Showing posts with label photographer. Show all posts
Showing posts with label photographer. Show all posts

22/11/25

Lee Friedlander: Christmas @ Deborah Bell Photographs, New York - Exhibition + Book published by the Eakins Press Foundation

Lee Friedlander: Christmas
Deborah Bell Photographs, New York
November 6, 2025 - January 10, 2026

Deborah Bell Photographs presents Lee Friedlander: Christmas, an exhibition of photographs by Lee Friedlander dating from 1958 to 2015, in collaboration with Fraenkel Gallery, San Francisco and Luhring Augustine, New York. 

This exhibition also celebrates the release of Friedlander's most recent book, LEE FRIEDLANDER: CHRISTMAS, published by the Eakins Press Foundation, New York. Although many of the photographs on view are well known from their inclusion in Friedlander's previous books and numerous exhibition catalogues, and have appeared on the walls of museum and gallery exhibitions internationally, this publication features Friedlander's personal edit of photographs related to the theme of Christmas. As indicated by the Eakins Press Foundation, the book presents 106 beautifully reproduced photographs that span the artist's life, cover most of the United States, and give us a sweeping view of American culture by this renowned photographer of the social landscape. The exhibition features some 30 photographs selected from the book.

Lee Friedlander: Christmas
Lee Friedlander: Christmas
Afterword by Peter Kayafas
Eakins Press Foundation, 2025
Clth, 11.75 x 12.5 in. / 112 pgs / 106 b&w / 106 tritone
ISBN 9780871301055
Cover Photograph: Lee Friedlander (American, b. 1934)  
San Angelo, Texas, 1997  
Gelatin silver print  sheet 20 x 16'“ (50.8 x 40.6 cm)  
© Lee Friedlander, Courtesy Fraenkel Gallery, San Francisco 
and Luhring Augustine, New York

Peter Kayafas, Director and President of Eakins Press Foundation, writes in the Afterword to the sumptuously illustrated book:
Whether or not you've celebrated Christmas at any point over the past seventy years--roughly the period covered by these photographs--you have no doubt encountered some of the things Friedlander shows us here....Is Christmas in America a religious holiday? A commercial precept? An ironic commentary? A misunderstanding? An indulgent blasphemy? All or none of the above? In these pictures, the only thing certain is that Christmas has provided an opportunity for the people's photographer to hold up a mirror--and make no mistake, it is Friedlander's mirror--to a diverse, flawed, inventive, preoccupied, and spectacular society.
DEBORAH BELL PHOTOGRAPHS
526 West 26th Street, New York, NY 10001

Related Post:

Deborah Bell Photographs, New York , November 1, 2018 – January 19, 2019 

26/10/25

Larry Sultan: Homeland Exhibition @ Yancey Richardson, New York

Larry Sultan: Homeland
Yancey Richardson, New York
October 30 – December 20, 2025

Yancey Richardson presents Homeland, an exhibition featuring photographs from Larry Sultan’s series of the same name and the third exhibition of his work with the gallery. In his expansive photographs of Latino day laborers set against the backdrop of a suburban California landscape, Larry Sultan explores the liminal spaces between actions, the moments that exist as time passes. Though he borrows from the tradition of landscape painting, with its presumption of order through perspective, Sultan’s photographs emphasize the indeterminate and the ambiguous instead, revealing the sense of possibility that remains embedded in the act of waiting. 

Over the course of a two year period Sultan drove to lumber yards and hardware stores in the Bay Area and Simi Valley, California, where every day hundreds of men waited for temporary employment. Rather than hire them as laborers, Larry Sultan employed them as actors, working with them to choreograph their movements in landscape on the outskirts of suburbia, rehearsing and doing take after take, creating picture after picture. Just as they originally occupied the marginal and transitional zones within the landscape—those that remain overlooked and passed over—Larry Sultan cast these men in similar roles for Homeland, asking them to carefully pose and sit, to cast their gaze outward from the picture frame. Instead of depicting dynamic motion or dramatic action, Larry Sultan created meticulous tableaux that express the interrelated experiences of looking for, leaving and coming home. The notes of longing and melancholy that are present in these photographs are counterbalanced by one of emergent possibility, where the familiarity of the banal can give way to the unforeseen and unexpected.

It was in the act of exploring truths in storytelling, notions of identity and the influence of home that Sultan returned to time and again in his work, regardless of subject matter or setting. The lasting imprint of his childhood and the spaces that defined it—the empty fields behind strip malls and the borderlands of the LA river that ran behind his home in the San Fernando Valley—were areas that represented a small and diminishing stretch of refuge that existed just outside the boundaries of private property. By investigating these spaces in Homeland, Larry Sultan sought to complicate the stereotype of what suburbia was and can be with pictures suff used with anticipation and a quiet reverence for the ordinary.

LARRY SULTAN grew up in California’s San Fernando Valley, which became a source of inspiration for a number of his projects. His work blends documentary and staged photography to create images of the psychological as well as physical landscape of suburban family life. Sultan’s pioneering book and exhibition Pictures From Home (1992) was a decade long project that features his own mother and father as its primary subjects, exploring photography’s role in creating familial mythologies. Using this same suburban setting, his book, The Valley (2004) examined the adult film industry and the area’s middle-class tract homes that serve as pornographic film sets. Katherine Avenue (2010), the exhibition and book, explored Sultan’s three main series, Pictures From Home, The Valley, and Homeland alongside each other to further examine how Larry Sultan’s images negotiate between reality and fantasy, domesticity and desire, as the mundane qualities of the domestic surroundings become loaded cultural symbols.

Larry Sultan’s work has been exhibited and published widely and is included in the collections of the Los Angeles County Museum of Art, the Art Institute of Chicago, the Museum of Modern Art, the Whitney Museum of American Art, the Solomon Guggenheim Museum, the Tate Modern, the National Gallery, London, the Stedelijk Museum, Musée de l’Elysée, Centre Pompidou, the National Gallery of Art, DC, and the San Francisco Museum of Modern Art, where he was also recognized with the Bay Area Treasure Award in 2005. Larry Sultan served as a Distinguished Professor of Photography at California College of the Arts in San Francisco. Born in Brooklyn, New York in 1946, Larry Sultan passed away at his home in Greenbrae, California in 2009.

The exhibition will be on view in the project gallery. An opening reception will be held on Thursday, October 30 from 6–8PM.

YANCEY RICHARDSON
525 West 22nd Street, New York, NY

24/10/25

Richard Misrach @ Fraenkel Gallery, San Francisco - 'Rewind' A Retrospective Exhibition

Richard Misrach: Rewind
Fraenkel Gallery, San Francisco
October 30 – December 20, 2025

Richard Misrach Self-Portrait
RICHARD MISRACH 
Self-Portrait, 1975 
© Richard Misrach, courtesy of Fraenkel Gallery

Richard Misrach Photograph
RICHARD MISRACH 
Cargo Ships (January 8, 2025, 7:13 am), 2025
© Richard Misrach, courtesy of Fraenkel Gallery

With Richard Misrach: Rewind, Fraenkel Gallery presents a retrospective look at the artist’s career, spanning more than five decades. The exhibition is organized in advance of a full-scale survey of Misrach’s work at museums in the U.S. and Europe, planned for 2027 and 2028. Presented in reverse chronological order, the exhibition ranges from Cargo, Misrach’s newest series exploring the impact of global trade, to Telegraph 3 A.M., his earliest project, documenting street culture in Berkeley, California in the early 1970s. Highlighting ideas and themes that have consistently driven his work, the exhibition presents photographs made with an array of materials and techniques. Using everything from 35mm film to large-scale digital prints, the show traces Misrach’s development across the forefront of the medium. Fraenkel Gallery has shown Misrach’s work since 1985; this is seventeenth exhibition with the gallery. 

Whether photographing subjects as disparate as environmental disasters or cloud studies, Misrach has always pursued beauty. “I’ve come to believe that beauty can be a very powerful conveyor of difficult ideas,” says Richard Misrach. “It engages people when they might otherwise look away.” The exhibition begins with a 2025 sunrise view of a freighter ship in the San Francisco Bay, printed at more than 5’ x 6’. Composed in vivid shades of pink, blue, and violet, the image from Cargo addresses the complex economic systems that shape modern life, and their far-reaching consequences. Other seductive but charged images document the U.S.-Mexico border wall, from the series Border Cantos; Louisiana’s highly polluted Cancer Alley, from Petrochemical America; and the aftermath of Hurricane Katrina, from a series shown here for the first time, 20 years after the storm. Several photographs come from Desert Cantos, Misrach’s long-running series examining humans’ multifaceted relationship with the landscape of the American West.

Since the start of his career, Richard Misrach has moved seamlessly between social concerns and more philosophical, experimental questions. “My work…has been about navigating these two extremes—the political and the aesthetic,” Richard Misrach writes. His first series Telegraph 3 A.M. used a medium format camera on a tripod. Working during the day and at night, Richard Misrach made portraits recording the effects of drugs and poverty in the wake of the Berkeley counterculture movement. In the series that followed, Richard Misrach began photographing in the desert, shooting at night but using a strobe to reveal the otherworldly shapes of cacti and sagebrush. The richly black, split-toned prints he made depict a near-mystical landscape visible only to the camera.

Later series push further into sublime encounters between nature and the camera. Starting in the 1990s, Richard Misrach photographed the Golden Gate Bridge, capturing variations in atmosphere and color that border on abstraction. Working from a single vantage point, Richard Misrach waited for the light and composition to align in front of his camera, an approach he returned to with On the Beach, his study of the ocean’s infinite surface, and most recently with Cargo. Abstraction in nature is also at the center of the series Notations, exploring the surreal hues found in color photographic negatives, digitally rendered. In these images, Richard Misrach inverts the tonalities of clouds or desert scrub brush, creating delicate studies of texture and form.

Richard Misrach (born 1949) has been photographing the American West for more than 50 years. His work has been the subject of solo exhibitions at the National Gallery of Art, Washington, D.C.; Art Institute of Chicago; Los Angeles County Museum of Art; and Centre Pompidou, Paris, among others. Border Cantos, a collaboration with the composer Guillermo Galindo, opened at the San Jose Museum of Art in California in 2016 and continues to travel throughout the U.S. His work has been featured in more than a dozen books, including Telegraph 3 A.M., Bravo 20: The Bombing of the American West, Crimes and Splendors: The Desert Cantos of Richard Misrach, On the Beach, Destroy This Memory, Petrochemical America, Border Cantos, Blind Spot Folios 001: Nancy Holt & Richard Misrach, On Landscape and Meaning, Notations, and most recently, Cargo. His photographs are held in the collections of major institutions including the Museum of Modern Art, New York; Whitney Museum of American Art, New York; Metropolitan Museum of Art, New York; National Gallery of Art, Washington, D.C.; and the San Francisco Museum of Modern Art, among others. He is the recipient of numerous awards including four National Endowment for the Arts Fellowships and a Guggenheim Fellowship. 

FRAENKEL GALLERY
49 Geary Street, San Francisco, CA 94108

13/10/25

Hans-Peter Feldmann @ 303 Gallery, NYC - Exhibition of photographs, sculptures and paintings

Hans-Peter Feldmann
303 Gallery, New York
November 5 - December 20, 2025

303 Gallery presents a solo exhibition dedicated to the work of Hans-Peter Feldmann (1941-2023). Coinciding with his retrospective at the Kunstpalast Düsseldorf (September 18, 2025 – January 11, 2026), this presentation brings together over 40 photographs, sculptures and paintings spanning the artist’s 60-year career.

Düsseldorf-based Hans-Peter Feldmann was a passionate collector of images and ephemera, an original thinker and one of the first conceptual artists. Hans-Peter Feldmann focused on photography and artist books since the late sixties. Often collaging found images from magazines, postcards, books, advertisements, and stamps, Feldman used familiar motifs to explore the boundaries between art and everyday life. Unmade beds, car radios – Feldmann focalized unattended moments for a contemplative narrative based on being rather than acting.

Influenced by the Dadaist, the Situationists, Fluxus and Vienna Actionists, Hans-Peter Feldmann viewed art as an impression rather than the object. Feldmann's practice was defined not by materiality but by ideas. On view are several works from Feldmann’s Time series which began in 1970, which use analogue film rolls to shoot continuously the same place, object, or person. Modest subjects and trivial themes are chronicled frame by frame, recording the passage of time. His methods focused on the sequence rather than a single frame; it was through repetition that ideas became more conscious and deeper insight could be gleaned. His work Beine consists of 30 photographs of women’s legs – where one photograph of a woman’s legs may simply be provocative, 30 photographs pinned together becomes something more. In Alle Kleider einer Frau, 70 pieces of woman’s garment are displayed one photo at a time, the woman hidden, the artist emotionally distant, opening up space for the viewer’s interpretation.

In 2007, Hans-Peter Feldmann returned to painting without assuming the traditional role of the painter. Modifying and appropriating 19th Century paintings sourced from auctions and flea markets, Feldmann would transform classical depictions into post-modern caricatures by adding red noses or smudged lipstick to portraits, tattoos or tan lines to nudes. Feldmann’s work Horizont consists of 11 landscape paintings from various time periods. Differing in size, the pictures are aligned with their horizon line to create a continuous thread and reveal a new genre of landscape. Several paintings on view are suspended from the ceiling, a call back to Lina Bo Bardi’s design for the Museu de Arte de Sao Paolo (1968), this ‘floating installation’ democratizes the experience of the artwork, putting the viewer on equal ground with the paintings. 

Hans-Peter Feldmann spent his career challenging the social role of images and subverting expectations, reframing notions of beauty and representation. Feldmann believed art isn't confined to a gallery or museum but woven into everyday life – his works are a reflection on looking, an ability that every viewer holds.

303 GALLERY
555 W 21 Street, New York, NY 10011

Related Post:
P.S.1, Long Island City, NY, October 15, 2004 - February 21, 2005

25/09/25

Frank Kunert, Photography & Miniatures: The Best of - About the book The Best of Frank Kunert, Published by Hatje Cantz

The Best of Frank Kunert
Published by Hatje Cantz
June 2025

The Best of Frank Kunert
The Best of Frank Kunert
, Hatje Cantz, 2025
Text: Ariadne von Schirach
Image courtesy Hatje Cantz

Frank Kunert Photograph of miniature
Frank Kunert 
Souterrain, 2015 
Image courtesy Hatje Cantz

Frank Kunert Photograph
Frank Kunert 
Attic Flat, 2007
Image courtesy Hatje Cantz

Frank Kunert Miniature Photograph
Frank Kunert 
Field Office, 2010
Image courtesy Hatje Cantz

As the title suggests, this book presents the best photographs of Frank Kunert. The choice must have been difficult! These photographs are taken from three books previously published by Hatje Cantz. 

The German photographer FRANK KUNERT (b. 1963) has made a name for himself in the contemporary art scene thanks to a universe that is both quirky and meticulously crafted. Far from documentary realism or traditional portraiture, Frank Kunert creates miniature surreal models, which he photographs with painstaking precision. Each image is the result of a long manual process, blending dark humor, irony, and absurd poetry.

Frank Kunert Miniature Photograph
Frank Kunert
Event Restaurant, 2005
Image courtesy Hatje Cantz

Frank Kunert Miniature Photograph
Frank Kunert
Salvation, 2009
Image courtesy Hatje Cantz

...When a church becomes a parking lot...

Frank Kunert Miniature Photograph
Frank Kunert
Drive-In, 2012
Image courtesy Hatje Cantz

Frank Kunert Photograph
Frank Kunert
Golden Goal, 2003
Image courtesy Hatje Cantz

Frank Kunert Miniature Photograph
Frank Kunert 
A Place in the Sun, 2014
Image courtesy Hatje Cantz

The scenes he stages are at once familiar and unsettling. A hotel room with a ski slope as an emergency exit, a balcony facing a brick wall, or a dinner table perched high above a living room on stilts—Kunert’s world defies all logic. He cultivates a distinctly German sense of nonsense, where the banality of everyday life collides with architectural absurdities or surreal situations. This offbeat perspective subtly questions social norms, urban anxieties, and the absurdity of certain conventions.

Frank Kunert Photograph of Museum of Contemporary Art Miniature
Frank Kunert 
Auf hohem Niveau, 2008
Image courtesy Hatje Cantz

The previous photograph, both restrained in form and disconcerting in content, encapsulates Kunert’s unique aesthetic, composed of visual paradoxes, understated irony, and a subtle poetics of the absurd. By diverting a commonplace architectural element such as a staircase from its intended purpose, he invites reflection on the relationship between cultural institutions and their audiences. The museum—ostensibly a space of openness and cultural exchange—appears here as an inaccessible fortress, deftly alluding to common critiques of the contemporary art world: elitism, insularity, opacity, and a certain detachment from everyday life.

Frank Kunert Photograph Live Broadcast
Frank Kunert
Live Broadcast, 2012
Image courtesy Hatje Cantz

In Live Broadcast the television is physically connected to the toilet bowl, as if drawing its content directly from it. True to Kunert’s style, this photograph combines precise craftsmanship with a sharp sense of irony. It playfully critiques the quality—or perhaps the emptiness and vulgarity—of modern media consumption. By creating a literal pipeline between waste and entertainment, Frank Kunert blurs the line between functionality and absurdity, challenging viewers to reflect on the content they absorb daily.

Frank Kunert Menu a deux Photograph
Frank Kunert
Menu à deux, 2009
Image courtesy Hatje Cantz
"In Frank Kunert’s Menu à Deux, meanwhile, the V-shaped dining table and perfectly symmetrical place settings imply a (nonexistent) mirror—or perhaps a difficult relationship." notes Karen Rosenberg in The New York Times (June 16, 2011).
Frank Kunert doesn’t just aim to amuse; he unsettles, inviting us to pause and see the world through a different lens. His photographs, though seemingly lighthearted, often reveal a quiet melancholy, or a veiled critique of modern society.

In short, Frank Kunert is a sculptor of absurdity and a photographer of the impossible, whose images, beneath their wry humor, capture the paradoxes of a very real world.

I recommend this book to you.

HATJE CANTZ

15/09/25

Tyler Mitchell @ Gagosian, London

Tyler Mitchell
Gagosian, London
September 15 – October 3, 2025

Tyler Mitchell - Harlem Stoop
Tyler Mitchell
Harlem Stoop, 2024
Gelatin silver print, in artist's frame
30 x 37 1/2 inches (76.2 x 95.3 cm)
Edition of 3 + 2 AP
© Tyler Mitchell
Courtesy Gagosian

Tyler Mitchell - The Dinner Party
Tyler Mitchell
The Dinner Party, 2024
Gelatin silver print, in artist's frame
30 5/8 x 48 1/2 x 1 1/2 inches (77.6 x 123 x 3.8 cm)
Edition of 3 + 2 AP
© Tyler Mitchell
Courtesy Gagosian

Gagosian presents an exhibition of photographs by Tyler Mitchell at its gallery in London’s historic Burlington Arcade. This marks the first public display of works from “Portrait of the Modern Dandy,” a visual essay developed for the catalogue of Superfine: Tailoring Black Style, the spring 2025 Costume Institute exhibition at the Metropolitan Museum of Art, New York. The installation at Burlington Arcade coincides with the launch of Mitchell’s first monograph with Aperture, Wish This Was Real, and features a curated selection of publications that inform and expand his practice.
 
Cover of the book Superfine: Tailoring Black Style
Cover of the book Superfine: Tailoring Black Style 
(New York: Metropolitan Museum of Art, 2025)
Artwork © Tyler Mitchell
Courtesy the artist and Gagosian

Cover of the book Tyler Mitchell: Wish This Was Real
Cover of the book Tyler Mitchell: 
Wish This Was Real 
(New York: Aperture, 2025)
Artwork © Tyler Mitchell
Courtesy the artist and Gagosian

Examining the historical and cultural significance of Black style from the eighteenth century through to contemporary expressions, Superfine focuses on the concept of dandyism through the lens of the African diaspora. The exhibited garments and Mitchell’s photographs together articulate how self-fashioning becomes a form of agency, distinction, and resistance.

Introducing this body of work, Tyler Mitchell notes:
In this visual essay, my aim was not only to depict visions of profound camaraderie, beauty, and joy—though that alone would have been a worthy pursuit—but to explore how Black individuals have appropriated and transformed classical European fashion into something uniquely our own. Featuring models in garments from Superfine: Tailoring Black Style alongside fabulously self-styled men in vintage or the wearer’s own attire, this project is a love letter to modern Black dandyism.
Tyler Mitchell - Abdou Shirtless
Tyler Mitchell
Untitled (Abdou Shirtless), 2024
Gelatin silver print, in artist's frame
20 x 14 5/8 inches (50.8 x 37 cm)
Edition of 3 + 2 AP
© Tyler Mitchell
Courtesy Gagosian
 
Tyler Mitchell - Christian in Wales Bonner Cover
Tyler Mitchell
Untitled (Christian in Wales Bonner Cover), 2024
Archival pigment print, in artist's frame
45 x 34 1/2 inches (114.3 x 87.5 cm)
Edition of 3 + 2 AP
© Tyler Mitchell
Courtesy Gagosian

These portraits engage in a dialogue with traditions of historical studio and portrait photography, emphasizing the symbolic power of dress. Mitchell’s images reflect his ongoing interest in constructing scenes of elegance, kinship, and Black visual sovereignty.

On Saturday, September 20, from 3 to 6pm, Gagosian will host a book signing with the artist for both Wish This Was Real and the Superfine catalogue.

GAGOSIAN
28–29 Burlington Arcade, London W1J OQJ

12/09/25

The Bridges of Michael Kenna @ Robert Mann Gallery, New York

The Bridges of Michael Kenna
Robert Mann Gallery, New York
September 4 - October 18, 2025

Bridges span rivers, connect cities, and carry us over what once seemed impassable. Where once there was only a divide — a river too wide, a ravine too deep — now there is a line drawn through space. We drive over bridges, walk across them, sometimes without even thinking. Yet Michael Kenna impressively photographs these bridges stretching across the globe in a unique light of the feat of human construction through time.

Kenna’s first show with Robert Mann Gallery opened in 1997 around the time the movie, The Bridges of Madison County was released; a moving love story about a photographer on an assignment to shoot historic bridges. Michael Kenna shares this fascination in capturing these structures, 
“Bridge structures are usually geometric and stationary with straight lines, verticals, horizontals and other angular constructs. The universe is constantly moving, flowing organic, uncontrollable and unpredictable. The abstract relationship between the two, almost like yin and yang, can be visually stunning and continues to fascinate and attract me.”--Michael Kenna
The bridges in this exhibition cross over bodies of water, from Sydney Harbour Bridge, Study 1, Sydney, New South Wales, Australia, to Brooklyn Bridge, Study 1, New York City, USA carrying multiple lanes of traffic, trains, and possibilities. While other small bridges such as Canal Bridge, Banbury, Oxfordshire, England and Ponte dei Sospiri, Venice, Italy stretch a short distance suitable only for individuals to journey across. Each bridge featured in the exhibition has its own historical significance and the possibility of one day being replaced. Michael Kenna beautifully captures the bridge’s story, often at dawn or dusk, along with often solidifying its place in the world. 

What was once the end of the road becomes a place of crossing. What was once isolation becomes relationship. The landscape is no longer defined by separation, but by the possibility of reaching across. In The Bridges of Michael Kenna, the artist’s careful treatment of each composition is apparent from frame to frame, in which every detail is given its due consideration to express this relationship between the bridge and the land. The images in the exhibition represent over 50 years of Kenna’s exploration of this subject matter.

With dozens of monographs and hundreds of solo exhibitions held around the world, Michael Kenna is one of the most widely exhibited and beloved photographers working today. His work has been shown at the Tacoma Art Museum, the Palazzo Magnani Museum in Reggio Emilia, Italy, and Bibliothèque Nationale de France, to name a few. Kenna's photographs are included in many distinguished public collections including the National Gallery of Art, Washington, D.C.; Museum of Modern Art, New York; the San Francisco Museum of Modern Art; the Shanghai Art Museum; the Tokyo Metropolitan Museum of Photography; the National Museum of Modern and Contemporary Art, Seoul, Korea; the Museum of Decorative Arts, Prague; Museum of Art and Photography, Bangalore, India; and the Victoria and Albert Museum, London.

The Bridges of Michael Kenna is on view in conjunction with the artist’s exhibition, Japan: A Love Story, at the International Center of Photography through September 28, 2025. 

ROBERT MANN GALLERY 
508 West 26th Street, New York, NY 10001

11/09/25

Roger Ballen Exhibition in Austria at Museum Gugging, Maria Gugging - "roger ballen.! drawing meets photography" Exhibition

Roger Ballen.! drawing meets photography
Museum Gugging, Maria Gugging, Austria
September 25, 2025 – February 15, 2026

Roger Ballen
Roger Ballen
Funeral rites, 2004
© Roger Ballen

Roger Ballen
Roger Ballen
Untitled, 2020
© Roger Ballen

Roger Ballen
Roger Ballen
Wall shadows, 2003
© Roger Ballen

The exhibition roger ballen.! drawing meets photography by South African-based photo artist ROGER BALLEN (*1950) transcends the boundaries between photography and other art forms, at museum gugging.

Nina Ansperger and Roger Ballen in museum gugging
Nina Ansperger
and Roger Ballen in museum gugging
© NÖ Museum Betriebs GmbH, Daniel Hinterramskogler
"With Roger Ballen, we are bringing one of the most important and influential photographic artists of the 21st century to museum gugging," explains Nina Ansperger, the exhibition's curator. Over the past decades, his artistic work has evolved from narrative photography to a work increasingly dominated by drawing. Drawing is therefore the focus of this exhibition. "Roger Ballen is closely connected to Jean Dubuffet's idea of ​​Art Brut and defines himself as an 'outsider.' Drawing, as a central element of his photographic art, is simultaneously the most important medium of the art from Gugging. Thus, not only the subject matter but also the location of the exhibition could not be more appropriate," Nina Ansperger asserts. 

Roger Ballen, who refers to himself as an “outsider,” said: “I have brought drawing and photography into painting to produce a mixed medium image. It has been my goal to break down the boundaries between photography and other arts, taking photography out of its self-isolation as a form.” 

Roger Ballen in museum gugging
Roger Ballen
in museum gugging
© NÖ Museum Betriebs GmbH, Daniel Hinterramskogler

New York-born Roger Ballen has lived in South Africa for several decades. His photographic works, created over 40 years, possess incredible narrative power because they oscillate between painting, drawing, installation, and photography. His “Ballenesque” aesthetic is unsettling, vehemently demands self-reflection and leads to a journey into one’s own unconscious.

Curator: Nina Ansperger

MUSEUM GUGGING
Am Campus 2, 3400 Maria Gugging

07/09/25

Visual Language: The Art of Irving Penn - Auction @ Phillips, New York

Visual Language: The Art of Irving Penn
Phillips, New York
Auction viewing: 30 September – 7 October 2025
Auction: 8 October 2025

Irving Penn
Irving Penn
Mouth (For L’Oréal) (A), New York, 1986
© The Irving Penn Foundation, © Condé Nast
Estimate: $200,000 – 300,000

Irving Penn
Irving Penn
Harlequin Dress (Lisa Fonssagrives-Penn), New York, 1950
© The Irving Penn Foundation, © Condé Nast
Estimate: $200,000 – 300,000

Irving Penn
Irving Penn
Ginkgo Leaves, New York, 1990
© The Irving Penn Foundation, © Condé Nast
Estimate: $200,000 – 300,000

Phillips will host Visual Language: The Art of Irving Penn, a landmark auction of photographs and artworks from The Irving Penn Foundation. This standalone sale, featuring photographic prints and paintings that Penn made during his seven decades-long career, marks the first time that the foundation has offered the artist's work through auction. This historic event will celebrate Penn’s remarkable talents, highlighting his unique vision and masterful craftsmanship across a variety of photographic print processes. The 70-lot sale will take place on 8 October 2025 ahead of Phillips' seasonal Photographs sale on 9 October.
Tom Penn, Executive Director of The Irving Penn Foundation, said, “As stewards of Irving Penn's artistic legacy since 2010, this auction is a pivotal moment for The Irving Penn Foundation as we aspire to expand our charitable and educational program. My father would say to me, ‘whatever you do in life, do it with complete passion.’ It was with passion that he sought excellence in everything he did, and each object included in this sale reflects the innovation and exactitude that defined Penn’s practice. The artworks selected for the auction span the range of mediums and subjects Penn explored across his career, presenting rarely seen images alongside his most well-known photographs that provide a new perspective on the diversity of his production. Through this carefully considered sale, we demonstrate Irving Penn's mastery and enduring influence in the field of photography.”
Irving Penn
Irving Penn
Black and White Hat, New York, 1950
© The Irving Penn Foundation, © Condé Nast
Estimate: $25,000 – 35,000

Irving Penn
Irving Penn
Untitled, circa 1987
© The Irving Penn Foundation, © Condé Nast
Estimate: $30,000 – 50,000

Irving Penn
Irving Penn
Miles Davis Hand on Trumpet,
New York, 1986
© The Irving Penn Foundation, © Condé Nast
Estimate: $70,000 – 90,000

Irving Penn
Irving Penn
Télégraphiste, Paris, 1950
© The Irving Penn Foundation, © Condé Nast
Estimate: $30,000 – 50,000

Irving Penn was one of the 20th century’s most significant photographers, known for his arresting images, technical mastery, and quiet intensity. Though he gained widespread acclaim as a leading Vogue photographer for over sixty years, Penn remained a private figure devoted to his craft. Trained under legendary art director Alexey Brodovitch in Philadelphia, he began his career assisting at Harper’s Bazaar before joining Vogue in 1943, where editor and artist Alexander Liberman recognized Penn’s distinctive eye and encouraged him to pursue photography. Penn’s incomparably elegant fashion studies reset the standard for the magazine world, and his portraits, still lifes, and nude studies broke new ground. His 1960 book Moments Preserved redefined the photographic monograph with its dynamic layout and high-quality reproductions. In 1964, Penn began printing in platinum and palladium, reviving this 19th-century process to serve his own distinct vision. He was one of the first photographers to benefit from the burgeoning fine art photography market of the 1970s, and he earned a growing following of collectors and curators leading to major exhibitions at The Museum of Modern Art, The Metropolitan Museum of Art, Moderna Museet, Stockholm, Art Institute of Chicago, and National Portrait Gallery, London, among many other institutions.

Irving Penn
Irving Penn
Irving Penn in a Cracked Mirror (Self-Portrait) (A)
New York, 1986
© The Irving Penn Foundation, © Condé Nast
Estimate: $25,000 – 35,000

Irving Penn
Irving Penn
Mud Glove, New York, 1975
© The Irving Penn Foundation, © Condé Nast
Estimate: $50,000 – 70,000

Irving Penn
Irving Penn
Three Tulips ‘Red Shine’, ‘Black Parrot’, ‘Gudoshnik’
New York, 1967
© The Irving Penn Foundation, © Condé Nast
Estimate: $70,000 – 90,000

Irving Penn
Irving Penn
Marriageable Young Woman of Imilchil, Morocco, 1971
© The Irving Penn Foundation, © Condé Nast
Estimate: $20,000 – 30,000

An innovator in every sense, Penn’s approach to photography was bold. Few photographers of his generation experimented as widely with both conventional and historic print processes, and none achieved Penn’s level of excellence in all. Phillips’ auction will feature work in a variety of photographic media, including Penn’s bravura gelatin silver prints, such as Coffee Pot, nuanced platinum-palladium prints like Harlequin Dress (Lisa Fonssagrives-Penn), and rare dye-transfer prints, led by the iconic Ginkgo Leaves.
Vanessa Hallett, Phillips’ Deputy Chairwoman and Worldwide Head of Photographs, said, “Irving Penn was one of the foremost photographers of our time, standing alongside the great contemporary artists who have come to define the 20th-century art historical canon. Today, Penn’s vision and skill remain unequaled. Phillips is honored to work with the foundation in its 20th-anniversary year, shining a spotlight on Penn’s technical genius, creative process, and extraordinary output while presenting this groundbreaking work to a new audience. These works were preserved for decades by the artist and his foundation, hence their incredible provenance and condition. We are thrilled to provide a platform that educates the next generation of collectors on Penn’s impact, while assisting the foundation further its mission of preserving and advancing Penn’s legacy for years to come.”
Irving Penn
Irving Penn
Cracked Egg, New York, 1958
© The Irving Penn Foundation, © Condé Nast
Estimate: $30,000 – 50,000

Irving Penn
Irving Penn
Cigarette No. 37, New York, 1972
© The Irving Penn Foundation, © Condé Nast
Estimate: $150,000 – 250,000

Irving Penn
Irving Penn
Coffee Pot, New York, 2007
© The Irving Penn Foundation, © Condé Nast
Estimate: $20,000 – 30,000

Heralding an exceptional opportunity for collectors, many of the works selected from the foundation's archives have never before appeared at auction; this includes several examples from Penn's influential 1950 Black and White series for Vogue, and the large-scale four-panel platinum-palladium print of Mud Glove with typography advertising his 1977 Street Material exhibition at The Met. In addition to his work as a photographer, Irving Penn was also an accomplished painter and draftsman. For the first time at auction, Phillips will also showcase his work in these mediums, taking the opportunity to set forth the full range of this remarkable artist's creative output.

The Irving Penn Foundation was established in 2005 to promote knowledge and understanding of Irving Penn’s artistic legacy, including the diversity of techniques, mediums, and subject matters the artist explored. It is the largest repository of Irving Penn's work.

PHILLIPS NEW YORK 
432 Park Avenue, New York, NY 10022
Click here for more information: 

03/09/25

Vik Muniz on Photography, Mind, and Matter - The Photography Workshop Series - Aperture, 2025 - A Workshop Experience in a Book

Vik Muniz on Photography, Mind, and Matter
The Photography Workshop Series
Aperture, 2025

Vik Muniz
Vik Muniz on Photography, Mind, and Matter
The Photography Workshop Series
Aperture, 2025
Format: Paperback / softback
Number of pages: 128
Number of images: 99
Publication date: 2025-08-12
Measurements: 7.5 x 10 x 7.5 inches
ISBN: 9781597114455

In Aperture’s newest volume of The Photography Workshop Series, Vik Muniz—known for his playful pictures that complicate what is understood as a photograph, sculpture, or painting—offers his insight into thinking creatively and seeing the familiar in new and surprising ways.

Aperture works with the world’s top photographers to distill their creative approaches, teachings, and insights on photography—offering the workshop experience in a book. The goal is to inspire photographers of all levels who wish to improve their work, as well as readers interested in deepening their understanding of the art of photography.

Through images and words, Vik Muniz—whose signature style appropriates and reinterprets iconic images—shares his creative practice and discusses a wide range of topics, from generating ideas and creating artworks that challenge viewers’ perceptions, to thinking through collaboration, imperfection, and the interplay of subject, scale, and material.

Vik Muniz on Photography, Mind, and Matter is published by Aperture and available at aperture.org/books.

Public programs planned in conjunction with the new publication include a book signing with the artist at Sikkema Malloy Jenkins in New York on September 6 at 1:00 p.m, and an artist talk at the School of Visual Arts, New York, on September 9 at 6:30 p.m. Details are posted at aperture.org/events.

Vik Muniz (born in São Paulo, 1961) is a prolific, internationally recognized artist, whose signature style appropriates and reinterprets iconic images of our time. His work is featured in major collections, including the Art Institute of Chicago; Museum of Contemporary Art, Los Angeles; J. Paul Getty Museum, Los Angeles; Metropolitan Museum of Art, New York; Museum of Modern Art, New York; Museu de Arte Moderna de São Paulo; and Victoria and Albert Museum, London. He has published many books, including the Aperture titles Reflex: A Vik Muniz Primer (2005) and Postcards from Nowhere (2020). Waste Land, a documentary about his work in the favelas and landfills around Rio de Janeiro, was nominated for an Academy Award in 2010.

Lucas Blalock is a Brooklyn-based photographer whose work is in the collections of the Dallas Museum of Art; Solomon R. Guggenheim Museum, New York; Hammer Museum, Los Angeles; Metropolitan Museum of Art, New York; Museum of Fine Arts Boston; Portland Museum of Art, Maine; and the Whitney Museum of American Art, New York, among many others. His work has been featured in publications including Artforum, The New York Times, The New Yorker, Art in America, The Brooklyn Rail, BOMB Magazine, W Magazine, British Journal of Photography, and Time.

APERTURE
aperture.org

16/08/25

David Alekhuogie @ Yancey Richardson Gallery - "highlifetime" Exhibition

David Alekhuogie: highlifetime
Yancey Richardson Gallery, New York
September 2 – October 18, 2025

David Alekhuogie Art
David Alekhuogie
 
Mother Country Masque I, 2024
© David Alekhuogie, courtesy Yancey Richardson Gallery

Yancey Richardson presents highlifetime, an exhibition of new work by David Alekhuogie, the artist’s second exhibition with the gallery. Bringing together work from his series A Reprise—including layered, wall-mounted works that combine photographs, collage and sculpture—David Alekhuogie continues his exploration of how narrative and authorship are embedded in Western presentations of African art while reflecting on how Black aesthetics are circulated, accessed, valued and interpreted today. Coinciding with the exhibition is the release of Alekhuogie’s new monograph titled A Reprise, published by Aperture. 

Reflecting his understanding of the relationship between modernity and colonialism, David Alekhuogie sees photography as a site where complex historical processes unfold and where the consequences of those processes continue to be seen. In his works, he critiques the underlying structures of western appropriation and classification that shape the collective understanding of images, often through his own acts of appropriation whereby source material is rephotographed, reimagined and remade.

Alekhuogie’s series A Reprise is the result of his engagement with the photographs Walker Evans made while on commission from the Museum of Modern Art, New York in 1935 of African sculptures included in the exhibition African Negro Art. These photographs were revisited in Perfect Documents: Walker Evans and African Art, 1935, an exhibition organized by the Metropolitan Museum of Art in 2020, that reexamined the tightly cropped and formally inventive images Evans made.

Alekhuogie’s encounter with this exhibition and the images Evans made sixty-five years prior provided the basis for considering how Black aesthetics and cultural objects have been altered—if not altogether changed—by their exhibition in western institutions and subsequent documentation by photographers such as Evans. In highlifetime, Alekhuogie investigates these images of African sculpture by remixing them into vibrant and multilayered collages which attempt to reanimate historical objects after their original capture.

To make these works, David Alekhuogie transposes facsimiles of masterpieces of African art onto paper structures of his own making, before then rephotographing these image-sculptures, regularly using East and West African textiles as backdrops to create dynamic juxtapositions of space and form. The spatial interpretation of the original sculptures via Evans’ photographs is intensified by Alekhuogie’s layering of two or more framed photographs into new sculptural constructions. Through his own transmutation of these images, David Alekhuogie brings what he calls the “hand-me-down nature of Pan Africanism” to the foreground and questions through whose eyes and whose agency African Americans form their cultural narrative.

Accompanying new works from the A Reprise series are selections from Alekhuogie’s 2017 series Pull_Up, which is on view in the project gallery. Referencing the fashion trope of sagging pants that reveal successive layers of clothing, David Alekhuogie creates flattened and nearly abstract fields of layered color and contrasting textures. With the horizon line of the waist present yet concealed, Alekhuogie reimagines the body as a landscape, one where the coded representations of Black masculinity can be explored.

Through his critical evaluation of Black antiquity and formal interpretation of contemporary representations of Black masculinity, Alekhuogie’s images pose fundamental questions about our relationship to the past and how we continue to remake it in the present.

David Alekhuogie (b. 1986, Los Angeles, CA) is a photographer and artist based in Los Angeles. He received his MFA from Yale University in 2015 and BFA from the School of the Art Institute of Chicago in 2013. His work will be featured in the Hammer Museum’s upcoming Made in LA 2025 biennial. His work was also included in Companion Pieces, the 2020 iteration of the Museum of Modern Art, New York’s biennial New Photography series and was presented in Men of Change: Power. Triumph. Truth (2021) at the California African American Museum in Los Angeles.

From 2024 to 2025, he was a fellow of the Harvard Radcliffe Institute. His work has been exhibited at the Getty Museum, Los Angeles, CA; Hirshhorn Museum and Sculpture Garden, Washington, D.C.; Museum of Fine Arts, Houston, TX; Museum of Modern Art, New York; Carnegie Museum of Art, Pittsburgh, PA; High Museum of Art, Atlanta, GA; Toledo Museum of Art, Toledo, OH and the Los Angeles County Museum of Art, Los Angles, CA.

YANCEY RICHARDSON 
525 West 22nd Street, New York, NY 10011

10/08/25

Matthew Rolston - Vanitas: The Palermo Portraits @ Fahey / Klein Gallery, Los Angeles + Other Venues in LA + Special limited-edition monograph on Nazraeli Press

Matthew Rolston
Vanitas: The Palermo Portraits
Fahey / Klein Gallery, Los Angeles
September 25 - November 8, 2025

Photographer and artist MATTHEW ROLSTON, in partnership with Fahey/Klein Gallery, Los Angeles, ArtCenter College of Design, Daido Moriyama Museum / Daido Star Space, and Leica Gallery, present a multi-venue Los Angeles exhibition of his latest series Vanitas: The Palermo Portraits, alongside the release of a special limited-edition monograph on Nazraeli Press.

Four individual works will be on view in a solo exhibition at Fahey/Klein Gallery, Los Angeles, which will display the most extensive presentation of the Vanitas series, including the monograph’s cover photograph. 

At ArtCenter College of Design, Rolston will further present a triptych of the Vanitas work as a wall-sized installation at the College’s South Campus, curated by Julie Joyce, Director, ArtCenter Galleries and Vice President, Exhibitions. This presentation will be the only triptych on exhibition; the central panel appears on the clamshell cover of the forthcoming Vanitas monograph, a signature of the series. These three works, hung in ArtCenter’s Mullin Transportation Design Center, comprise two images of mummified children flanking one of an elderly adult, brought together in the style of an altarpiece, where the sacred and mundane, youth and elder age, collide. 

A single work will be shown at a solo exhibition that will open with a book launch and artist signing at Daido Star Space in downtown Los Angeles on September 30, 2025. Organized in collaboration with the Daido Moriyama Photo Foundation in Tokyo, the presentation echoes the institution’s interest in cross-cultural approaches to photography. 

Leica Gallery, Los Angeles, will present another solo exhibition of an additional single work from Vanitas, accompanied by a public artist talk and book signing. At a venue rooted in the technical and material traditions of photography, this presentation will highlight the painterly, craft-driven aspects of Rolston’s Vanitas project. 

Together, these four distinct presentations introduce Vanitas as a ‘mostra diffusa’, an exhibition intentionally distributed among multiple venues. This multi-venue presentation across Los Angeles reflects a conscious departure from the contemporary conventions of exhibition production, recalling art historical traditions in which singular works were presented in isolation. 

All works, regardless of exhibition venue, will be available exclusively through Fahey/Klein Gallery, Los Angeles, which will also offer an artist-signed edition of the exhibition’s accompanying monograph. 

Matthew Rolston - Vanitas: The Palermo Portraits
MATTHEW ROLSTON
 
Vanitas: The Palermo Portraits
Nazraeli Press, Mid-September 2025
A special edition of 500 copies 
presented in a custom clamshell case
Hardcover: 12.5 x 18 x 1.5 inches, 
118 pages, 50 four-color plates
ISBN: 978-1-59005-588-5 - $225.00
Book Cover Courtesy of Nazraely Press

FAHEY / KLEIN GALLERY
148 North La Brea Avenue, Los Angeles, CA 90036