WANAFOTO: photographs

Showing posts with label photographs. Show all posts

13/09/25

New Photography 2025 @ MoMA, NYC - "Lines of Belonging" - The Museum of Modern Art, New York

New Photography 2025

Lines of Belonging

MoMA, New York

September 14, 2025 – January 17, 2026

Prasiit Sthapit

Saloni and friends (2013)

from Change of Course. 2012-18

Renee Royale

River at Chalmette Battlefield (Fazendeville)

from Landscapes of Matter, 2023

Lindokuhle Sobekwa

uMthimkhulu IV (The Great Tree). 2025

Installation with photographs, Japanese kozo paper,

gampi paper, colored pencil, oil pastel, acrylic paint,

and polymer photogravure

The Museum of Modern Art presents New Photography 2025: Lines of Belonging, the 40th anniversary edition of MoMA’s celebrated New Photography series. This exhibition brings together a group of 13 international artists and collectives, from four different cities around the world, who are expanding the horizons of the photographic field in the 21st century. Each at various stages in their careers, these artists are presenting distinct bodies of work for the first time in New York. Their creative contributions interweave personal narratives with structural, environmental, and colonial histories to consider forms of belonging that shape communities.

Tania Franco Klein

Mirrored Table, Person (Subject #14)

from Subject Studies: Chapter 1, 2022

Inkjet print, 29 1/2 × 39 1/2″ (74.9 × 100.3 cm)

L. Kasimu Harris

“King” Joe Lindsey and his Royal Setup

(Roberton’s Vieux Carre Lounge), New Orleans

from Vanishing Black Bars and Lounges, 2022

Inkjet print, 24 x 36” (61 x 91.4 cm)

Sabelo Mlangeni

Faith and Sakhi Moruping, Thembisa Township (2004)

from Isivumelwano, 2003-20

Gelatin silver print, 14 5/8 × 10 9/16″ (37.1 × 26.8 cm)

Since it was launched in 1985, New Photography has introduced MoMA audiences to the innovative practices of more than 150 international artists. The featured practitioners in New Photography 2025 work in and out of one of four cities that have existed as centers of life, creativity, and communion for longer than the nation states within which they are presently situated: Johannesburg, Kathmandu, New Orleans, and Mexico City.

“The 40th anniversary of the program offers an opportunity for curatorial reflection on creative expressions of kinship and solidarity in a tumultuous political moment, centering artists who sustain communities, and drawing out connective threads within, across, and beyond the idea of borders,” Roxana Marcoci says.

Clockwise from top left: Sandra Blow. Tony, 2018. Inkjet Print, 7 5/8 × 11 3/8″ (19.4 × 28.9 cm) © 2025 Sandra Blow; L. Kasimu Harris. Come Tuesday (Marwan Pleasant at Sportsman’s Corner), New Orleans, 2020. Inkjet Print, 24 x 36 in. (61 x 91 cm) © 2025 L. Kasimu Harris. Courtesy the artist; Saraswati Rai Collection / Nepal Picture Library. Print from digital archive. Courtesy GEFONT Collection / Nepal Picture Library; Sabelo Mlangeni, Mbulelo and Friends, Thembisa Township, 2004. Gelatin silver print, 9 5/8 × 14 3/8″ (24.4 × 36.5 cm) © 2025 Sabelo Mlangeni

Installation view of

New Photography 2025: Lines of Belonging

on view at The Museum of Modern Art, New York,

from September 14, 2025, through January 17, 2026

Photo by Robert Gerhardt

Organized across three gallery spaces, New Photography 2025 includes works by artists who variously explore the natural, manmade, and immaterial forms that shape communal lives and personal histories—from rivers to museums to family trees.

Saraswati Rai Collection / Nepal Picture Library

A mass meeting of former kamlaris (women bonded labourers)

in Kanchanpur, Nepal (2010)

from The Public Life of Women: A Feminist Memory Project, 2023

Digital Image

Courtesy GEFONT Collection / Nepal Picture Library

Some reimagine the notion of the archive to formulate expressions of collectivity and interconnectedness, including a site-specific presentation of images preserved by the Nepal Picture Library, a digital archive. Titled The Public Life of Women: A Feminist Memory Project, it brings visibility to Nepali women’s lived experiences.

Gabrielle Garcia Steib

Still from The Past is a Foreign Country. 2020

Super 8 and archival footage. 3 min. 19 sec.

Transforming family archives into moving images and installation, New Orleans–based artist Gabrielle Garcia Steib explores personal and structural connections between Latin America and the southern United States.

Others give space to tender and emancipatory possibilities of chosen families and social forms of kinship, positing a politics of everyday life that invites inclusiveness and resilience.

Gabrielle Goliath

Berenice 29–39 (detail)

Eleven inkjet prints

Each 35 7/16 × 35 7/16″ (90 × 90 cm)

Installation view of

New Photography 2025: Lines of Belonging

on view at The Museum of Modern Art, New York,

from September 14, 2025, through January 17, 2026

Photo by Robert Gerhardt

Johannesburg artist Gabrielle Goliath’s 2022 serial photographic work Berenice 29–39 is featured among other works that engage iterative modes of address.

Sandra Blow

Allan Balthazar (2017) from Untitled, 2017-20

Inkjet print, 43 1/4 × 28 13/16″ (109.9 × 73.2 cm)

The exhibition concludes with a group of photographs by artist Sandra Blow that celebrate the vibrancy of LGBTQ+ youth culture and artistry in Mexico City.

Engaging a shared set of concerns—from notions of intergenerational memory to the living nature of the archive and the transnational stakes of cultural expression—the artists of New Photography 2025 collectively offer persistence and care as a rejoinder to the viral and profit-driven speed of contemporary image culture.

Lebohang Kganye

Untouched by the ancient caress of time, 2022

Installation view of Staging Memories,

the Grand Prix Images Vevey 2021/2022 winning project,

produced by Images Vevey (Switzerland)

and premiered at the Biennale Images Vevey 2022

Photo: Emilien Itim

Sheelasha Rajbhandari

Agony of the New Bed (detail), 2023

Thirty inkjet prints on linen, embroidery thread, metal thread,

glass beads, on 30 beds, wood, imitation gold leaf

Each 12 3/8 × 8 7/16 × 6 1/2″ (31.5 × 21.5 × 16.5 cm)

New Photography 2025: Featured artists

Sandra Blow (b. 1990, lives and works in Mexico City)

Gabrielle Goliath (b. 1983, lives and works in Johannesburg)

L Kasimu Harris (b. 1978, lives and works in New Orleans)

Lebohang Kganye (b. 1990, lives and works in Johannesburg)

Tania Franco Klein (b. 1990, lives and works in Mexico City)

Sheelasha Rajbhandari (b. 1988, lives and works in Kathmandu)

Renee Royale (b. 1990, lives and works in New Orleans and Chicago)

Nepal Picture Library (est. 2011, based in Kathmandu)

Sabelo Mlangeni (b. 1980, lives and works in Johannesburg)

Lindokuhle Sobekwa (b. 1995, lives and works in Johannesburg)

Gabrielle Garcia Steib (b. 1994, lives and works in New Orleans)

Prasiit Sthapit (b. 1988, lives and works in Kathmandu)

Lake Verea (Francisca Rivero-Lake, b. 1973; Carla Verea Hernández, b. 1978, live and work in Mexico City)

Lake Verea

(Carla Verea Hernández and Francisca Rivero-Lake)

Hojas de Metal (Metal Leaves), 2019

Chromogenic print. 118 1/8 × 72″ (300 × 182.9 cm)

New Photography 2025: Lines of Belonging is organized by Lucy Gallun, Curator; Roxana Marcoci, Acting Chief Curator and The David Dechman Senior Curator; Oluremi C. Onabanjo, The Peter Schub Curator; and Caitlin Ryan, Assistant Curator, Department of Photography.

MoMA - THE MUSEUM OF MODERN ART, NEW YORK

11 West 53 Street, New York, NY 10019

www.moma.org

12/09/25

Jeffrey Gibson @ The Met Facade, NYC - The Genesis Facade Commission: Jeffrey Gibson, The Animal That Therefore I Am

The Genesis Facade Commission: Jeffrey Gibson, The Animal That Therefore I Am

The Metropolitan Museum of Art, New York

September 12, 2025 – June 9, 2026

Portrait of Jeffrey Gibson: Eileen Travell

Jeffrey Gibson (American, born 1972)

Installation view of The Genesis Facade Commission:

Jeffrey Gibson, The Animal Therefore I Am, 2025

Courtesy the artist

Image credit: The Metropolitan Museum of Art,

Photo by Eugenia Burnett Tinsley

The acclaimed interdisciplinary artist JEFFREY GIBSON has transformed the iconic niches of the Museum’s Fifth Avenue facade with a series of four large-scale sculptures that explore the metamorphic relationships between all living beings and the environment. A member of the Mississippi Band of Choctaw Indians and of Cherokee descent, Jeffrey Gibson draws from his distinctive style fusing worldviews and imagery with abstraction, text, and color to create these new figurative works cast in bronze. On view through June 9, 2026, The Genesis Facade Commission: Jeffrey Gibson, The Animal That Therefore I Am marks Gibson’s first major exploration of this material at a monumental scale.

"Jeffrey Gibson is one of the most remarkable artists of his generation and a pioneering figure within the field of native and Indigenous art," said Max Hollein, The Met’s Marina Kellen French Director and Chief Executive Officer. "These new works are based on his signature use of unconventional materials and reimagined forms, employing them to explore often-overlooked histories and the natural world. We’re thrilled to have his monumental sculptures installed on The Met’s iconic Fifth Avenue facade."

David Breslin, Leonard A. Lauder Curator in Charge, Modern and Contemporary Art, said, "Jeffrey Gibson is an artist brilliantly attuned to the varieties of life that our world holds—the human, the animal, the land itself. His art vibrates and bristles with that life, the histories that never leave us, and the futures that his vision makes possible."

Jeffrey Gibson (American, born 1972)

Installation view of they carry messages between

light and dark spaces biakak / dawodv / hawk,

for The Genesis Facade Commission:

Jeffrey Gibson, The Animal Therefore I Am, 2025

Silicon bronze with patina finish

Courtesy the artist

Image credit: The Metropolitan Museum of Art,

Photo by Eugenia Burnett Tinsley

Jeffrey Gibson (American, born 1972)

Installation view of they plan and prepare for

the future fvni / sa lo li / squirrel,

for The Genesis Facade Commission:

Jeffrey Gibson, The Animal Therefore I Am, 2025

Silicon bronze with patina finish

Courtesy the artist

Image credit: The Metropolitan Museum of Art,

Photo by Eugenia Burnett Tinsley

Titled The Animal That Therefore I Am, the installation transforms the Museum’s neoclassical facade into a dynamic stage for Gibson’s ambitious vision of figural presence and ecological kinship. Each 10-foot bronze sculpture takes the form of a regional animal: a hawk, a squirrel, a coyote, and a deer. Using cast elements such as wood, beads, and cloth to build texture, Jeffrey Gibson embraces a new process that expands his sculptural vocabulary. From these reproduced wood supports emerge referential animal forms, with each sculpture formally fusing the animate and the inanimate. Intricately bold, patinated abstract patterning evokes beadwork and textiles drawn from a range of Indigenous visual languages—motifs that are seamlessly integrated into the sculptures’ surfaces.

The works are inspired by the French philosopher Jacques Derrida’s book The Animal That Therefore I Am, which examines the violence inherent in the human domination of animals—a theme Gibson connects to broader cycles of conflict. By selecting species native to the New York area, he reflects on how these creatures have been forced to adapt to human environments, inviting us to consider what they endure and what they might teach us. The Animal That Therefore I Am flanks the Museum entrance, the zoomorphic forms remaining in dialogue with the surrounding landscape, from the natural environment of the Hudson River Valley, where Jeffrey Gibson lives and works, to the urban ecology of Central Park encircling The Met.

Jeffrey Gibson (American, born 1972)

Installation view of they are witty and transform themselves

in order to guide us nashoba holba / wayaha / coyote,

for The Genesis Facade Commission:

Jeffrey Gibson, The Animal Therefore I Am, 2025

Silicon bronze with patina finish

Courtesy the artist

Image credit: The Metropolitan Museum of Art,

Photo by Eugenia Burnett Tinsley

Jeffrey Gibson (American, born 1972)

Installation view of they teach us to be sensitive

and to trust our instincts issi / awi / deer,

for The Genesis Facade Commission:

Jeffrey Gibson, The Animal Therefore I Am, 2025

Silicon bronze with patina finish

Courtesy the artist

Image credit: The Metropolitan Museum of Art,

Photo by Eugenia Burnett Tinsley

This project is the latest in The Met’s series of contemporary commissions in which the Museum invites artists to create new works of art, establishing a dialogue between the artist's practice, The Met collection, the physical Museum, and The Met's audiences.

Artist Jeffrey Gibson

Jeffry Gibson is an interdisciplinary artist who grew up in the United States, Germany, and Korea. His expansive body of work ranges from hard-edged abstract paintings to a rich practice of performance and filmmaking to significant work as artist convener and curator. Since the 2000s, Gibson’s work—which often incorporates Indigenous aesthetic and material traditions—has consistently revealed new modalities for abstraction, the use of text, and color, with the artist applying his formal mastery to concepts such as human connection and collective identity. Notably, Gibson’s work has introduced a broad range of recurring sources, material elements, and imagery while offering a critique of the reductive ways in which Indigenous culture has been historically flattened and misappropriated.

Recent solo exhibitions include Jeffrey Gibson: the space in which to place me (The Broad, 2025); Jeffrey Gibson: POWER FULL BECAUSE WE’RE DIFFERENT (MASS MoCA, 2024); This Burning World: Jeffrey Gibson (ICA San Francisco, 2022); Jeffrey Gibson: The Body Electric (SITE Santa Fe, 2022); Jeffrey Gibson: They Come From Fire (Portland Art Museum, 2022); Jeffrey Gibson: INFINITE INDIGENOUS QUEER LOVE (deCordova Sculpture Park and Museum, 2022); and Jeffrey Gibson: Like a Hammer (Denver Art Museum, 2018). Jeffrey Gibson was selected to represent the United States at La Biennale di Venezia, the 60th International Art Exhibition, in 2024. Jeffrey Gibson also conceived of and co-edited the landmark volume An Indigenous Present (2023), which showcases diverse approaches to Indigenous concepts, forms, and media. His work is included in the permanent collections of the Denver Art Museum; Museum of Fine Arts, Boston; The Museum of Modern Art, New York; National Gallery of Canada; National Gallery of Art, Washington, D.C.; Portland Art Museum; Smithsonian National Museum of the American Indian; and the Whitney Museum of American Art, among others. Jeffrey Gibson has received many distinguished awards, including the John D. and Catherine T. MacArthur Foundation Fellowship Award (2019), and is currently an artist in residence at Bard College, in Annandale, New York. He lives and works in Hudson, New York.

The Genesis Facade Commission: Jeffrey Gibson, The Animal That Therefore I Am is conceived by the artist in consultation with Jane Panetta, the Aaron I. Fleischman Curator in the Department of Modern and Contemporary Art at The Met. The exhibition is presented by Genesis.

METROPOLITAN MUSEUM OF ART

The Met Fifth Avenue Facade

www.metmuseum.org

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

28/08/25

Marguerite Humeau @ ARKEN Museum of Contemporary Art, Ishøj - "Torches" Exhibition

Marguerite Humeau: Torches

ARKEN Museum of Contemporary Art, Ishøj

Through 19 October 2025

Marguerite Humeau, 2024

Photography by Eoin Greally

Image courtesy of the artist

Marguerite Humeau

‘Torches’ at ARKEN Museum, 2025

Photography by Mathilde Agius

Courtesy of the artist

Marguerite Humeau

‘Torches’ at ARKEN Museum, 2025

Photography by Mathilde Agius

Courtesy of the artist

In the immersive exhibition Torches, French artist Marguerite Humeau creates a richly affective opera that spans across time and space, asking questions about our shared origins and alternative futures. Sound and light bring Humeau’s sculptures and installations to life, weaving a complex and evocative narrative. Her works incorporate many unconventional materials, including beeswax, wasp venom, yeast and cyanobacteria, also known as blue-green algae.

In the exhibition Torches, the internationally acclaimed French artist MARGUERITE HUMEAU (b. 1986) invites us to rethink our past, present and future here on Earth – and guides us through the darkness with her art. Conceived as an opera, the exhibition presents the artworks in an array of interlinked acts, using sound and light as mainstays of the other-worldly narratives that have won Marguerite Humeau international acclaim. She is also known for incorporating unusual materials in her art, with examples including hand-blown glass, waxed felt, laser-cut steel, silk, and even yeast. The exhibition at ARKEN also presents a work featuring an ecosystem of cyanobacteria that will continue to multiply during the exhibition run.

Curator Sarah Fredholm explains the exhibition title, Torches, by pointing out that ‘the works, embodying characters, are like torches in the dark. They point towards new connections between all living things across time and place and show us the way ahead,’ she says and continues:

‘Even though the point of departure of Marguerite Humeau’s work is our crisis-stricken planet, there is still hope to be found. Her art shows us that we can still find fresh starts and new beginnings; all we need to do is to imagine other ways of existing, ways that are more closely attuned to the rich variety of the rest of life on Earth.’

Marguerite Humeau

‘Torches’ at ARKEN Museum, 2025

Photography by Mathilde Agius

Courtesy of the artist

Marguerite Humeau

‘Torches’ at ARKEN Museum, 2025

Photography by Mathilde Agius

Courtesy of the artist

Marguerite Humeau

‘Torches’ at ARKEN Museum, 2025

Photography by Mathilde Agius

Courtesy of the artist

Marguerite Humeau’s works ask thought-provoking questions: What if elephants had become the dominant species on Earth? What would the world look like if we co-operated like ants or bees? Or if life could only be sustained high up in the atmosphere? Torches shows us new perspectives to marvel at and possibly learn from.

Says curator Sarah Fredholm: ‘With her art, Marguerite Humeau offers up alternative narratives about possible ways of co-existing here on Earth; ways where humankind does not take centre stage and where the boundaries between lifeforms, time and place are fluid and open to renegotiation.’

For the first time ever, Torches brings together all-new and earlier works by Marguerite Humeau. It is also the artist’s first solo show in Scandinavia. Furthermore, Torches constitutes the third and final part of ARKEN’s exhibition series NATURE FUTURE, in which prominent figures on the international art scene focus on humanity’s relationship with art, nature and technology. The previous instalments in the series were Refik Anadol’s Nature Dreams (2023) and Julian Charrière’s Solarstalgia (2024–25).

Marguerite Humeau was born in 1986 in Cholet, France, and lives and works in London. She holds an MA (2011) from The Royal College of Art, London. Her past exhibitions include solo shows at ICA Miami (2024), Lafayette Anticipations, Paris (2021), Kunstverein Hamburg (2019), Museion, Bolzano (2019), New Museum, New York (2018), Tate Britain, London (2017), and Palais de Tokyo, Paris (2016).

The exhibition Torches is presented in co-operation with the Helsinki Art Museum (HAM), where it will subsequently be shown.

ARKEN Museum of Contemporary Art

Skovvej 100, 2635 Ishøj

www.arken.dk

Marguerite Humeau: Torches

ARKEN Museum of Contemporary Art, 22 May - 19 October 2025

26/08/25

Newton, Riviera & Dialogues. Collection FOTOGRAFIS x Helmut Newton @ Helmut Newton Foundation at the Museum of Photography, Berlin

Newton, Riviera & Dialogues. Collection FOTOGRAFIS x Helmut Newton

Helmut Newton Foundation at the

Museum of Photography, Berlin

September 5, 2025 – February 15, 2026

Helmut Newton

Grand Hôtel du Cap, Marie Claire, Antibes 1972

Helmut Newton

Helmut Newton, Untitled, Saint-Tropez 1975

In summer 2022, Foundation Director Matthias Harder co-curated the solo exhibition "Newton, Riviera" with Guillaume de Sardes for the historic Villa Sauber in Monte-Carlo. It was the first time this late residence of the Newtons and the region where many iconic Helmut Newton photographs were created was given in-depth attention. A selection of that exhibition is now being presented—parallel to "Dialogues. Collection FOTOGRAFIS x Helmut Newton”—at the Berlin foundation.

At the turn of 1981/82, Helmut Newton and his wife June moved from Paris to Monte Carlo. This relocation not only changed their main residence to the French Mediterranean coast but also dramatically shifted the perspectives and backgrounds of Newton's commissioned work. From then on, it wasn't the casual or elegant Parisian chic but the more glamorous society that he photographed—often juxtaposed against the concrete walls of construction sites in Monaco as a backdrop for fashion shoots.

Newton's fascination with the French Riviera started much earlier. As early as 1964, he and June bought a small stone house near Ramatuelle, close to Saint-Tropez. From then on, they spent their summers there, engaging in intense artistic work. The exhibition unites a large number of early, sometimes unique vintage or lifetime prints. During the 1980s and 1990s, cities like Cannes and Nice were also popular locations for Newton’s striking fashion shoots. He also visited other parts of the Riviera, such as Cap d’Antibes, Saint-Jean-Cap-Ferrat, Menton, and even across the border to Bordighera, Italy. He created works across his three main genres—fashion, portrait, and nude—with the intense light in these images often playing a central role.

Helmut Newton

American Vogue, Monaco 2003

Helmut Newton

Jude Law, Monaco 2001

Helmut Newton also occasionally photographed at night from his apartment balcony in Monaco, capturing the quiet, dark sea. Similar melancholic landscape photographs were created in Berlin in the mid-1990s and culminated in one of his last gallery exhibitions titled "Sex and Landscapes" in 2001 at the Galerie de Pury & Luxembourg in Zurich, which also posthumously opened his Berlin foundation in June 2004. By presenting these large-format original prints in the current "Riviera" exhibition, the circle closes again—over 20 years later. Newton’s very last photo shoot, a fashion editorial for Italian Vogue, also took place on the Mediterranean coast of Monaco. One of the images now appears as a giant wall mural in the new exhibition, which—despite more than 100 photographs—can only offer a small glimpse of this important body of work.

Diane Arbus

The King and the Queen of a Senior Citizen Dance,

NYC, 1970

Courtesy Collection FOTOGRAFIS,

Bank Austria Kunstforum Wien

Helmut Newton

Hanna Schygulla and costume designer Edith Head,

Los Angeles 1980

In recent years, the Helmut Newton Foundation has featured not only solo and themed group exhibitions but also photographic collections—"Between Art & Fashion" (Carla Sozzani Collection, 2018) and "Chronorama" (Pinault Collection, 2024). Both were exceptionally curated and featured major icons of photographic history.

Weegee (Arthur Fellig)

The Critic – Mrs. Cavanaugh and Friend about to enter

the Metropolitan Opera House, New York 1943

Courtesy Collection FOTOGRAFIS,

Bank Austria Kunstforum Wien

Helmut Newton

Blumarine, Monaco 1994

The current collaboration with the "Collection FOTOGRAFIS" from Bank Austria Kunstforum Vienna continues this approach. It consists of over 60 diptychs. Inspired partly by the newsletter of the Collezione Ettore Molinario—which presents two photographs from the Milan collection in dialogue—selected photographs from the prestigious Viennese collection now engage in a thought-provoking visual conversation with works from the Helmut Newton Foundation archive.

Helmar Lerski

Ohne Titel, ca. 1935

Courtesy Collection FOTOGRAFIS,

Bank Austria Kunstforum Wien

Helmut Newton

Close-up, Italian Vogue, Bordighera 1982

Curators Bettina M. Busse (Kunstforum) and Matthias Harder (Helmut Newton Foundation) paired the works based on intuition and association. Two photographs are always shown side by side: portraits, still lifes, landscapes, architecture, or surrealistic fashion and nude photographs from entirely different eras. Sometimes the connection is formal, sometimes thematic. Occasionally, the pairing may seem arbitrary or humorous, but each one opens a vast imaginative space for the viewer.

Etienne Carjat

Charles Baudelaire, 1863

Courtesy Collection FOTOGRAFIS,

Bank Austria Kunstforum Wien

Helmut Newton

Jack Nicholson, Los Angeles 1985

Frank Meadow Sutcliffe

Excitement, ca. 1888

Courtesy Collection FOTOGRAFIS,

Bank Austria Kunstforum Wien

Helmut Newton

Eva Herzigová, Blumarine, Monaco 1995

"Dialogues. Collection FOTOGRAFIS x Helmut Newton" presents various facets of humanity and the evolution of social life over a century—through pairings of Newton’s photographs with works by Diane Arbus, Alfred Stieglitz, Margaret Bourke-White, Elliott Erwitt, Florence Henri, Duane Michals, Paul Strand, Man Ray, August Sander, Judy Dater, Otto Steinert, and many other renowned names in 19th- and 20th-century photography. These often complementary or contrasting image pairs have never been shown together before.

HELMUT NEWTON FOUNDATION

MUSEUM OF PHOTOGRAPHY

Jebensstrasse 2, 10623 Berlin

www.smb.museum