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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

www.robertmann.com

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

Funeral rites, 2004

Roger Ballen

Untitled, 2020

Roger Ballen

Wall shadows, 2003

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

"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

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

www.museumgugging.at

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

Mouth (For L’Oréal) (A), New York, 1986

Estimate: $200,000 – 300,000

Irving Penn

Harlequin Dress (Lisa Fonssagrives-Penn), New York, 1950

Estimate: $200,000 – 300,000

Irving Penn

Ginkgo Leaves, New York, 1990

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

Black and White Hat, New York, 1950

Estimate: $25,000 – 35,000

Irving Penn

Untitled, circa 1987

Estimate: $30,000 – 50,000

Irving Penn

Miles Davis Hand on Trumpet,

New York, 1986

Estimate: $70,000 – 90,000

Irving Penn

Télégraphiste, Paris, 1950

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 in a Cracked Mirror (Self-Portrait) (A),

New York, 1986

Estimate: $25,000 – 35,000

Irving Penn

Mud Glove, New York, 1975

Estimate: $50,000 – 70,000

Irving Penn

Three Tulips ‘Red Shine’, ‘Black Parrot’, ‘Gudoshnik’,

New York, 1967

Estimate: $70,000 – 90,000

Irving Penn

Marriageable Young Woman of Imilchil, Morocco, 1971

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

Cracked Egg, New York, 1958

Estimate: $30,000 – 50,000

Irving Penn

Cigarette No. 37, New York, 1972

Estimate: $150,000 – 250,000

Irving Penn

Coffee Pot, New York, 2007

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:

https://www.phillips.com/auctions/auction/NY040425

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 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

Mother Country Masque I, 2024

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

yanceyrichardson.com

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

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

www.faheykleingallery.com

27/07/25

James Bidgood: Dreamlands @ CLAMP, New York + 2025 Monograph from Salzgeber + 1971 film "Pink Narcissus"

James Bidgood | Dreamlands

CLAMP, New York

Through August 29, 2025

James Bidgood

“Richie Backstage, Sleeping Portrait,”

mid-1960s/printed later

Digital C-print

Courtesy of CLAMP, New York

James Bidgood, Dreamlands, Salzgeber, 2025

Book Cover Courtesy of Salzgeber

160 p., 24 × 32 cm - English / Deutsch

ISBN 978-3-95985-718-5

CLAMP presents “James Bidgood | Dreamlands,” an exhibition of photographs marking the launch of the monograph of the same title from Salzgeber, in addition to recent screenings of the artist’s cult classic film, “Pink Narcissus,” at theaters across the United States and Europe.

The book combines iconic motifs from the artist’s oeuvre with many previously unpublished images. The exhibition at CLAMP includes twelve of these new photographs selected from the estate archives, along with a large-scale print of “Pan”—the monograph’s cover image.

“Pink Narcissus,” James Bidgood’s film from 1971, described as a “kaleidoscopic fever dream of queer desire,” was recently restored by the UCLA Film & Television Archive, and has been playing at theaters since late 2024, including MoMA (New York), Hammer Museum (Los Angeles), BAM (New York), Metrograph (New York), and other screens in London, Bologna, San Francisco, Seattle, Provincetown, Tucson, St. Louis, etc.

James Bidgood passed away in 2022 at the age of 88. A New Yorker for over 70 years, he was adored and admired by generations of artists and cinephiles alike.

When James Bidgood first came to New York from Wisconsin in the 1950s, he worked as a drag performer and occasional set and costume designer at Club 82 in the East Village. After studying at Parsons School of Design from 1957 to 1960, James Bidgood found jobs as a window dresser and costume designer.

He then went on to work as a photographer for men’s physique publications and began creating his own personal photographs and films that greatly benefited from his talents in theater design and costume construction. It was during this period in the early 1960s that James Bidgood began working on his masterpiece—the 8mm opus “Pink Narcissus.”

In his tiny apartment in Hell’s Kitchen, he handcrafted sets using humble materials to create a theatrical dreamland in which artifice became transcendent. With hand-tailored clothing, saturated lighting, and lots of glitter, James Bidgood built a cosmos of queer belonging, populated with angelic figures of male beauty—including Cupid, Pan, and other mythological gods, along with harlequins, soldiers, firemen, hustlers, drag queens, altar boys, and more.

Bidgood’s confined domestic production speaks to both necessity and liberation—”a queer creative spirit refusing to be constrained by material limitations.” In fact, the artist and his models would eat, sleep, and frolic within the sets until it was time to tear them down and begin building the next scene.

Within this space, and in front of his lens, the homosexuals that were ostracized by larger society could be beautiful, glamorous, complex, silly, or simply themselves.

CLAMP

247 West 29th Street, New York, NY 10001

clampart.com

James Bidgood | Dreamlands

CLAMP, New York, July 10 – August 29, 2025

23/07/25

Martin Parr. Early Works @ f3 – freiraum für fotografie, Berlin

Martin Parr. Early Works

f3 – freiraum für fotografie, Berlin

September 13 – November 30, 2025

Siehe die Deutsche Version unten

MARTIN PARR

Osmond Fan, Manchester, England 1973

MARTIN PARR

Tom Greenwood cleaning, Hangingroyd Road,

Hebden Bridge, Yorkshire, England 1975

MARTIN PARR

Stonehenge, Wiltshire, England 1975

MARTIN PARR (*1952, Epsom, Surrey, UK) is one of the most important British documentary photographers and photojournalists. He became internationally known for his large-format, colorful photographs that humorously scrutinize British society. With his ironic and socially critical view of everyday situations, he has made photographic history.

The exhibition Martin Parr. Early Works focuses on the early work of the MAGNUM photographer and presents 75 rarely shown black and white images. Bird clubs in Surrey, pilgrimages to the Pope in Ireland, holiday trips to the Scottish Highlands, provincial football matches, and traditional village banquets are just some of the social events that grasped the young Martin Parr’s attention. Exaggeration and emphasis – two key elements of his work – run like a thread through these photographs. The strength of his images lies in the precise observation of everyday situations and in their focus on the seemingly unspectacular. Local traditions, street life, and the unforgettable fluctuating island weather: Martin Parr compels us to take a second look and cherish the funny sides of life.

MARTIN PARR

Mayor of Todmorden's inaugural banquet, Todmorden,

West Yorkshire, England 1977

MARTIN PARR

Surrey Bird Club, Surrey, England 1972

MARTIN PARR

Glastonbury Tor, Somerset, England 1975

Included in the exhibition are some of Parr’s encompassing views such as "Mayor of Todmorden’s Inaugural Banquet", from 1977, where hungry guests squeeze shoulder to shoulder, not to miss the best dish. Also outstanding is the photograph "Surrey Bird Club", which shows two couples in 1972, equipped with binoculars and engaging in their favorite hobby: birdwatching. Or "Glastonbury Tor", featuring an animal protagonist – a cow – posing like a sightseer in search of attractions at the popular tourist hotspot Glastonbury Tor.

MARTIN PARR

Steep Lane Baptist Chapel buffet lunch, Sowerby,

Calderdale, West Yorkshire, England 1977

MARTIN PARR

Elland, West Yorkshire, England 1978

MARTIN PARR

Lynotts Bar, Manorhamilton, County Leitrim, Ireland 1983

At first glance, nostalgia or romanticism seem to be at the forefront, but Martin Parr questions the subjects of his photographs and their seemingly ordinary actions. With an almost anthropological interest, he dissects our behavior, prompts us to reflect, and reveals – both humorously and critically – the complexity and absurdity of modern life.

MARTIN PARR studied photography at Manchester Polytechnic and began his career in the 1970s. Initially working in black and white, he switched to colour photography in the mid-1980s. He has been a member of the renowned MAGNUM photo agency since 1994. Martin Parr has published over a hundred books of his own and has curated numerous festivals, including the Rencontres d'Arles and the Brighton Biennale. His photographs are exhibited worldwide and are represented in many collections. The Martin Parr Foundation was established in 2014 and is based in Bristol since 2017.

Accompanying the exhibition, the publication "MARTIN PARR. Early Works" is available.

Martin Parr. Early Works was curated by Celina Lunsford (Fotografie Forum Frankfurt) in close collaboration with the photographer and the Martin Parr Foundation.

________

MARTIN PARR (*1952, Epsom, Surrey, GB) ist einer der wichtigsten britischen Dokumentarfotografen und Fotojournalisten. International bekannt wurde er mit seinen großformatigen, farbenfrohen Fotografien, welche die britische Gesellschaft humorvoll unter die Lupe nehmen. Mit seinem ironischen und sozialkritischen Blick auf Alltagssituationen hat er Fotografie-Geschichte geschrieben.

Die Ausstellung Martin Parr. Early Works konzentriert sich auf das frühe Werk des MAGNUM-Fotografen und präsentiert 75 selten gezeigte Schwarz-Weiß Aufnahmen. Vogelklub-Aktivitäten im englischen Surrey, Pilgerfahrten zum Papst in Irland, Urlaubsreisen in die schottischen Highlands, Fußballspiele in der Provinz und traditionelle Dorffeste sind nur einige der gesellschaftlichen Aktivitäten, die das Interesse des jungen Martin Parr wecken. Die Übertreibung und Zuspitzung – zwei Schlüsselelemente seines Werkes – ziehen sich wie ein roter Faden durch die Fotografien. Die Stärke seiner Aufnahmen liegt in der präzisen Beobachtung alltäglicher Situationen und in ihrer Konzentration auf das scheinbar Unspektakuläre. Lokale Traditionen, das Straßenleben und das wechselhafte Inselwetter: Martin Parr bringt uns dazu zweimal hinzusehen und die skurrilen, humorvollen Seiten des Lebens zu entdecken.

Teil der Werkschau sind auch einige von Parrs eindrucksvollsten Aufnahmen, darunter »Mayor of Todmorden’s Inaugural Banquet«, eine Szene an einem Buffet, an dem sich hungrige Gäste Schulter an Schulter drängen, um den besten Happen zu ergattern, aus dem Jahr 1977. Herausragend auch die Fotografie »Surrey Bird Club«, auf der zwei Paare zu sehen sind, die sich 1972 mit Feldstechern ausgestattet ihrem liebsten Hobby widmen: der Beobachtung von Vögeln. Oder »Glastonbury Tor«, die Aufnahme einer tierischen Protagonistin – einer Kuh – die wie eine Ausflüglerin auf der Jagd nach Sehenswürdigkeiten an dem touristischen Hotspot Glastonbury Tor posiert.

Auf den ersten Blick dominieren Nostalgie oder Romantik die Aufnahmen, doch Martin Parr hinterfragt die Akteur*innen seiner Fotografien und deren scheinbar alltägliche Handlungen. Mit nahezu anthropologischem Interesse seziert er unser Verhalten, regt uns zur Reflexion an und zeigt auf komische und kritische Weise die Komplexität und Absurdität des modernen Lebens auf.

MARTIN PARR studierte Fotografie am Manchester Polytechnic und begann seine Karriere in den 1970er-Jahren. Zunächst arbeitete er in Schwarz-Weiß, wechselte aber Mitte der 1980er-Jahre zur Farbfotografie. Seit 1994 ist er Mitglied der renommierten Agentur MAGNUMPhotos. Martin Parr hat über hundert eigene Bücher veröffentlicht und war bei zahlreichen Festivals als Kurator tätig, darunter Rencontres d`Arles und Brighton Biennale. Seine Fotografien werden weltweit ausgestellt und sind in vielen Museumssammlungen vertreten. 2014 gründete er die Martin Parr Foundation mit Sitz in Bristol.

Martin Parr. Early Works wurde kuratiert von Celina Lunsford (Fotografie Forum Frankfurt) in enger Zusammenarbeit mit dem Fotografen und der Martin Parr Foundation.

f³ – freiraum für fotografie

Prinzessinnenstrasse 30, 10969 Berlin

www.fhochdrei.org

08/07/25

Ohan Breiding: Belly of a Glacier @ MASS MoCA, North Adams

Ohan Breiding: Belly of a Glacier

MASS MoCA, North Adams

Through December 14, 2025

Ohan Breiding

To dress a wound from the light that

shines from it (Belly of a Glacier)

111 Giclée Prints on Fine Art Luster Paper

128.55 in x 266.93 in / 326.5 cm x 678 cm

Ohan Breiding

To dress a wound from the light that

shines from it (Belly of a Glacier) [detail]

111 Giclée Prints on Fine Art Luster Paper

128.55 in x 266.93 in / 326.5 cm x 678 cm

Ohan Breiding

To dress a wound from the light that

shines from it (Belly of a Glacier) [detail]

111 Giclée Prints on Fine Art Luster Paper

128.55 in x 266.93 in / 326.5 cm x 678 cm

MASS MoCA (Massachusetts Museum of Contemporary Art) in North Adams, in collaboration with The Williams College Museum of Art (WCMA), presents the exhibition Ohan Breiding: Belly of a Glacier, a series of photographs and video that ruminates on the imminent loss of the Rhône glacier, amplifying the current state of climate emergency while expressing the intimate entanglement of human and environmental well-being.

In 2019, Iceland constructed the first memorial to mark the death of its Okjökull glacier. Since then, funerals have been held around the world to mark the melting of glacier bodies. Consisting of an experimental documentary film and a photographic installation, Breiding’s Belly of a Glacier captures the efforts of the residents of Obergoms, Switzerland, to drape the nearby Rhône Glacier with thermal blankets to insulate it from rising temperatures. Despite these hope-filled actions of ecological care, scientists predict the Rhône will have fully melted by 2050.

“Ohan Breiding’s work is a powerful, intimate portrait of a dying glacier,” said Susan Cross, MASS MoCA Senior Curator. “The stunning photographs and video make the loss feel very personal—as it should, given that we are part of the ecosystem being forever transformed by climate change.”

Ohan Breiding

Belly of a Glacier, 2024

HD video, with sound, 32:55 min.

Courtesy of the artist and OCHI Gallery, Los Angeles

Ohan Breiding

Belly of a Glacier, 2024

HD video, with sound, 32:55 min.

Courtesy of the artist and OCHI Gallery, Los Angeles

Ohan Breiding

Belly of a Glacier, 2024

HD video, with sound, 32:55 min.

Courtesy of the artist and OCHI Gallery, Los Angeles

The film documents the community at the National Science Foundation’s Ice Core Facility in Lakewood, Colorado, who are preserving ancient ice cores for future generations. Ice is like a time capsule, storing atmospheric debris, including volcanic ash and greenhouse gasses, that can tell us about major natural disasters as well as resulting human activity over thousands over years. Breiding’s project connects acts of mourning to ongoing practices of care that strive to protect the ice — a material that contains both remnants of the past and the conditions of a future world.

“WCMA and MASS MoCA joining together to present Ohan Breiding’s deeply moving and thought-provoking installation exemplifies the best of what our Berkshire arts ecosystem can provide to our visitors and local community,” said Pamela Franks, WCMA Class of 1956 Director. “We are thrilled to have the opportunity to collaborate across institutions in this way.”

ARTIST OHAN BREIDING

Ohan Breiding is a Swiss-American artist, raised in a Swiss village and living between Brooklyn, N.Y., and Williamstown, MA. They work with photography, photographic and filmic archives, and video in a collaborative practice that reinterprets historical events, putting the past into a meaningful transformative relation with the present. They employ a trans-feminist lens to the discussion of ecological care to amplify the systemic failures and violence of the Anthropocene.

Ohan Breiding has presented their work at numerous museums, galleries, and film festivals including ICA LA, Photo LA, the Armory Center for the Arts, LAMAG, LAXART, Human Resources, Oakland Museum of California, Berkeley Art Museum and Pacific Film Archive, Haus N Athens, Sharjah Art Foundation, IKOB Museum of Contemporary Art, Kunsthaus Zürich, Hallwalls Contemporary Arts Center (Buffalo, N.Y.), Frac des Pays de la Loire and Oceanside Museum (as part of the Getty’s PST Art — Pacific Standard Time).

Ohan Breiding is a 2024 A.I.R. Fellow, a 2024 FIAR resident, a 2024 Triangle Artist Resident, a 2021 TBA (Thyssen-Bornemisza Art Contemporary) Academy Ocean Space Fellow, a 2019 Millay Colony Resident and a 2018 Shandaken: Storm King resident. They are the recipient of the 1945 World Fellowship Award, the Hellman Award, the SIFF (Swiss International Film Festival) Award for The Rebel Body, a short film made with Shoghig Halajian and the participation of Silvia Federici, the Rema Hort Mann Emerging Artist Award, and the DAAD Award. Their practice has been written about in Artforum, Art in America, BOMB, e-flux, Hyperallergic and Whitewall.

Ohan Breiding is an assistant professor in the Art Department at Williams College and is represented by OCHI Gallery in Los Angeles.

MASS MoCA

Massachusetts Museum of Contemporary Art

1040 MASS MoCA Way, North Adams, MA 01247

www.massmoca.org

Ohan Breiding: Belly of a Glacier

MASS MoCA, North Adams, February - December 14, 2025

07/07/25

Paolo Roversi @ Pace Gallery, NYC - "Along the Way" Focused Retrospective Exhibition (early 1990s - present)

Paolo Roversi: Along the Way

Pace Gallery, New York

September 12 – October 25, 2025

Paolo Roversi

Natalia, Paris, 2003

Pace presents an exhibition of work by photographer PAOLO ROVERSI at its 508 West 25th Street gallery in New York. Opening on September 12, during New York Fashion Week, and running through October 25, this focused retrospective will feature works produced by Paolo Roversi between the early 1990s and the present, highlighting the artist’s relationships with his many collaborators in the fashion industry.

Roversi’s upcoming exhibition with Pace in New York—his first solo show with the gallery since 2019—will present an overview of his storied career through a selection of photographs created over the past 35 years.“Every portrait is a meeting, an exchange, a mutual intimate confession,” Paolo Roversi has said of his work. The show will shed light on Roversi’s legacy as the artist behind some of the most iconic fashion images of our time.

Drawing inspiration from the work of August Sander, Robert Frank, and Diane Arbus, Paolo Roversi developed a distinctive style that is deeply influenced by the Byzantine architecture and rich cultural history of his birthplace, Ravenna, Italy. “Paolo's photography is timeless,” Sylvie Lécallier, curator Roversi’s 2024 exhibition at the Palais Galliera in Paris, said in an interview last year. “It is detached from the spirit of the times, from the ephemeral trends of fashion. It is located both at the heart of fashion and at the edge.”

Made with Polaroid film and mostly taken in his Parisian studio, Roversi's dreamlike, enigmatic images are imbued with a classical sensibility. His studio, he has said, “is a place for the chance, the dream, the imaginary to prevail. I give these forces as much space as I can.”

In addition to his collaborators in the fashion world, Polo Roversi has recently joined forces with his friend and fellow artist Sheila Hicks. For these works, which will figure in Pace’s exhibition, no discussion is had between the two artists regarding a direction for the final work, each knowing and respecting the other’s practice.

Born in Ravenna, Italy in 1947, Paolo Roversi discovered his passion for photography during a 1964 family holiday in Spain— upon his return from the trip, he built a darkroom in the basement of his home. He began his career in 1970, taking photojournalism assignments from the Associated Press. In 1973, at the invitation of photographer and ELLE art director Peter Knapp, Paolo Roversi moved to Paris, where he has lived and worked ever since. After a nine-month period assisting British photographer Lawrence Sackmann, whom he cites as an influential teacher, Paolo Roversi started shooting independently with small commissions for ELLE and the band Depeche Mode, gaining wider recognition with a Dior beauty campaign in 1980 and ultimately forging his reputation as one of the industry's leading photographers by the mid- 1980s. As model Guinevere van Seenus, who has worked with Roversi for nearly three decades, has said, “Having your portrait taken is more than just looking at the camera, [Paolo] creates the space for the person to [emerge]."

Today, Paolo Roversi’s work can be found in museum collections around the world, including the Museum of Modern Art in New York; the Getty Museum in Los Angeles; and the National Portrait Gallery in London. He has had major exhibitions around the world—in recent years, at the Museo d'Arte della città di Ravenna, Palazzo Reale in Milan, the Palais Galliera in Paris, the Multimedia Art Museum in Moscow, and Dallas Contemporary in Texas—and has published numerous books, including Paolo Roversi: Palais Galliera (2024), Lettres sur la lumière, with philosopher Emanuele Coccia (Gallimard, 2024), Des Oiseaux (Éditions Xavier Barral, 2023), Paolo Roversi – Studio Luce (Museo d'Arte della città di Ravenna, 2020), Natalia (Stromboli, 2018), and Nudi (Stromboli, 1999).

PACE NEW YORK

508 West 25th Street, New York City

www.pacegallery.com

30/06/25

Trevor Paglen @ Pace Gallery, NYC - "Cardinals" Exhibition

Trevor Paglen: Cardinals

Pace Gallery, New York

June 26 - August 15, 2025

Trevor Paglen

Near Lichau Creek (undated), n.d.

Pace presents an exhibition of work by TREVOR PAGLEN at its 540 West 25th Street gallery in New York. This focused presentation features photographs of novel aerial phenomena captured by the artist in the American West over the last two decades. Bringing together a selection of prints and polaroids, this show will explore the relationships between UFO (Unidentified Flying Object) sightings, Artificial Intelligence, and the rise of disinformation in today’s media environment—which has all but obliterated the notion of ‘truth.’ As Trevor Paglen has said, we live in “a historical moment wherein our relationships to text, images, information, and media are being entirely upended,” and UFOs, deployed by the US military and intelligence agencies as psychological instruments since the 1950s, “blur lines between perception, imagination, and 'objective' reality, whatever that may or may not be.”

The artist, whose rigorous practice spans photography, sculpture, video, and installation, is known for his investigations of invisible phenomena and forces, including technological, scientific, socio-political, and historical subjects. Through his work, Trevor Paglen has explored Artificial Intelligence, surveillance, data collection, and militarism in America, meditating on the ways these issues influence modes of perceiving and relating to the natural world—from the landscapes of the US to the cosmological realms beyond the Earth.

“UFOs live in the latent space between the material, the sensible, and the perceptual,” Trevor Paglen said of his enduring interest in the history of UFO photography. “They inhabit the crossroads of fear, desire, logic, and hope. They produce communities of believers and debunkers, and dreams of divine salvation, endless energy, impossible physics, dark conspiracies, and existential fears.”

The otherworldly, entirely undoctored photographs on view at Pace in New York this summer depict diminutive UFOs amid sprawling landscapes near US military test sites and training bases in California and Utah, including one near Robert Smithson’s seminal land artwork Spiral Jetty. Trevor Paglen has been capturing his UFO images since 2002, often while carrying out research and site visits for other projects. Exploiting the hyper memetic qualities of the UFO, he insists on the mysteries of his images by withholding information about what exactly he has captured—in some cases, the contents of these photographs are unknown to the artist as well.

He produced these photographs 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. Most of the works in this series were shot on analog Kodak Portra, T-Max, or Fuji FP Instant film.

Paglen’s UFO photographs can be understood in conversation with his body of images of “unids,” or “unidentifieds”—the many hundreds of unknown objects in orbit around the Earth that are monitored and tracked by the US military—which he captured using infrared telescopes in remote locations. Atmospheric and mysterious, these skyscapes, which figured in Paglen’s 2023 solo show with Pace in New York, show the light trails of “unids,” drawing out the abstracted, textural qualities of the cosmos.

Concurrent with his exhibition of UFO photographs at Pace, Trevor Paglen is presenting work in the group exhibition "The World Through AI", on view at the Jeu de Paume in Paris through September 21, 2025.

TREVOR PAGLEN (b. 1974, Camp Springs, Maryland) is known for investigating the invisible through the visible, with a wide-reaching approach that spans image making, sculpture, investigative journalism, writing, engineering, and numerous other disciplines.

The clandestine and the hidden are revealed in series such as The Black Sites, The Other Night Sky, and Limit Telephotography in which the limits of vision are explored through the histories of landscape photography, abstraction, Romanticism, and technology. Paglen’s investigation into the epistemology of representation can be seen in his Symbology and Code Names series which utilize text, video, object, and image to explore questions surrounding military culture and language. Among his chief concerns are learning how to see the historical moment we live in and developing the means to imagine alternative futures.

Trevor Paglen has had numerous one-person exhibitions, including at the Museum of Contemporary Art San Diego (2019); Frankfurter Kunstverein, Frankfurt (2015); Eli & Edythe Broad Art Museum, Michigan State University, East Lansing (2015); Protocinema Istanbul (2013); Van Abbemuseum, Eindhoven, Netherlands (2013); and Vienna Secession (2010). He has participated in group exhibitions at the San Francisco Museum of Modern Art (2008, 2010, 2018); Museo Nacional Centro de Arte Reina Sofía, Madrid (2014); The Metropolitan Museum of Art, New York (2012); Tate Modern, London (2010), and numerous other institutions.

PACE NEW YORK

540 West 25th Street, New York City

www.pacegallery.com