive suite of science-fiction installations that imagines a future sculpted by ruinous climate crisis and the ordinary people destined to inhabit it. Begun in 2018 and produced in sections over the last five years, Kline’s eponymous project will be brought together for the first time for this exhibition, mobilizing sculpture, moving image work, photography, and ephemeral materials to completely transform the galleries of MOCA Grand Avenue. Climate Change is a visceral, charged work of 21st-century expanded cinema. In this vision, which could be called dystopian but in truth is terrifyingly near, a catastrophic sea-level rise has inundated the world’s coasts, unleashing a flood of hundreds of millions traumatized refugees. What happens in a world where the systems built to sustain and extend capitalist enterprise and global hegemony melt down their own foundations? Kline opens the door to such a future, inviting us to place ourselves within it and consider the rear view. Josh Kline: Climate Change is organized by Rebecca Lowery, Associate Curator, with Emilia Nicholson-Fajardo, Curatorial Assistant, The Museum of Contemporary Art, Los Angeles.

Widely acclaimed when it was published in 1987, Joel Sternfeld’s American Prospects has come to be regarded as one of the important early monuments of color photography. Sternfeld (American, b. 1944) was one of a small cohort of pioneers, including William Eggleston, Helen Levitt, and Stephen Shore, who in the 1960s and 1970s began exploring the potential of color photography as a fine art. Sternfeld developed a unique aesthetic for the use of color and a distinctive personal vision. Inspired by the photographers Walker Evans and Robert Frank, he embarked on an ambitious quest to document America, traversing the continent from 1978 to 1983 with the support of a Guggenheim Fellowship. American Prospects is the result. Although Sternfeld saw deep fissures and contradictions in the country at the time, he also went on the road with a sense of optimism and discovery. His goal was not to document the failure of the American Dream, but to record what was great, vital, and regenerative about this nation. On one hand, Sternfeld’s imagery includes damaged landscapes and industry in decline. He delights in the curious, bizarre, and accidental in the everyday. Scenes of an elephant collapsed on the road or a firefighter buying a pumpkin while a fire rages in the background convey a sense of absurdity. And yet underlying the series is a vision of a beautiful land and the eternal cycle of the seasons, and of the variety and resiliency of the American people. Even today, Sternfeld is optimistic about the American prospect: “America has a tremendous capacity to right itself,” he noted recently. Sternfeld’s vision is as complicated as the nation. His images are deep, rich, and powerful specifically because they are complex and conflicted, at once both critical and affectionate. Guest curated by Robert Wolterstorff, Joel Sternfeld: American Prospects will mount more than forty large scale color prints, among them many of the most iconic images from the series, along with others that have never before been exhibited. It coincides with a new edition of American Prospects published by Steidl Press.

he work of the Philadelphia-born photographer and activist Harvey Finkle offers an intimate view of the hardships, sacrifices, and joys experienced by members of the diverse communities and political movements he has engaged with over the course of his career. In the Moment explores photography’s ability to interrogate social inequities, arouse empathy, and inspire political action. Consisting of photographs that Finkle has taken over the past half-decade, the show surveys the multiple and sophisticated ways in which his work forges meaningful connections with its audiences. Guest-curated by Antongiulio Sorgini, categorical groupings take us through Finkle's journey, chronicling the stories that shape our collective consciousness.

Native America: In Translation, curated by artist Wendy Red Star, assembles the wide-ranging work of nine Indigenous artists who offer contemporary perspectives on memory, identity, and the history of photography. “I was thinking about young Native artists and what would be inspirational and important for them as a road map,” said Red Star. This road map spans intergenerational image makers representing various Native nations and affiliations, and working in photography, installation, multimedia assemblage, and video. Among them, the late Cree artist Kimowan Metchewais investigates landscape and language through his evocative Polaroids. And the stylish self-portraits of Martine Gutierrez pose as fashion ads and question conceptions of ideal beauty. Together, their work confronts the historic, and often fraught relationship between photography and the representation of Native Americans, while also reimagining what it means to be a citizen in North America today.

Dana Claxton (Wood Mountain Lakota First Nations) presents a solo exhibition of her large-scale, backlit, color transparency photography, which she terms “fireboxes.” Works from her Lasso and Headdress series, including a newly commissioned Headdress portrait, draw together contemporary Native subjects with regalia and items from the subject’s own cultures. The exhibition situates many of the objects depicted in the firebox images alongside objects from the BMA’s historic Native art collection. Together, they recognize cultural belongings as extensions of the people who made them, provoking a consideration of personal and institutional care. .

Kicking off ICP's 50th anniversary year, ICP at 50: From the Collection, 1845–2019 is a thematic exploration of the many photographic processes that comprise the medium’s history, presenting works from ICP’s deep holdings of photography collected over 50 years since ICP was established in 1974. As a renowned NYC historical museum and one of the top photography galleries in NYC, the exhibition includes work from the 19th century to the present, featuring photographs by well-known artists that ICP has in-depth holdings of—such as Robert Capa, Weegee, Francesco Scavullo, and Gerda Taro among many others—as well as lesser-known and vernacular works and recent acquisitions including images by Jess T. Dugan, Nona Faustine, Deana Lawson, Paul Mpagi Sepuya, and Guanyu Xu. Other photographers featured include Henri Cartier-Bresson, Samuel Fosso, Robert Mapplethorpe, Susan Meiselas, Louise Lawler, Gordon Parks, Laurie Simmons, Lorna Simpson, Mickalene Thomas, Carrie Mae Weems, and more. The exhibition will also offer insight into the breadth and depth of ICP’s collection with historically critical images and media that include images taken of the surface of the moon by NASA in 1966, as well as activist posters from the 1980s and ‘90s groups ACT UP, Gran Fury, and fierce pussy. ICP’s founder Cornell Capa created ICP in 1974 in honor of his brother Robert Capa, a preeminent photojournalist of his day, who died in 1954. Robert's archive became a key early piece of ICP’s collection, alongside work by other important photojournalists and documentarians. In the ensuing five decades, the collection has expanded to include early photographic works, vernacular images, fashion photography, and fine art photography among many other types of photographic production, leading ICP to become one of the many famous museums in NYC. Dissolving and challenging boundaries between categories—technological, aesthetic, conceptual, and beyond—the collection is a celebration of image culture and the medium’s ability to reflect the values and interests of its time. ICP at 50 is not only a significant milestone for the institution but also stands as a must-see art exhibit in NYC. It's the first overview collections show since the institution’s move to 79 Essex Street in January 2020. The exhibition will reintroduce the depth and breadth of the ICP holdings to audiences, celebrating 50 years of photography’s evolution.

The International Center of Photography (ICP) will present We Are Here: Scenes from the Streets, an in-depth exploration into 50 years of contemporary public life documented through the lens of over 30 street photographers from around the world, beginning in the 1970s. Guest curated by Isolde Brielmaier, PhD, with Noa Wynn, Independent Curatorial Assistant, We Are Here opens at ICP on September 25, 2024 and runs through January 6, 2025. Featuring works by photographers from Algeria, China, Egypt, Germany, India, Japan, Russia, South Africa, the USA, and beyond, We Are Here reframes our understanding of “the street” and the activities and exchanges that occur in diverse public and community spaces. In a world fraught with misunderstanding and societal tension, the exhibition highlights street photography’s unique viewpoints on local culture and unfolding events. Documenting both dramatic and everyday moments—from street style to protests—the works in We Are Here testify to the resilience and similarities of the human experience. “We Are Here invites viewers to confront the richness and complexities of our modern, multifaceted life, emphasizing our shared humanity beyond geographic and cultural divides,” Brielmaier said of the exhibition. “Today’s world moves fleetingly, but these images prove that though circumstances might change, humanity is not going anywhere; the stories of our lives will remain.” “Street photographers often navigate the complexities of power dynamics and privilege,” Elisabeth Sherman, ICP Senior Curator and Director of Exhibitions and Collections said. “We hope this exhibition sparks reflection and conversation about the historical and current dynamics of public spaces that are shaped and mediated by gender, race, and socio-economic status, and how we critically understand the ways they govern our lives.” “As we end ICP’s 50th anniversary celebration with We Are Here, we are reaffirming our mission to educate the public on the power of visual storytelling and to foster international dialogue about what it means to be a concerned photographer today,” said Bob Jeffrey, ICP CEO. “As we look toward the future of ICP and imagemaking, We Are Here offers insight into how integral street photographers are to our understanding of the culture, politics, and day-to-day life of communities across the world. ” We Are Here, while not exhaustive, is expansive, highlighting many fresh and previously underrepresented voices in street photography as a genre, art, and photographic discipline.

As one of the most multicultural countries in the world, Australia has inspired many artists to reexamine and navigate the country’s troubled colonial history in the context of questions about identity, belonging, and the continent’s increasingly fragile ecosystems. Under a Southern Star: Identity and Environment in Australian Photography showcases the work of twelve contemporary Australian artists together with earlier, iconic photographs related to Australia’s history. The juxtaposition of photographs across time illustrates changing views of cultural and national identity—most notably, the primacy of Aboriginal culture in the Australian experience. Comprising works employing a wide array of visually arresting photographic techniques— including Lumachrome glass printing and AI animation—the exhibition traces photography’s evolution as it explores themes such as migration, settler colonialism, landscape, environmental degradation, and portraiture. Art on Hulfish is made possible by the leadership support of Annette Merle-Smith and Princeton University. Generous support is also provided by William S. Fisher, Class of 1979, and Sakurako Fisher; J. Bryan King, Class of 1993; John Diekman, Class of 1965, and Susan Diekman; Julie and Kevin Callaghan, Class of 1983; Annie Robinson Woods, Class of 1988; Barbara and Gerald Essig; Rachelle Belfer Malkin, Class of 1986, and Anthony E. Malkin; the Curtis W. McGraw Foundation; Tom Tuttle, Class of 1988, and Mila Tuttle; Nancy A. Nasher, Class of 1976, and David J. Haemisegger, Class of 1976; the Len & Laura Berlik Foundation; Gene Locks, Class of 1959, and Sueyun Locks; and Palmer Square Management. Under a Southern Star: Identity and Environment in Australian Photography is curated by Deborah Klochko, former executive director and chief curator, Museum of Photographic Arts at San Diego Museum of Art; and Graham Howe, founder and CEO, Curatorial Exhibitions; with Ashley Lumb, independent curator. This exhibition was originated by the Museum of Photographic Arts at San Diego Museum of Art, with generous support from the Farrell Family Foundation and is toured by Curatorial Exhibitions, Pasadena, California. Image: Something More No. 1, 1989. Collection of the Museum of Photographic Arts. Gift of Olivia and Peter Farrell. © Tracey Moffatt

“I think of myself, standing in a world that is never standing still,” the artist Robert Frank once wrote. “I’m still in there fighting, alive because I believe in what I’m trying to do now.” Life Dances On: Robert Frank in Dialogue—the artist’s first solo exhibition at MoMA—provides a new perspective on his expansive body of work by exploring the six vibrant decades of Frank’s career following the 1958 publication of his landmark photobook, The Americans. Coinciding with the centennial of Frank’s birth, the exhibition will explore his restless experimentation across mediums including photography, film, and books, as well as his dialogues with other artists and his communities. It will include some 200 works made over 60 years until the artist’s death in 2019, many drawn from MoMA’s extensive collection, as well as materials that have never before been exhibited.. The exhibition borrows its title from Frank’s poignant 1980 film, in which the artist reflects on the individuals who have shaped his outlook. Like much of his work, the film is set in New York City and Cape Breton, Nova Scotia, where he and his wife, the artist June Leaf, moved in 1970. In the film, Leaf looks at the camera and asks Frank, “Why do you make these pictures?” In an introduction to the film’s screening, he answered: “Because I am alive.”. Organized by Lucy Gallun, Curator, with Kaitlin Booher, Beaumont and Nancy Newhall Curatorial Fellow, and Casey Li, 12 Month Intern, Department of Photography

A voracious photographer who shot hundreds of thousands of pictures over his lifetime, Garry Winogrand (1928–1984) was a pivotal figure in twentieth-century American photography. Winogrand used his lightweight Leica camera athletically, moving in and out of crowds—from Manhattan streets to Texas football fields—as he honed an impulsive yet sophisticated sense of composition. With their wide-angle views and off-kilter perspectives, his photographs convey the energy and upheaval of the 1960s and 1970s, bringing disparate figures, glances, and incidents together within the frame. The photographs in this gallery come from some of Winogrand’s most significant projects, from pictures made on road trips across the US and in New York City’s zoos, to scenes of protest, and an abiding (and controversial) interest in photographing women. While Winogrand was criticized for his preoccupation with the female form during the height of the women’s movement, he also celebrated the newfound freedoms women enjoyed in the public sphere, even as they were subjected to male gazes like his own.

Photography has dramatically altered our access to, understanding of, and impact on the natural world. Through programming that includes the exhibition Widening the Lens: Photography, Ecology, and the Contemporary Landscape, a podcast series, and publication, Widening the Lens examines inherited narratives about people and ecology to offer audiences multiple points of entry into landscape photography. Widening the Lens: Photography, Ecology, and the Contemporary Landscape is organized by Dan Leers, curator of photography, with Keenan Saiz, Hillman Photography Initiative project curatorial assistant.

Gordon Parks: Camera Portraits looks at a celebrated American photographer and how he forged a new mode of portraiture after World War II. Parks blended a documentary photographer’s desire to place his subjects where they lived and worked with a studio photographer’s attention to dress, character, and expression. In doing so, he believed he could create portraits of individuals that addressed their cultural significance. He applied this approach to such American icons as boxer Muhammad Ali and conductor Leonard Bernstein, as well as to a Harlem gang leader and to a Detroit couple, revealing the humanity and cultural dignity of each person. This exhibition, drawn primarily from the Corcoran Collection, presents some 25 portraits Parks made between 1941 and 1970. Explore Parks's innovations in portraiture through some of his best-known photographs. Learn how his portraits speak to larger stories of the civil rights movement, the African American experience, and American culture. Image: Gordon Parks, Husband and Wife, Sunday Morning, Detroit, Michigan (Bert Collins and Pauline Terry), 1950, printed later, gelatin silver print, Corcoran Collection (The Gordon Parks Collection), 2016.117.150

Drawn from the Allen’s collection, this exhibition spans more than 150 years. Although far from comprehensive, the loosely chronological presentation encompasses key practitioners and decisive moments in the history of photography. From the mid-19th century to the first decades of the 20th, there was widespread debate as to whether photography should be considered a fine art rather than a mechanical trade. The exhibition opens with practitioners who took advantage of this ambiguity to enter the field and make crucial discoveries, largely through portraiture. Works on view from the 1920s to the 1950s show how photographers used the unique characteristics of the medium to document the quintessentially modernist processes of urbanization, infrastructure, and scientific discovery. The second half of the exhibition focuses on strategies of appropriation and collage from the post-World War II period to the present, foregrounding the effects of mass media. Alongside these concerns, photographers developed conceptual modes of portraiture to address identity-based issues. This is the second installment of the multi-year series Femme ’n isms, which highlights women-identified artists in the Allen’s collection and expands art-historical notions of the feminine through the intersections of gender, race, and class. The exhibition includes works by Berenice Abbott, Laura Aguilar, Margaret Bourke-White, Claude Cahun, Julia Margaret Cameron, Nan Goldin, Dorothea Lange, Barbara Norfleet, Cindy Sherman, Iiu Susiraja, Carrie Mae Weems, and others.

The Columbus Museum of Art (CMA) is proud to present Ming Smith: August Moon, an exhibition where the essence of everyday Black life unfolds with breathtaking honesty and reverence. Smith embarks on a poignant journey through the streets of Pittsburgh’s Hill District, intimately familiarizing herself with the landscape that inspired playwright August Wilson’s iconic “Century Cycle” plays. Smith captures the essence of Wilson’s characters, immortalizing their struggles, triumphs, and the quiet resilience that defines their existence. Smith’s upbringing in a literary family fostered an immediate affinity for Wilson’s subtle metaphors and characters, many of whom mirrored the people she knew from her own childhood. With her deliberate use of blurred imagery and obscured details, Smith creates a visual language that reflects the complexities of Black life in America, inviting viewers to see beyond the surface. Through her photographs, Smith documents the fortitude and fragility of Black communities, built amidst the challenges of Jim Crow laws, redlining, and everyday racism. As Smith traverses the streets of the Hill District, she captures moments of daily life that resonate with the themes of Wilson’s plays. From the camaraderie of pool players to the solitude of Aunt Ester in her fur and knitted hats, Smith’s photographs speak volumes about the resilience and humanity of Black community. August Moon is a visual journey that celebrates the richness of Black life and the enduring legacy of August Wilson’s storytelling. Through Smith’s lens, viewers are invited to immerse themselves in the beauty, complexity, and resilience of ordinary Black existence. Image: Ming Smith, Greyhound Bus, from the series August Moon, 1991 © Ming Smith

The Columbus Museum of Art (CMA) is proud to present Ming Smith: Transcendence, featuring the entirety of this remarkable series for the first time. Through this exhibition, CMA offers a rare opportunity to delve into Ming Smith’s identity as an artist deeply rooted in the diverse fabric of Columbus, Ohio. Smith’s lens intricately threads together the cultural tapestry of Columbus, showcasing the influences of luminaries such as Nancy Wilson, Aminah Robinson, Toyce Anderson, Toni Morrison, and Linda Goode Bryant. Ming’s narrative unfolds against familiar backdrops, from Carl Brown’s IGA on Mt Vernon Avenue to Dr. Tyler’s drugstore on the east side, resonating with personal memories of her father’s pharmacy. The halls of The Ohio State University reflect familial achievements, while S. Wheatland Avenue bears witness to pivotal moments in the Hilltop’s history. Transcendence surpasses the confines of traditional photography; it is a deeply intimate exploration of Ming’s reconciliation with her hometown. Inspired by Alice Coltrane’s transformative music, Ming’s series confronts the injustices of her racially divided upbringing in Columbus with compassion and insight. Ming’s narrative invites viewers to engage with the images as a public discourse, with much of Transcendence remaining unseen and unprinted, offering endless opportunities for exploration and interpretation. Join us in celebrating Ming Smith’s artistic legacy and reconnecting with her profound vision as we welcome the artist back to the city that shaped her. Through Transcendence, Ming invites us on a journey of rediscovery, where the past merges with the present, and the potential for understanding knows no bounds. Image: Ming Smith, Black Girl Dreaming (detail), from the series Transcendence, 1990 © Ming Smith

As the saying goes, a picture is worth a thousand words. In its more than ten years, Pier 24 Photography has exhibited many thousands of photographs, and thus hundreds of thousands of hypothetical words. Up until now, every show has begun with the Pilara Foundation Collection and expanded from there. Turning the Page is the first exhibition that does not feature works from our collection. Instead, it looks at and celebrates the photobook, a medium that has undergone its own renaissance parallel to our years in operation. Each of the galleries presents works from a distinct photobook, whether an iconic volume or a recent monograph. The content, sequence, and design of each selected book guided our approach to that particular installation, aiming for a thoughtful translation of its overall tone and intent. Ultimately, Turning the Page invites you to consider how the viewing context impacts our understanding of a photographic project. Among the classic works represented here are Robert Frank’s Les Américains (The Americans, 1958), Masahisa Fukase’s Karasu (Ravens, 1986), Larry Sultan’s Pictures from Home (1992), and Jim Goldberg’s Raised by Wolves (1995)—four photobooks that speak to the breadth of the medium across the second half of the twentieth century. Many consider The Americans so influential that every photobook since has been either in conversation with it or in rebellion against it. Ravens trades Frank’s restless questioning of the American dream for a dark, introspective processing of grief in the aftermath of Fukase’s divorce; both demonstrate how image sequencing can evoke feeling and narrative. Pictures from Home and Raised by Wolves build upon these precedents, combining image sequence, page layout, and text to tell powerful stories and reveal certain truths. Over the past twenty years, photobooks have become increasingly essential to many photographers, offering a distinctive medium for fully realizing their visions—often pushing the boundaries of the book form along the way. This approach to design and layout extends to how several of the featured photographers have installed works from their projects. Few artists have explored the photobook’s range as extensively as Rinko Kawauchi, whose Ametsuchi (2013) unifies book design with her project’s concept and visual content; her lyrical installation echoes the sequence and design within her book’s pages. Vasantha Yogananthan’s A Myth of Two Souls (2016–21) is a series of seven individual yet related photobooks, one for each chapter of the Hindu epic the Ramayana, upon which the project is loosely based. The design of Rose Marie Cromwell’s El Libro Supremo de la Suerte (2018) is based on Cuban charadas—small photocopied pamphlets that guide people in placing bets in Havana’s underground lottery by assigning numbers to everyday objects; Cromwell’s nonlinear approach to image sequencing is also informed by this random system. And in Wires Crossed (2023), Ed Templeton documents two decades of his life as a professional skateboarder in a dense, frenetic sequence evoking the look and feel of the skate world he helped create. These four photographers have conceived unique installations for Turning the Page that speak to the kind of engaging experiences they are known for creating when translating their works from page to wall. Pier 24 Photography has long believed in the photobook as an essential vehicle for both discovering new and exciting photographers, and looking deeply at the history of the medium. Additionally, we have contributed to the photobook community with our own publishing program. As with all of our shows, we hope you will see both familiar works that call out to you as old friends might, and unfamiliar photographers for you to encounter. It is this eye toward the future, with a humble respect for the past, that unifies the work on display. We hope you will join us as we turn the page together. PARTICIPATING ARTISTS: Richard Avedon | Libby Black | Rose Marie Cromwell | Rineke Dijkstra | Robert Frank | Masahisa Fukase | Jim Goldberg | Curran Hatleberg | Rinko Kawauchi | Baldwin Lee | Helen Levitt | Zanele Muholi | Cindy Sherman | Donavon Smallwood | Alec Soth | Larry Sultan | Ed Templeton | Vasantha Yogananthan Image: Rose Marie Cromwell, Martica, 2009–16, from the book El Libro Supremo de la Suerte. © Rose Marie Cromwell, courtesy the artist

Selected Artists: Leah Abrahams, Asiya Al. Sharabi, Federica Armstrong, Darryl Baird, Lowell Baumunk, Steve Bennett, Bonnie Blake, Marisa Brown, Lindsay Buchman, Xtine Burrough, Susan Kaufer Carey, Rebecca Chappelear, Victoria Crayhon, Jane Waggoner Deschner, Brian Fouhy, Leah Frances, Beth Galton, Amy Gaskin, Maryam (Nilou) Ghasempour Siahgaldeh, Rima Grad, Sharon Lee Hart, Charlotta Hauksdottir, Adriene Hughes, Charles Ingham, Candace Jahn, Lauren Johnson, Michael Joseph, Sherry Karver, Valerie Kim, Melissa Kreider, Judith G Levy, Annie Lopez, Jena Love, Jenny Lynn, Mara Magyarosi-Laytner, Ellen Mahaffy, Andy Mattern, Benita Mayo, Eric McCollum, Jenna Meacham, Julie Mihaly, Venessa Monokian, Kris Moore, Lisa Murray, Marni Myers, Lisa Nebenzahl, Cheryl Newman, Jackson Nichols, Charlotte Niel, Robert Nielsen, Rachel Nixon, Catherine Panebianco, Cyd Peroni, Mehregan Pezeshki, Jeff Phillips, Linda Plaisted, Wendy Ploger, Michael Pointer, Steve Prezant, Jennifer Pritchard, Michael Rainey, Brandon Ralph, Victor Ramos, David Richards, Susan Rosenberg Jones, Joel Rotenberg, Don Russell, Robin Salcido, Bill Saltzstein, Beth Sanders, Kris Sanford, Elizabeth Sanjuan, Deborah Saul, Angela Scardigno, Richard Schramm, Robert Schultz, Becca Screnock, Nicolo Sertorio, Rebecca Sexton Larson, Liz Albert and Shane VanOosterhout, Christine Siracusa, Paul Sisson, Jerry Takigawa, Dean Terasaki, Lacey Terrell, Cydney Topol, Hailey Trejo, Mark Troyer, Jim Turner, Brian Van de Wetering, Harry von Stark, Robert Weil, Francine Weiss, Andrea Wenglowskyj, Thomas Whitworth, Eric Williams, Jon Wollenhaupt, Ian Wright, Douglas Yates, Jennifer Zwick Jurors Statement The exhibition, Words & Pictures, is a fantastic representation of how artists are using two mediums to elevate their art making, The narratives featured in this exhibition range from personal and poignant to humorous and creative with words that accompany photographs and appear In and on photographs. Artists have incorporated text and symbols into their work since the beginning of time, but it was in the 1970’s when text and photography had a significant marriage and was at the forefront of visual culture and semiotic language. Artists such as Duane Michals, Sophie Calle, Jim Goldberg, and Carrie Mae Weems have used text to expand storytelling. Photography has returned to many of the methodologies created half a century ago, and it’s exciting to see the medium become so expansive. There are qualities that are universal to creating a compelling photograph. The work must have an intangible resonance and a sensitivity that links together images and ideas. The photographs have to be well crafted and have power, sometimes in their simplicity and sometimes in their complexity. Most importantly, the work must have authenticity—it has to convince the viewer that it has come from a genuine place, and it needs to persuade us that there is meaning and purpose behind the effort. The ubiquitousness of photography today requires creative approaches to all genres to shift the norms and reinvigorate the medium, as evidenced by the submissions to this exhibition. My Juror Selection Award goes to Charles Ingham. He submitted so many stellar images that it was hard to narrow it down. His work in both cinematic and intimate and he is a unique visual storyteller. For Honorable Mentions, I selected works by Angela Scardigno, Lindsay Buchman, Jackson Nichols – each artist elevating and expanding the visual experience with a particular visual persuasion. A big thank you to all who submitted—it was a pleasure to spent time with your work and though I selected a large number of images, there were still so many photographs that I wish I could have included. Aline Smithson

Digital Capture: Southern California and the Pixel-Based Image World is an ambitious exhibition spanning six decades (1962–2020s) that investigates the history and creative uses of digital imaging technology, from the genesis of digital imaging in Southern California research laboratories during the Cold War and space race of the 1960s to the ubiquity of digital media in our contemporary world. The exhibition and accompanying publication narrate the ideological shifts that occurred as digital technologies were adopted for artistic ends. Conceptually organized into themes exploring issues of agency, representation, culpability, and connection, Digital Capture features more than 40 artists working across several technological, computing, and imaging media. Participating artists: Rebecca Allen, Refik Anadol, Natalie Bookchin, micha cárdenas, Liliana Conlisk Gallegos, Nonny de la Peña, John Divola, Dynasty Handbag, EPOCH, Elisa Giardina Papa, Goldin+Senneby, Valerie Green, Lucia Grossberger Morales, Maggie Hazen, Lynn Hershman Leeson, Huntrezz Janos, Eugene Lally, Brandon Lattu, Ahree Lee, David Maisel, Frank Malina, Judy Malloy and Cathy Marshall, Lynne Marsh, Lauren Lee McCarthy, Mobile Image (Kit Galloway and Sherrie Rabinowitz), Lee Mullican, A. Michael Noll, Mendi + Keith Obadike, Charles O’Rear, Trevor Paglen, Nam June Paik, Sheila Pinkel, Sonya Rapoport, Marton Robinson, Dean Sameshima, Julia Scher, Ilene Segalove, Sonia Landy Sheridan, Barbara T. Smith, Christine Tamblyn, Penelope Umbrico, Stan VanDerBeek, Steina and Woody Vasulka, Gerardo Velazquez, Andrew Norman Wilson, Amir Zaki. Image: Micha Cárdenas and the Critical Realities Studio, Sin Sol / No Sun, 2020, screenshot of augmented reality app

Photographs by Roy DeCarava and Danny Lyon from the Sandor Family Collection As part of a generous gift of photographs to The Ringling from Richard and Ellen Sandor, we’ve received two significant portfolios: Twelve Photogravures by Roy DeCarava (American, 1919-2009) and Danny Lyon’s (American, born 1942) Memories of the Southern Civil Rights Movement. These bodies of work by two of America’s most consequential photographers offer distinct but complementary expressions of Black life and the struggle for civil rights in the U.S. This exhibition is curated by Christopher Jones, Stanton B. and Nancy W. Kaplan Curator of Photography and Media Arts, Natalia Benavides, The Ringling's Coville Photography Intern and Jevon Brown, The Ringling's Eleanor Merritt Fellow. Image: Danny Lyon, American, born 1942, Cairo, IL, 1962: SNCC field secretary, later SNCC Chairman, now Congressman John Lewis, and others pray during a demonstration. from the portfolio Memories of the Southern Civil Rights Movement,1962-1964, printed 1996, Gelatin silver print, Gift of the Richard & Ellen Sandor Family Collection, 2023, 2023.36.3

Consuelo Kanaga: Catch the Spirit presents the first West Coast retrospective on the work of this critical yet overlooked figure in the history of modern photography. A bicoastal artist between San Francisco and New York, Consuelo Kanaga was one of the first women to become a staff photojournalist at a major newspaper — The San Francisco Chronicle — in the 1910s. Over the course of six decades, Kanaga championed the artistic value of photography and documented urgent social issues, from urban poverty and labor rights to racial terror and inequality. Her work remains as relevant today as it was during her own lifetime. Organized from the collection of the Brooklyn Museum, this exhibition charts the artist’s vision, which spans pathbreaking photojournalism, modernist still lifes, and celebrated portraits of Black Americans. Image: Consuelo Kanaga, Kenneth Spencer, 1933 © Brooklyn Museum

Chicana Photographers LA! features the work of five Chicana artists from Los Angeles who share common concerns about families, neighborhoods, sacred spaces, and body and identity politics. Featuring 41 photographs produced from the early 1980s to 2024, this exhibition considers domestic and environmental transformations occurring across the artists’ home turf, some cultural, demographic, and diasporic, others directly confronting the impact of gentrification on Chicanx communities. From Christina Fernandez’ suburban landscapes to Sandra de la Loza’s archaeological ruins of a beloved neighborhood to the situated biographical and autobiographical portraits by Laura Aguilar (1959–2018), Amina Cruz, and Star Montana, the vast cultural terrain of Southern California, is depicted and infused with family narratives, memory, and belonging. Image: Suburban Nightscape (Theo and Diego) #4, ​2023

Baldwin Lee was born in 1951 in Brooklyn, New York and was raised in Manhattan’s Chinatown. He studied photography at the Massachusetts Institute of Technology (M.I.T.) with American photographer Minor White and received an M.F.A. from the Yale School of Art, where he studied with photojournalist Walker Evans. After becoming the first Director of the Photography Department at the University of Tennessee in 1982, Lee set out from Knoxville the following year with a 4 x 5 view camera on a 2,000 mile journey of self-discovery, photographing his adopted homeland – the American South. Lee’s artistic goal for the trip was to partially re-trace and re-photograph the 1930s-40s routes made across the South by his teacher and mentor Walker Evans. Unlike Evans’ iconic depression-era photographs, Lee would eventually focus on documenting Black Americans, many of whom were living in poverty on the fringes of society. As a Chinese-American, Lee described having a semi-pass to enter into Black spaces, allowing him to make intimate portraits of Black life. Over the next seven years Lee traveled thousands of miles on the back roads of the South, taking over 10,000 photographs – producing one of the most important visual documents of and about the American South in the past half century. With this work, Lee had found his primary subject, and credits his many years of working within Black communities throughout the South as having a “political” effect on his life and art. The compassion Lee felt for those he photographed resonates within his work. Although Lee’s 1980s photographs documenting the human condition of Southern Blacks were known and respected by his fellow photographers and collectors; until recently this work has remained largely unknown and under appreciated by the larger public. In the fall of 2022, Hunter’s Point Press published “Baldwin Lee,” a book of the artist’s 1980s Southern photographs. The book became an instant classic and the first edition sold out in less than a month. The book’s success led to solo exhibitions at Howard Greenberg Gallery in New York City and Joseph Bellows Gallery in La Jolla, California. After nearly 40 years, Baldwin Lee is finally being recognized for his groundbreaking work. Baldwin Lee will feature a selection of over 40 gelatin silver prints culled from thousands of images Lee made across the South in the 1980s. Many of these photographs will be exhibited for the first time. The exhibition will include compelling portraits of Black Americans, as well as a collection of landscape and cityscape images that visually encapsulate the Reagan-era American South. Baldwin Lee will be on view at Ogden Museum of Southern Art October 5, 2024 through February 16, 2025. The exhibition is curated by Richard McCabe, Curator of Photography, Ogden Museum of Southern Art. Image: Untitled, ca. mid 1980s. © Baldwin Lee

When one thinks of American landscape photography, the first region of the country that comes to mind is usually the West. The iconic photographs made in the late 19th century by Timothy O’Sullivan and Carleton Watkins, captured the majestic views of the West’s endless wide-open expanses and formed the visualization of manifest destiny. In the 20th century, America’s most important and famous landscape photographer, Ansel Adams, visually defined the dramatic scenery of Western landscape in art and popular culture through the Half Dome in California’s Yosemite National Park and the moon rise over Hernandez, New Mexico. Unlike the West, the American South is not well known as a subject of landscape photography. Perhaps, this is due to the Southern landscape not being as visually dramatic or as photogenic as the West. The Appalachian and Ozark mountains of the South are beautiful, but cannot compete visually with the much more rugged and higher peaks of the West’s Rockies, Tetons and Sierra-Nevada mountains. The sandy dunes of the Atlantic Ocean and Gulf of Mexico beaches that ring the South are much more sublime when compared to the roaring waves, rocky beaches and jagged cliffs of the Pacific Ocean. The landscape in Southern art is much more about the romantic idealization of a place. Place along with time, are the central components of Southern art, music and literature. Within Southern art, place can be actual, imaged or metaphysical. When O’Sullivan and Watkins were documenting the virgin Western landscape, the lands of the American South (east of the Mississippi River) had been almost entirely tamed for hundreds of years through European settlement. The settlement came with European romantic ideas of art and literature. The 18th century European concept of Romanticism in art and literature (which had an emphasis on imagination, idealization and emotion) were first infused into Southern landscape painting and later into photography. Southland examines the role photographs have played in the visualization of the natural landscape of the American South. The exhibition explores the many technical and aesthetic methods photographers have employed in approaching the subject of the Southern Landscape. Highlighting the marshlands in Louisiana, the beaches of Florida, the flatlands of the Mississippi Delta and the mountains of North Carolina and Virginia, the exhibition shows the landscape of the American South is as diverse as the people and culture of the region. Southland not only investigates the topographical physical characteristics of the land of the American South, but the metaphysical and emotional role romanticism plays in the understanding of landscape photographs made of and about the American South. Image: Mississippi River from the Bluffs (Near Port Hudson, LA.), 1962 © Elemore Morgan, Sr.

Ghanaian photographer Gerald Annan-Forson portrays both political transformation and daily life in the African city during the last decades of the 20th century. This exhibition is only the second time his work has been shown in North America. His photographs tell the visual story of Ghana after it won independence from British imperial rule on March 6, 1957. Annan-Forson documents the changing landscape of Accra, the nation’s capital, with its subtle moods and evolving cosmopolitanisms. His compositional style, playful focus, and formal repetitions challenge photographic conventions and disrupt viewer expectations by centering quirky figures and offbeat moments. His commitment to both spectacular occasions and the quiet intimacies of Ghanaian life places his images in dialogue with the previous generation of independence-era African photographers such as Felicia Abban, James Barnor, and Malick Sidibé and anticipates the recent explosion of photographers across the continent who are experimenting with documentary storytelling.

Through portraiture and biography, “Brilliant Exiles: American Women in Paris, 1900–1939” illuminates the accomplishments of sixty convention-defying women who crossed the Atlantic to pursue personal and professional aspirations in the vibrant cultural milieu of Paris. As foreigners in a cosmopolitan city, these “exiles” escaped the constraints that limited them at home. Many used their newfound freedom to pursue culture-shifting experiments in a variety of fields, including art, literature, design, publishing, music, fashion, journalism, theater and dance. An impressive number rose to preeminence as cultural arbiters, not merely participating in important modernist initiatives but orchestrating them. The progressive ventures they undertook while living abroad profoundly influenced American culture and opened up new possibilities for women. “Brilliant Exiles” highlights the dynamic role of portraiture in articulating the new identities that American women were at liberty to develop in Paris. “Brilliant Exiles” is the first exhibition to focus on the impact of American women on Paris – and of Paris on American women – from the turn of the 20th century until the outbreak of World War II. Included will be portraits of cultural influencers, such as Josephine Baker, Isadora Duncan, Zelda Fitzgerald, Loïs Mailou Jones, Edna St. Vincent Millay, Anaïs Nin, Gertrude Stein, Ethel Waters, and Anna May Wong. The exhibition is curated by Robyn Asleson, curator of prints and drawings, and will be accompanied by a major catalogue, published by the National Portrait Gallery and Yale University Press. Image: Josephine Baker by Stanislaus Julian Walery, Gelatin silver print, 1926 / National Portrait Gallery, Smithsonian Institution

St. Louis-based contemporary artist Jess T. Dugan explores facets of identity through their photography, video, and writing. Grounded in their own experience as a queer, nonbinary person, Dugan’s work addresses the universal human need to understand, express oneself, and connect with others. Dugan’s previous body of work, To Survive on This Shore: Photographs and Interviews with Transgender and Gender Nonconforming Older Adults (2018), a series of portraits and in-depth interviews collected in collaboration with scholar Vanessa Fabbre, received acclaim for providing visibility to a community whose lives and struggles have largely gone unrepresented in a nuanced or thoughtful way. This exhibition is curated by Christopher Jones, Stanton B.and Nancy W. Kaplan Curator of Photography and Media Arts.

Born in 1947 in Douglas, Arizona, and based in Tucson, Louis Carlos Bernal was a pioneering Chicano photographer, among the very first to envision his work in the medium not as documentation, but as an art form. He began his career in the early 1970s in the wake of the Chicano civil rights movement, articulating a quietly political approach to photography with the aim of heralding the strength, spiritual and cultural values, and profound family ties that marked the lives of Mexican Americans who were marginalized and little seen. Initially focusing on the people of modest means he encountered in the barrios of Tucson, the city where he lived and taught, Bernal eventually traveled to small towns throughout the Southwest, where he portrayed individuals and families in outdoor settings or in their homes surrounded by belongings, tabletops filled with religious statuary and curios, and at times, rooms absent of people that nevertheless express the tenor of the lives lived within them. In a relatively short career that spanned the 1970s and 1980s, Bernal demonstrated his profound gift for magnifying the lives of his subjects and for capturing the essence of their character in a single image. In addition to the photographs made in Southwestern barrio communities, the exhibition will also include examples of Bernal’s early experimental work, photographs he made during his frequent trips to Mexico, and a selection of never-seen images he produced in Cuba. It is curated by Elizabeth Ferrer, a specialist in the history of Latinx photography, and will be accompanied by a catalog to be co-published by the Center for Creative Photography and Aperture. Image: ​​Louis Carlos Bernal, El Gato, Canutillo, New Mexico, ​1979, Gift of Morrie Camhi, ​© Lisa Bernal Brethour and Katrina Bernal

See how documentary photography transformed during the 1970s. The 1970s was a decade of uncertainty in the United States. Americans witnessed soaring inflation, energy crises, and the Watergate scandal, as well as protests about pressing issues such as the Vietnam War, women’s rights, gay liberation, and the environment. The country’s profound upheaval formed the backdrop for a revolution in documentary photography. Activism and a growing awareness and acceptance of diversity opened the field to underrepresented voices. At the same time, artistic experimentation fueled the reimagining of what documentary photographs could look like. Featuring some 100 works by more than 80 artists, The ʼ70s Lens examines how photographers reinvented documentary practice during this radical shift in American life. Mikki Ferrill and Frank Espada used the camera to create complex portraits of their communities. Tseng Kwong Chi and Susan Hiller demonstrated photography’s role in the development of performance and conceptual art. With pictures of suburban sprawl, artists like Lewis Baltz and Joe Deal challenged popular ideas of nature as pristine. And Michael Jang and Joanne Leonard made interior views that examine the social landscape of domestic spaces. The questions these artists explored—about photography’s ethics, truth, and power—continue to be considered today. Image: Helen Levitt, New York, 1972, dye imbibition print , Patrons' Permanent Fund, 1995.36.99

In 1955, two photographers received fellowships from the Guggenheim Foundation for U.S. survey projects: Robert Frank and Todd Webb. Frank’s cross-country trip by car would result in the celebrated book “The Americans.” Webb was awarded a grant to walk, boat, and bike across the United States to depict “vanishing Americana, and the way of life that is taking its place.” Though the men had no knowledge of each other during the application process, both secured a recommendation from famed photographer Walker Evans, and both completed their cross-country surveys—though in radically different ways. Frank’s resulting work became a landmark text in the history of photography, and Webb’s project remains almost entirely unknown. Robert Frank and Todd Webb: Across America, 1955 brings together both 1955 projects for the first time. In some instances, Frank’s and Webb’s images are strikingly similar—both men took photographs of the highway and dim, smoky barrooms. Because each was unaware of the other’s work, these similarities can be traced to popular cultural trends and shared ideologies. Both men, after all, engaged in projects that challenged the idealistic purity of the “American Roadtrip.” Radically different photographs made in the same location reveal the photographers’ diverse perspectives and approaches. Frank’s grainy, off-kilter style was matched with his harsh examination of the darker side of American life. An immigrant born in Switzerland, Frank (1924–2019) harnessed his outsider perspective. The tender, carefully composed images created by Detroit-born Webb (1905–2000) celebrated the individual oddities of the American way of life. Ultimately, comparing the work of these photographers reveals the complexity of their projects and the impossibility of capturing a singular vision of “America.” Image: Between Lovelock and Fernley, NV 1956 © Todd Webb Archives

Dawoud Bey: Street Portraits is the first standalone museum show to explore a transformational phase of the celebrated photographer and 2017 MacArthur Fellow Dawoud Bey's work. The show features 38 portraits he took between 1988 and 1991, when he collaborated with Black Americans of all ages whom he met on the streets of various American cities. He asked a cross section of people in these communities to pose for him, creating a space of self-presentation and performance in their urban environments. Bey used a large format tripod-mounted camera and a unique positive/negative Polaroid film that created both an instant print and a reusable negative. Bey considers photography an ethical practice that requires collaboration with his subjects. As part of every encounter, he gave each person a small black-and-white Polaroid print as a way of reciprocating and returning something to the people who allowed him to make their portrait.. Street Portraits is organized by the community the photographs were taken in: Brooklyn; Washington, D.C.; Rochester; Amityville; and Harlem. Defying racial stereotypes, the resulting photographs reveal the Black subjects in all of their psychologically rich complexity, presenting themselves openly and intimately to the camera, the viewer, and the world. Image: Young Man Resting on an Exercise Bike, Amityville, NY, from the series Street Portraits, 1988. Pigment print. Courtesy of the artist and Stephen Daiter Gallery, Chicago. © Dawoud Bey

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

Emerging from Micah Cash’s photography series and photo book of the same name, this exhibition focuses on the built and natural environments as seen through the windows of Waffle House restaurants. Captured from locations across the southeastern United States, these images contemplate the physical and social environments and commerce that surround each location of the southern cultural icon. The natural landscapes beyond the windowpanes are as diverse as the perspectives and stories of each guest at the tables. Yet the similarities of the restaurants’ interiors echo across states and time zones. The images look out from the restaurant’s iconic booths, past the signature midcentury pendant lamps and make viewers newly conscious of buildings so commonplace they often go unseen. Each guest, waiting for their hashbrowns, becomes witness to the intertwined narratives of economic stability, transience and politics. The familiar, well-worn interiors make us think about what we have in common. Yet the differences in environment call to mind the different ways we experience structures built and felt. This exhibition will premiere a newly commissioned time-based media component of the series. This video realizes Cash’s directive to “look up” through prolonged footage of views and sounds from three Waffle Houses. The video and its soundscape disrupt the nostalgia of the still photographs, which the audience animates with actual or imagined memories of a Waffle House meal. Instead, they emphasize a long, time-based vision of the surrounding landscape and architecture.

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.

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.

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 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

“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 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

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.