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, 1975 

© Richard Misrach, courtesy of Fraenkel Gallery

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

fraenkelgallery.com

Il Color Exhibition @ THE POOL NYC, Palazzo Fagnani Ronzoni, Milan - First chapter of the exhibition "Times of the Gaze. 90 Years of Italian Photography in Two Acts"

Il Color

First chapter of the exhibition "Times of the Gaze. 90 Years of Italian Photography in Two Acts"

THE POOL NYC at Palazzo Fagnani Ronzoni, Milan

October 8 – December 20, 2025 

Mario Cresci

From the serie A Tutto Tondo, 2007

Vincenzo Castella

Monte San Giacomo Salerno, 1982

THE POOL NYC at Palazzo Fagnani Ronzoni in the heart of Milan's historic center (Via Santa Maria Fulcorina, 20) presents the exhibition Il Colore, the first chapter of the series I tempi dello sguardo. 90 anni di fotografia italiana in due atti (Times of the Gaze. 90 Years of Italian Photography in Two Acts), which features two exhibitions at different but consecutive times, bringing together a total of 194 works by 55 Italian and international artists who have shaped the history of 20th-century photography.

The project's title alludes to the artists' ability to mark an era, a "time" in our history, with their gaze, and at the same time invites us to rediscover the time—away from the excesses of today's visual production—to rediscover the extraordinary talents that have made Italian photography unique, even internationally.

The first event, curated by THE POOL NYC, presents the experiences of those masters who have made the use of color one of their most characteristic features.

Luigi Ghirri

Olanda - Otterlo, 2009

Luigi Ghirri

Parma, 1984

Franco Fontana

Paesaggio - Italia, 1995

The exhibition, comprising 115 photographs, features, among others, works by Luigi Ghirri, master of light and quiet, by Giovanni Chiaramonte who travels to Venice to capture the city's most hidden corners, and by Franco Fontana who shapes the landscape through colour, from the geometric urban visions of the 1970s to the abstract sensuality of the Piscina series, to Italian landscapes transfigured into fields of colour.

Guido Guidi

Pomposa, 1983

Mario Schifano

"Arte istantanea – 3000 fotografie di Mario Schifano" 

22 Aprile - 19 Giugno. Foto-n 2403, 1994

Mario Schifano

"Arte istantanea – 3000 fotografie di Mario Schifano" 

22 Aprile - 19 Giugno. Foto-n 2413, 1994

The exhibition continues with Guido Guidi who makes photography an act of waiting, with Mario Schifano, irreverent and experimental, who works with the same creative freedom with which he interpreted painting, while Paolo Gioli , the alchemist, although starting from sensitive photographic material, considers it a "material" to be shaped and manipulated.

If on the one hand, Leonardo Genovese captures fragments of dreams through a fierce and revealing light, the Lucanian “controra”, which cuts into bodies and deforms appearances, Rita Lintz, on the other hand, transforms waste into relics: rags become carpets and waste becomes beauty.

Jiang Zhi 蒋志

Rainbow n 2, 2006

The first act of the exhibition is completed with photographs by international artists, including Denis Brihat, Wim Delvoye, Claus Goedicke, Béatrice Helg, John Hilliard, Tracey Moffatt, Jiang Zhi, Wang Qingsong .

During the exhibition period, Palazzo Fagnani Ronzoni hosts a series of collateral events, such as meetings, talks, book presentations, and themed evenings with artists, historians, and photography critics.

Artists : Denis Brihat, Vincenzo Castella, Giovanni Chiaramonte, Mario Cresci, Wim Delvoye, Cosimo Di Leo Ricatto, Franco Fontana, Vittore Fossati, Andrea Galvani, Leonardo Genovese, Luigi Ghirri, Luca Gilli, Paolo Gioli, Claudio Gobbi, Claus Goedicke, Guido Guidi, Béatrice Helg, John Hilliard, Jiang Zhi, Luisa Lambri, Rita Lintz, Marcello Mariana, Tracey Moffatt, Brigitte Niedermair, Wang Qingsong, Mario Schifano, Davide Tranchina, Luigi Veronesi, Cuchi White, Silvio Wolf, Marco Zanta.

The second episode, scheduled from January 16 to February 28, 2026 , will be dedicated to Black and White , with works by authors such as Renato Di Bosso, Alfredo Camisa, Mario De Biasi, Mario Giacomelli, Antonio Biasiucci, Franco Vaccari, Mario Cresci, Luigi Erba, Andrea Galvani, in dialogue with international photographers, including Elliott Erwitt, Jan Groover, Horst P. Horst, Michael Kenna, William Klein, Minor White.

The Pool NYC | Palazzo Fagnani Ronzoni 

Via Santa Maria Fulcorina, 20, Milano

www.thepoolnewyorkcity.com

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, Hatje Cantz, 2025

Text: Ariadne von Schirach

Image courtesy Hatje Cantz

Frank Kunert 

Souterrain, 2015 

Image courtesy Hatje Cantz

Frank Kunert 

Attic Flat, 2007

Image courtesy Hatje Cantz

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

Event Restaurant, 2005

Image courtesy Hatje Cantz

Frank Kunert

Salvation, 2009

Image courtesy Hatje Cantz

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

Frank Kunert

Drive-In, 2012

Image courtesy Hatje Cantz

Frank Kunert

Golden Goal, 2003

Image courtesy Hatje Cantz

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 

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

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 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

www.hatjecantz.com

Myth and Marble: Ancient Roman Sculpture from the Torlonia Collection @ Kimbell Art Museum, Fort Worth

Myth and Marble: Ancient Roman Sculpture from the Torlonia Collection

Kimbell Art Museum, Fort Worth

September 14, 2025 – January 25, 2026

Statue of Cupid and Psyche 

Roman, Imperial Period (second half of 2nd century AD)

Marble

Torlonia Collection, Rome

© Fondazione Torlonia. Photo by Lorenzo De Masi

Statue of Artemis Ephesia 

Roman, Imperial Period (2nd century AD) 

Marble

Torlonia Collection, Rome

© Fondazione Torlonia. Photo by Lorenzo De Masi

The Torlonia Nile, Formerly the Barberini-Albani Nile 

Roman, Imperial Period, Flavian Era (late 1st century AD) 

Gray marble 

Torlonia Collection, Rome

© Fondazione Torlonia. Photo by Lorenzo De Masi

The Kimbell Art Museum presents the exhibition Myth and Marble: Ancient Roman Sculpture from the Torlonia Collection, in the Renzo Piano Pavilion. This exhibition brings to North America for the first time a selection of fifty-eight rarely seen masterpieces from the world’s most important private collection of Roman sculpture. 

“The opportunity to bring large-scale works of ancient Roman sculpture to the American public is extremely rare, and we at the Kimbell are grateful to Fondazione Torlonia for creating this once-in-a-lifetime experience,” said Eric Lee, director of the Kimbell Art Museum. “This is the first exhibition of ancient Roman sculpture in the Kimbell’s fifty-three-year history and is all the more exciting because the legendary Torlonia Collection has been largely unseen for the last seventy years.” 

Established during the course of the nineteenth century by the Franco-Italian banker Prince Giovanni Torlonia (1754–1829) and his son Prince Alessandro (1800–1886), the Torlonia Collection was handed down over generations, eventually growing into the largest private collection of ancient Roman sculptures. This veritable “collection of collections” was assembled through acquisitions from prominent collections of Roman patrician families and from excavations undertaken on the family’s own estates throughout Italy. By 1876, Prince Alessandro Torlonia created a museum to house and exhibit the family’s impressive holdings of ancient marbles. The Museo Torlonia was open to small groups until its closure at the onset of World War II. During this closure, Fondazione Torlonia was created at the behest of Prince Alessandro Torlonia (1925–2017) for the continued study and conservation of both the collection and the Villa Albani Torlonia, a monumental complex and one of the highest expressions of eighteenth-century taste. The sculptures remained largely unseen by the public until Fondazione Torlonia’s first exhibition, at the Musei Capitolini in Rome in 2020. Myth and Marble comes to North America after a recent exhibition of the Torlonia Collection drew unprecedented audiences at the Louvre in Paris.

The works on view at the Kimbell Art Museum were made between the late fifth century BC and the early fourth century AD, with most dating to the High Imperial period (first–second centuries AD). Visitors see examples of the most emblematic genres of ancient marble sculpture, including large-scale figures of gods, goddesses, and mythic heroes, vivid portraits of emperors and their families, and magnificent funerary monuments. Half of the sculptures have been newly cleaned, conserved, and studied specifically for this North American presentation.

Portrait of a Young Woman, known as the Maiden of Vulci 

Roman, late Republican Period (mid-1st century BC)

Marble

Torlonia Collection, Rome

© Fondazione Torlonia. Photo by Lorenzo De Masi

The exhibition is organized thematically into six sections. Upon entering the Kimbell’s special exhibition galleries, visitors first encounter three Icons of the Torlonia Collection, including the mid-first-century BC Portrait of a Young Woman, known as the Maiden of Vulci. This is among the earlier and best-known works in the Torlonia Collection, providing a singular representation of Roman female portraiture from the early Augustan era. This and other portraits on view convey the striking naturalism that is a hallmark of ancient Roman sculpture and that viewers come to appreciate throughout the exhibition.  

Statue of a Goddess, known as the Hestia Giustiniani 

Roman, Imperial Period, Hadrianic Era 

(first half of 2nd century AD) 

Marble 

Torlonia Collection, Rome.

© Fondazione Torlonia. Photo by Lorenzo De Masi

Next, Ideal Bodies and Model Behavior introduces visitors to depictions of myriad deities from the broader Roman world. This section illustrates how, as it expanded, the Roman Empire increasingly embraced aspects of Greek culture, both in its mythology and its visual language, cementing a shared Greco-Roman cultural heritage. The Statue of a Goddess, known as the Hestia Giustiniani, one of the most important works in the collection, is also one of the very few Roman versions of the classical Greek “severe” style in existence and is the largest and most intact sculpture of its type.

Statue of an Emperor on a Throne with Portrait of Augustus 

Roman, Imperial Period (1st century AD) 

Marble 

Torlonia Collection, Rome.

© Fondazione Torlonia. Photo by Lorenzo De Masi

Portrait of Hadrian

Roman, Imperial Period (c. 130 AD) 

Marble 

Torlonia Collection, Rome.

© Fondazione Torlonia. Photo by Lorenzo De Masi

Strategies of Succession displays second-century AD emperors and their imperial families, including a remarkable selection of female portraits. These stunningly realistic portrait sculptures, the likes of which would have permeated public and private spaces in the ancient world, functioned much as mass media does today. Visitors recognize the names of rulers such as Trajan, Hadrian, Marcus Aurelius, Commodus, and Septimius Severus, whose marble busts at once convey their likenesses, deliver overt political propaganda, and communicate subtle messages of power, authority, and identity.   

Statue of a Resting Goat 

Roman, Imperial Period, Trajanic Era (body: late 1st century 

head: attributed to Gian Lorenzo Bernini [1598–1680])

Marble 

Torlonia Collection, Rome 

© Fondazione Torlonia. Photo by Lorenzo De Masi 

Not a single work on view in Myth and Marble looks today as it did when it left the ancient artist’s workshop, whether through the wear and tear of time or by the hands of generations of art restorers. Restoration and Reconstruction spotlights sculptures that have been altered over the centuries—sometimes into nearly new works altogether—reflecting how collectors from the Renaissance through the nineteenth century preferred unfragmented objects to decorate their villas and estates. Intact portrait heads were regularly placed on newly carved busts in the past, and sometimes unrelated elements were assembled into wholly new works of art. The Rondanini-Type Medusa on a Trapezophoros (Table Leg) with a Griffin’s Head, for instance, was created through the assembly of two otherwise distinct, ancient sculptural fragments: a Medusa head joined to a Griffin-headed table leg. Sometimes great artists were engaged to update or perfect ancient fragments. For example, a mundane sculpture of a reclining ram was entirely transformed, made glorious with the addition of an exuberant head carved by the famed Baroque sculptor Gian Lorenzo Bernini around 1620. 

Portus Relief 

Roman, Imperial Period (2nd–3rd century AD) 

Marble 

Torlonia Collection, Rome 

© Fondazione Torlonia. Photo by Lorenzo De Masi

As one of the largest landowners in nineteenth-century Rome, Prince Alessandro Torlonia hired archaeologists to excavate some of his own estates, notably a tract along the Via Appia Antica, which was a major ancient thoroughfare near Rome, and a property at Portus, once ancient Rome’s main harbor. Torlonia Excavations displays remarkable discoveries from these excavations, including an Attic Votive Relief from the fifth century BC, which is the only Greek sculpture in the exhibition and the earliest work in the entire Torlonia Collection. The Portus Relief offers a rare representation of the place where it was found, combining elements of the architectural and commercial landscape with symbolic motifs and deities.

Sarcophagus Depicting the Labors of Hercules 

and Lid with Reclining Couple 

Roman, Imperial Period (second half of 2nd century AD)  

Marble

Torlonia Collection, Rome. 

© Fondazione Torlonia. Photo by Lorenzo De Masi

Sarcophagus Depicting the Labors of Hercules 

and Lid with Reclining Couple 

Roman, Imperial Period (second half of 2nd century AD) 

Marble

Torlonia Collection, Rome. 

© Fondazione Torlonia. Photo by Lorenzo De Masi

Myth and Marble closes with Death and Remembrance, reflecting a major strength of the Torlonia Collection: funerary monuments. These superb carvings underscore the longstanding Roman tradition of commemorating the dead and visually memorializing their likenesses and personal identities in marble, to be publicly displayed and visited by generations of descendants. Several extraordinary sarcophagi (stone coffins) such as the Sarcophagus Depicting the Labors of Hercules and Lid with Reclining Couple are among the largest sculpted works in marble to survive from ancient Rome.  

“Each of these exceptional sculptures has lived many lives over the centuries,” said Jennifer Casler Price, senior curator of Asian, African, and ancient American art at the Kimbell Art Museum and curator of the exhibition for the Kimbell. “Reaching across space and time, connecting the past with the present, these powerful works still resonate with us today. We are thrilled to be able to share their fascinating stories with our visitors and to bring these magnificent ambassadors from Rome to Texas.”

“Fondazione Torlonia is excited to be sharing the Torlonia Collection with audiences in North America for the first time. This exceptional group of ancient sculptures is a testament to the enduring cultural legacy of ancient Rome, as well as the vision and passion of multiple generations of the Torlonia family,” said Alessandro Poma Murialdo, president of Fondazione Torlonia.

“By sharing these rare masterpieces with the public, Fondazione Torlonia aims to deepen appreciation for and foster a renewed connection with the artistic achievements of the ancient world,” said Carlotta Loverini Botta, director of Fondazione Torlonia. “The universal spirit that has always informed classical art must continue to be nurtured for generations to come. It is a universal language that thrives on the ongoing reinvention of the classics through engagement with modern culture.” 

Portrait of a Man, known as the Old Man of Otricoli 
Roman, late Republican Period (1st century BC) 
Marble 
Torlonia Collection, Rome 
© Fondazione Torlonia. Photo by Lorenzo De Masi

Portrait of Faustina the Younger 
Roman, Imperial Period, Antonine Era (c. 160 AD) 
Marble 
Torlonia Collection, Rome 
© Fondazione Torlonia. Photo by Lorenzo De Masi

Myth and Marble: Ancient Roman Sculpture from the Torlonia Collection is co-organized by the Art Institute of Chicago and Fondazione Torlonia, in collaboration with the Kimbell Art Museum, the Montreal Museum of Fine Arts, and the Museum Box. 

The 160-page hardcover catalogue includes essays by Lisa Ayla Çakmak, the Mary and Michael Jaharis Chair and Curator, Arts of Greece, Rome, and Byzantium, The Art Institute of Chicago; Katharine A. Raff, the Elizabeth McIlvaine Curator, Arts of Greece, Rome, and Byzantium, The Art Institute of Chicago; Silvia Beltrametti, senior lecturer in the Department of Art History, Theory, and Criticism at the School of the Art Institute of Chicago; and Salvatore Settis, independent art historian. 

KIMBELL ART MUSEUM

3333 Camp Bowie Boulevard, Fort Worth, Texas 76107

kimbellart.org

Paul McCartney Photographs Exhibition @ Gagosian, London - "Rearview Mirror: Liverpool–London–Paris"

Paul McCartney

Rearview Mirror: Liverpool–London–Paris

Gagosian, London

August 28 – October 4, 2025

Paul McCartney

Self-portrait in my room at the Asher family home, 

Winpole Street, London, December 1963, 2025

© Paul McCartney

Courtesy Gagosian

Gagosian presents Rearview Mirror: Liverpool–London–Paris, an exhibition of photographs by Paul McCartney at the Davies Street gallery in London. The works chronicle Paul McCartney and his fellow Beatles as their reputation spread beyond Liverpool and Hamburg between December 1963 and early February 1964. Each picture was taken with McCartney’s 35mm Pentax camera, acquired in late 1963 around the time that the term “Beatlemania” was coined to describe the unprecedented mass hysteria that followed the band’s every move.

Paul McCartney

Photographers, fans, and officers,

rue de Caumartin, Paris, January 1964, 2025

© Paul McCartney

Courtesy Gagosian

Paul McCartney

John on the Champ-Elysées, 

Paris, 15 January 1964, 2025

© Paul McCartney

Courtesy Gagosian

Seen from McCartney’s perspective as both protagonist and observer, his photographs—a mix of single frames and multi-image works—comprise a singular contribution to the visual record of the 1960s, a culturally and socially transformative decade. Shot with unassuming candor, the works at Davies Street offer an intimate account of the band as they toured across the UK and in Paris in the formative weeks before their debut visit to America. They show the in-between moments tied to key events in The Beatles’ trajectory: their autumn 1963 UK tour, their first as headliners; their appearance on the BBC’s Juke Box Jury, which garnered a record 23 million viewers; The Beatles Christmas Show, which greatly broadened their appeal; and their three-week residency at the Olympia Theatre in Paris, an early proving ground.

An enigmatic self-portrait shows Paul McCartney reflected in the mirror of his attic room—where he dreamed the melody for “Yesterday”—in the London family home of his then-girlfriend, Jane Asher. The group’s camaraderie and cool is captured in atmospheric scenes backstage at the Lewisham Odeon, London Palladium, and Finsbury Park Astoria. Enlarged contact sheets recount in rich detail vignettes marked by an unguardedness that could only have been recorded by one of their own, including the charged moments before the band’s transatlantic flight took off for New York.

Remastered from original negatives and contact sheets thought to have been lost for over half a century, each of the works has been prominently signed by Paul McCartney, issued in a small edition, and framed in a bespoke profile of his design. Rearview Mirror: Liverpool–London–Paris follows McCartney’s debut presentation at the gallery earlier this year at Gagosian Beverly Hills, and coincides with the touring exhibition Paul McCartney Photographs 1963–64: Eyes of the Storm, which opened at the National Portrait Gallery in London in 2023 and which is currently on view at the de Young, Fine Arts Museums of San Francisco, through October 

Paul McCartney was born in Liverpool, England, in 1942. Passionate about art from a young age, he became attuned to the medium of photography as a teenager upon seeing the pictures published in the sports section of the Observer, as well as those taken by his younger brother, Michael. This was reinforced when The Beatles, during their time in Hamburg, Germany, befriended the photographers Astrid Kirchherr and Jürgen Vollmer, who were influential in helping the group form a distinct visual identity. In the mid-1960s Paul McCartney encountered the British avant-garde through John Dunbar, a cofounder of Indica Books and Gallery, and gallerist Robert Fraser, who introduced Paul McCartney to Andy Warhol, Claes Oldenberg, Peter Blake, and Richard Hamilton—the latter two artists invited by McCartney to design Beatles album covers that became instantly iconic. In the early 1980s, inspired by a discussion with Willem de Kooning, Paul McCartney took up painting, exhibiting his work at the Arnolfini Gallery, Bristol, in 2000, and at the Walker Art Gallery, Liverpool, in 2002. Paul McCartney Photographs 1963–64: Eyes of the Storm was organized by the National Portrait Gallery, London, opening there in 2023 before traveling to the Chrysler Museum of Art, Norfolk, Virginia (2023–24); Brooklyn Museum of Art, New York (2024); Tokyo City View (2024); Knowledge Capital Event Lab, Osaka, Japan (2024–25); Portland Art Museum (2024–25); de Young, Fine Arts Museums of San Francisco (2025); and Frist Art Museum, Nashville (2025–26).

GAGOSIAN

17–19 Davies Street, London W1K 3DE

gagosian.com

The Seoul Issue, Aperture Magazine, Fall 2025, No. 260 - A kaleidoscopic portrait of Seoul through the eyes of South Korean photographers

The Seoul Issue

Aperture Magazine

No. 260, Fall 2025  

The Seoul Issue, Aperture Magazine 

No. 260, Fall 2025

Photography by Heeseung Chung

Image courtesy of Aperture

Aperture has released “The Seoul Issue,” a kaleidoscopic portrait of Seoul through the eyes of its extraordinary photographers. The latest entry in the magazine’s series of city-focused editions—following Accra, Delhi, Los Angeles, Mexico City, New York, Tokyo, and São Paulo—this issue brings together modern and contemporary image makers who embody the varied and flourishing photography scene of South Korea’s capital, a megacity now at the center of contemporary art and culture.

The Seoul Issue, Aperture Magazine 

No. 260, Fall 2025

Photography by Yongjoon Choi

Image courtesy of Aperture

“The Seoul Issue” introduces some of Korea’s most influential photographers to an international audience. In an in-depth interview, Heinkuhn Oh discusses his uncanny portraits of teenagers, soldiers, and other social types who speak to collective and personal anxiety in Korean society. Aperture’s editor in chief, Michael Famighetti, profiles Bohnchang Koo, who obsessively collects and photographs moon jars, masks, figurines, and other talismanic objects, treating them as conduits to Korean history. Hyunji Nam catches up with Nikki S. Lee, who dropped out of New York’s art world and returned to Seoul after establishing herself as an enfant terrible in the 1990s with portraits of herself embedded in various subcultures. And critic Andrew Russeth celebrates the rich legacy of Space, Korea’s longest-running architecture magazine and a record of Seoul’s shape-shifting skyline.

The Seoul Issue, Aperture Magazine 

No. 260, Fall 2025

Photography by Suntag Noh

Image courtesy of Aperture

The Seoul Issue, Aperture Magazine 

No. 260, Fall 2025

Photography by Yezoi Hwang

Image courtesy of Aperture

Many of Seoul’s photographers grapple with the geopolitics and tensions of the past and the anxieties of the present, among them a cold war with North Korea and an ongoing crisis of democracy. While photojournalist Suntag Noh has spent decades depicting the region’s ideological rifts and contradictions with a dark absurdity, Yezoi Hwang hit the streets last winter, photographing large-scale protests that began when a now-impeached president declared martial law this past December. Yezoi Hwang imbues political subject matter with intimacy, as does the pathbreaking feminist photographer Youngsook Park, whose lyrical 1960s photographs are featured here.

Writer and curator Jaeyong Park contributes an essay on how a younger generation of photographers is exploring Seoul’s postmodern relationship to images, arguing that the city, through its profusion of screens that are “everywhere and nowhere,” has become a “prototype for a post-photographic future.” Cover artist Heeseung Chung grapples with this deluge of images by treating each of her eclectic, playful photographs as incomplete, steering us toward the mysterious gaps between pictures, whereas Chorong An’s recombinant photographs evoke life under the regime of K-beauty.

Weaving together multiple timelines and perspectives, “The Seoul Issue” is an essential resource for understanding how Korean photographers have mapped and continue to map the past, present, and future of a city defined by restless, dizzying transformation.

APERTURE

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2025 Arizona Artist Awards winners announced by Phoenix Art Museum: Alice Leora Briggs, Shaunté Glover, Chris Ignacio, Jan Talmadge Davids

2025 Arizona Artist Awards winners 

Phoenix Art Museum

Upcoming Exhibition(s)

Alice Leora Briggs 

STYX, in progress 

Sgraffito drawing on 18 wood panels prepared 

with kaolin clay, acrylic medium binder, India ink

six acrylic on wood panels 

Courtesy of the artist

Phoenix Art Museum (PhxArt) has announced the recipients of the 2025 Arizona Artist Awards. Alice Leora Briggs was named the recipient of the 2025 Scult Family Artist Award and Chris Ignacio and Jan Talmadge Davids were named the recipients of the 2025 Sally and Richard Lehmann Emerging Artist Awards (Lehmann Emerging Artist Awards). New this year is the Sette/Cohn Artist Award, established in 2024 to expand the Arizona Artist Awards program and deepen PhxArt’s support of local artists. Shaunté Glover was named the inaugural recipient. As part of the awards, each artist receives a lifetime Membership to Phoenix Art Museum as well as funds to support their artistic practice. Briggs, Ignacio, and Talmadge Davids will also have the opportunity to exhibit their work in solo and group exhibitions at the Museum premiering in summer 2026.

“We are thrilled to announce this year’s Scult, Lehmann, and Sette/Cohn Artist Awards recipients, in recognition of their artistic contributions to our state’s robust arts and culture landscape,” said Jeremy Mikolajczak, the Museum’s Sybil Harrington Director and CEO. “Each of these artists has built a dynamic, thoughtful practice that speaks to their own lived experiences, communities, and perspectives on identity, connection, and the larger human condition. We are honored to support their work as part of our ongoing commitment to amplifying the voices of Arizona-based artists through our annual Artist Awards program, and we are grateful to the Scult family, the Lehmann family, the Cohn family, Lisa Sette, and Artlink for their generosity and partnership in strengthening those efforts.” 

“I offer my heartfelt congratulations to Alice, Chris, Jan, and Shaunté as our newest cohort of Arizona Artist Awards recipients,” said Christian Ramírez, Cohn Assistant Curator of Contemporary Art and Director of Engagement at Phoenix Art Museum. “These artists have all built multifaceted practices, and their work stands as a testament to the strength of the artistic community here in Arizona. I look forward to working with Alice, Chris, and Jan as we begin planning for their forthcoming exhibitions, which will be designed to engage our community with their evocative works and wide-ranging perspectives, and I look forward to seeing how Shaunté utilizes this award opportunity to support her artistic growth.” 

Alice Leora Briggs: Scult Family Artist Award

Each year, Phoenix Art Museum recognizes a mid-career Arizona-based artist with the Scult Family Artist Award. Eligible candidates must have resided in Arizona for a minimum of four consecutive years and are nominated by a group of curators, museum directors, and other arts professionals from across the state. Their candidacy is evaluated based on their demonstration of artistic excellence, active creation and exhibition of new work, and career-spanning evolution. Following a robust review process, a jury of curators, art scholars, artists, and other experts and professionals in the field from across the country selects the recipient. The Scult Family Artist Award includes monetary support of $20,000 and an invitation to present a solo exhibition of new and past work at the Museum. The 2025 Scult Artist Award jury included Lana Meador, Associate Curator of Modern and Contemporary Art, San Antonio Museum of Art; Olivia Miller, Executive Director, Jordan Schnitzer Museum of Art at the University of Oregon; Ann Morton, 2019 Scult Family Artist Award recipient; Christian Ramírez, Cohn Assistant Curator of Contemporary Art and Director of Engagement, Phoenix Art Museum; and Jeff Scult.

Alice Leora Briggs 

Photo by the artist

The 2025 Arlene and Morton Scult Artist Award recipient is Alice Leora Briggs. Born in an oil boomtown in West Texas, Briggs grew up in Idaho’s Snake River Valley and is now based in Tucson, Arizona. Through her practice, she investigates human frailties through drawings, woodcuts, letterpress broadsides, site-specific installations, and books. Her work has been featured in more than 50 solo exhibitions and is represented in more than 35 public collections, including those of Phoenix Art Museum; Crystal Bridges Museum of American Art; Fine Arts Museums of San Francisco; Museum of Fine Arts Houston; Library of Congress; Oxford’s Bodleian Library; and Yale’s Beinecke Rare Book and Manuscript Library.  Her publications include Dreamland: The Way Out of Juárez (2010); an illuminated manuscript-police blotter created with writer Charles Bowden; Abecedario de Juárez: An Illustrated Lexicon (2022) produced with photojournalist Julián Cardona; and The Room, a portfolio of woodcuts created with U.S. poet laureate Mark Strand. Briggs was a Fulbright Scholar at the Academy of Fine Arts and Design in Bratislava, Slovakia, and received a Guggenheim Fellowship in 2020. She received her MFA from the University of Iowa and is represented by Evoke Contemporary in Santa Fe, New Mexico, and Etherton Gallery in Tucson, Arizona.  

Chris Ignacio and Jan Talmadge Davids: Lehmann Emerging Artist Awards

The Lehmann Emerging Artist Awards foster the creative practices and careers of emerging Arizona-based artists. Candidates must have resided in Arizona for a minimum of one year and are invited to apply through an annual open call hosted by Artlink, a non-profit organization that has supported and amplified Arizona artists and community-based art events and initiatives for more than 30 years. Recipients receive $10,000 in monetary support and the opportunity to present a joint exhibition at the Museum with fellow Lehmann awardees. The 2025 Lehmann Emerging Artist Awards jury was also assembled by Ramírez and included Ramírez; Lana Meador, Associate Curator of Modern and Contemporary Art, San Antonio Museum of Art; Olivia Miller, Executive Director, Jordan Schnitzer Museum of Art at the University of Oregon; Ann Morton, 2019 Scult Family Artist Award recipient; and Sally Lehmann. 

Chris Ignacio

Photo by Sequoyah Wildwyn Dechter

The Museum has named Chris Ignacio and Jan Talmadge Davids as the recipients of the 2025 Lehmann Emerging Artist Awards. Based in Phoenix, Chris Ignacio is a Filipino-American puppeteer, producer, educator, and interdisciplinary artist whose work explores the intersection of voice, technology, and identity. He began his puppetry career in New York in 2012, training with experimental artists at La MaMa and working across theater, community arts, and livestream media. In 2023, he made his debut at the Metropolitan Opera as a puppeteer in Florencia en el Amazonas, directed by Mary Zimmerman. He has also premiered original puppetry works at New York theaters including La MaMa, The Tank, and The Brick, and has toured both nationally and abroad. In Phoenix, Ignacio has served as a media designer for major institutions such as Ballet Arizona, Arizona Broadway Theater, Arizona Opera, and Childsplay. His original projects, including those featured in exhibitions at Vision Gallery and Mesa Arts Center, center community collaboration, particularly with young people or people with limited arts exposure. He holds an MFA in Theatre/Interdisciplinary Digital Media from Arizona State University (ASU), where he now teaches motion capture and 3D animation. Ignacio also serves as creative producer for the T. Denny Sanford Harmony Institute at ASU. 

Jan Talmadge Davids

Photo courtesy of the artist

Jan Talmadge Davids works in clay and mixed media to explore landscapes of her childhood and their local  ecologies and to articulate ideas of place-making. Through installation and material sensitivities, she invites the viewer to engage in the ideas of fragility and vulnerability. Talmadge Davids was born in Tucson, Arizona, spending her youth in the southeastern part of the state. She attended the University of Arizona, California State University at Long Beach, and then came from Los Angeles to pursue her MFA at the Herberger School of Art and Design, where she found the opportunity to reconcile her past with her present, which is embedded in the desert landscape. Her work has been shown at the Los Angeles Municipal Art Gallery; The Carolyn Campanga Klefeeld Contemporary Art Museum in Long Beach, CA; Tempe Center for the Arts; eye lounge; The Tucson Museum of Art; and Art d’Core Gala.

Shaunté Glover: Sette/Cohn Artist Award

Established in 2024, the Sette/Cohn Artist Award was created to expand PhxArt’s Arizona Artist Awards program.  The new $5,000 prize is awarded to an emerging Arizona artist selected from the Lehmann Emerging Artist Award application pool as part of a five-year initiative dedicated to supporting arts engagement and strengthening community partnerships. It is named in honor of Lisa Sette, who has supported and represented Arizona-based artists, both through her gallery and personally, for more than 40 years, and Lee and Mike Cohn, longtime Museum supporters who in 2023 provided the seed funding to launch the Phoenix Art Museum Education and Engagement Excellence Fund and have extended their generosity to support Arizona-based artists. The award’s recipient is selected by Christian Ramírez, Cohn Assistant Curator of Contemporary Art and Director of Engagement, Phoenix Art Museum; Olga Viso, Selig Family Chief Curator and Director of Curatorial Affairs, Phoenix Art Museum; Lee and Mike Cohn; and Lisa Sette. 

Shaunté Glover

Photo courtesy of the artist

The inaugural 2025 Sette/Cohn Artist Award recipient is Shaunté Glover. Glover is a multidisciplinary artist based in Phoenix, Arizona. Her creative journey spans photography, film, printmaking, and sculpture, exploring identity and representation to use art as a catalyst to increase visibility, strengthen community engagement, and amplify the voices of marginalized communities, particularly those of Black women. Rooted in her upbringing in South Phoenix, Glover’s work draws from memories of childhood, basketball, family, and everyday neighborhood life. She combines these influences into layered visual narratives that reflect lived experience and cultural nuance. 

PHOENIX ART MUSEUM

1625 North Central Avenue, Phoenix, AZ 85004 

www.phxart.org