Showing posts with label photos. Show all posts
Showing posts with label photos. Show all posts

11/09/25

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

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

Roger Ballen
Roger Ballen
Funeral rites, 2004
© Roger Ballen

Roger Ballen
Roger Ballen
Untitled, 2020
© Roger Ballen

Roger Ballen
Roger Ballen
Wall shadows, 2003
© Roger Ballen

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

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

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

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

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

Curator: Nina Ansperger

MUSEUM GUGGING
Am Campus 2, 3400 Maria Gugging

Westwood | Kawakubo @ NGV International, Melbourne - A Major Fashion Design Exhibition at the National Gallery of Victoria

Westwood | Kawakubo 
National Gallery of Victoria, Melbourne 
7 December, 2025 - 19 April 2026

Vivienne Westwood
World's End, London
(fashion house)
Vivienne Westwood (designer)
Malcolm McLaren (designer) 
Outfits from the Pirate collection, autumn–winter 1981–82 
Pillar Hall, Olympia, London, 31 March 1981
Photo © Robyn Beeche

Rei Kawakubo
Comme des Garçons, Tokyo
 
(fashion house)
Rei Kawakubo (designer) 
Look 5, from the Break Free collection, 
spring–summer 2024. Paris, 30 September 2023 
Image © Comme des Garçons
Model: Hannah Heise

Vivienne Westwood
World's End, London
 (fashion house)
Vivienne Westwood (designer)
Malcolm McLaren (designer) 
Outfit from the Savage collection, spring–summer 1982 
Pillar Hall, Olympia, London, 22 October 1981 
Photo © Robyn Beeche

Rei Kawakubo
Comme des Garçons, Tokyo
 
(fashion house)
Rei Kawakubo (designer) 
Look 28, from the 2 Dimensions collection, 
autumn–winter 2012. Paris, 3 March 2012
Image © Comme des Garçons

The NGV’s world-premiere exhibition pairs two global icons – and iconoclasts – of the fashion world for the first time, British designer VIVIENNE WESTWOOD (1941 – 2022) and Japanese designer REI KAWAKUBO (b. 1942) of Comme des Garçons. Born a year apart in different countries and cultural contexts, each brought a rule-breaking radicalism to fashion design that subverted the status quo. Today, their critically acclaimed collections are celebrated globally for questioning conventions of taste, gender and beauty, as well as challenging the very form and function of clothing.

Katie Somerville
Portrait of Katie Somerville
Senior Curator, Fashion and Textiles, NGV 
with VIVIENNE WESTWOOD, London (fashion house)
Vivenne Westwood (designer)
Ensemble, 1987, Harris Tweed collection, autumn-winter, 1987–88
at the announcement of Westwood | Kawakubo on display 
at NGV International 7 December 2025 to 19 April 2026
Photo: Eugene Hyland

Danielle Whitfield
Portrait of Danielle Whitfield, 
Curator, Fashion and Textiles, NGV 
with COMME DES GARÇONS, Tokyo (fashion house) 
Rei KAWAKUBO (designer) 
Look 9, 2012, 2 Dimensions collection, 
autumn-winter 2012–13
at the announcement of Westwood | Kawakubo on display 
at NGV International 7 December 2025 to 19 April 2026
Photo: Eugene Hyland

Through a showstopping display of more than 140 innovative and ground-breaking designs, Westwood | Kawakubo explores the convergences and divergences between these two self-taught rebels of the fashion world. The exhibition brings together important loans from international museums and private collections – including New York’s Metropolitan Museum, The Victoria & Albert Museum, Palais Galliera, and the Vivienne Westwood archive – alongside 100+ outstanding works from the NGV Collection. The exhibition features more than 80 works that have recently entered the NGV Collection, including nearly 40 outstanding works recently gifted to the NGV by Comme des Garçons especially for this exhibition. 

Rei Kawakuko
Comme des Garçons, Tokyo
 
(fashion house)
Rei Kawakubo (designer) 
Look 28, from the 2 Dimensions collection, 
autumn–winter 2012. Paris, 3 March 2012
Image © Comme des Garçons
Model: Henna Lintukangas

Rei Kawakuko
Comme des Garçons, Tokyo
 
(fashion house)
Rei Kawakubo (designer) 
Look 2, from the Smaller is Stronger collection, 
autumn–winter 2025. Paris, 8 March 2025 
Image © Comme des Garçons 
Model: Mirre Sonders

Presented thematically, Westwood | Kawakubo charts the defining collections and concerns of their practices – from the mid-1970s to the present day – inviting audiences to consider the multiple ways that Vivienne Westwood and Rei Kawakubo have each rewritten fashion conventions and codes over the course of their careers. These include: the impact and influence of the punk zeitgeist of the 1970s; the reinterpretation and reinvention of historical fashion references; their experimental design methodologies and the interrogation of gender and the idealised body. Alongside fashion, the exhibition also features archival materials, photography, film and runway footage, offering audiences a deep insight into the minds and creative processes of these two legends of contemporary fashion.

Vivienne Westwood
Vivienne Westwood, London
(fashion house)
Vivienne Westwood (designer) 
Look 49, from the Anglomania collection, 
autumn–winter 1993–94
Le Cercle Républicain, Paris, March 1993
Photo © firstVIEW 
Model: Kate Moss

Exhibition highlights include Westwood’s iconic punk ensembles from the late 1970s, popularised by London bands such as The Sex Pistols and Siousie Sioux; a romantic MacAndreas tartan gown from Westwood’s Anglomania collection (autumn-winter 1993-94), famously worn by Kate Moss on the runway; and the original version of the corseted Wedding dress first shown in the Wake Up, Cave Girl Autumn-winter 2007-08 collection and later worn by Sarah Jessica Parker in Sex and The City: The Movie.

Rei Kawakubo
Comme des Garçons, Tokyo
(fashion house) 
Rei Kawakubo (designer) 
Look 4, from the Blood and Roses collection, 
spring–summer 2015. Paris, 27 September 2014 
Image © Comme des Garçons 
Model: Andrea Hrncirova

Rei Kawakubo
Comme des Garçons, Tokyo
 (fashion house) 
Rei Kawakubo (designer)
Look 1, from the Blue Witch collection, 
spring–summer 2016. Paris, 3 October 2015
Image © Comme des Garçons 
Model: Maja Brodin

Rei Kawakubo
Comme des Garçons, Tokyo
 (fashion house) 
Rei Kawakubo (designer)
Look 6, from the Invisible Clothes collection, 
spring–summer 2017. Paris, 9 March 2017 
Image © Comme des Garçons 
Model: Georgia Howorth

In 2017, The Met in New York staged the exhibition, Rei Kawakubo / Comme des Garçons: The Art of the In-Between, which opened with the pop culture phenomenon the Met Gala. The NGV exhibition features a version of the sculptural petal ensemble worn by Rihanna on the red carpet, as well as key designs from collections of those worn by Lady Gaga, Katy Perry, and Tracee Ellis Ross. Also on display are dramatic abstract works spanning the recent decades which challenge the relationship between the body and clothing, including the playful Two Dimensions, spring-summer 2012, and the abstract forms of Invisible Clothes spring-summer 2017. Striking gingham sculptural forms from Body Meets Dress – Dress Meets Body collection (spring-summer 1997) also feature.

Rei Kawakubo
Comme des Garçons, Tokyo
 (fashion house) 
Rei Kawakubo (designer)
Look 6, from the Body Meets Dress–Dress Meets Body collection, 
spring–summer 1997 
Image © Comme des Garçons

Major showstopping moments in the exhibition include a dramatic, spotlit gallery highlighting how both designers have been influenced by fashion history; Westwood’s sweeping silk taffeta ball gowns inspired by 18th century court dress are presented alongside Kawakubo’s punk interpretations in pink vinyl and rich floral jacquard. A further dynamic display juxtaposes the bold, red tartans, English tweeds, grey plaids and navy pinstripes of Kawakubo with Westwood’s iconic tailoring. Sculptural, deconstructed, cinched and exaggerated silhouettes demonstrate their exacting approaches to cutting and textile traditions.

The exhibition design presents the two distinct voices of Vivienne Westwood and Rei Kawakubo as parallel yet fundamentally unique forces in fashion. The design uses symmetry as its cornerstone concept, presenting these designers like left and right hands; symmetrical but not identical.

Rei Kawakuko
Comme des Garçons, Tokyo
 
(fashion house)
Rei Kawakubo (designer) 
Look 1, from the 18th Century Punk collection, 
autumn–winter 2016. Paris, 5 March 2016
Image © Comme des Garçons 
Model: Anna Cleveland

The exhibition explores Westwood and Kawakubo’s practices across five themes. Punk and Provocation considers how punk, both aesthetically and conceptually, crystallized in the early collections of each designer and has remained a touchstone, if not a design manifesto, throughout their careers. Highlight Vivienne Westwood works in this section convey some of the key aspects of punk clothing – offensive graphics, bondage trousers, distressed knitwear, tartan, leather, safety pins and chains. In dialogue, four notable works by Rei Kawakubo demonstrate the influence and ethos of punk in her practice.

Vivienne Westwood
World's End, London
 (fashion house)
Vivienne Westwood (designer)
Malcolm McLaren (designer) 
Outfit from the Nostalgia of Mud collection, 
autumn–winter 1982–83. 
Pillar Hall, Olympia, London, 24 March 1982 
Photo © Robyn Beeche

Rupture explores the unique design lexicons of Vivienne Westwood and Rei Kawakubo, revealing how each have been driven by the desire to break free of convention and reinvent the rules of dress. Early highlights here include displays of Westwood’s Pirate (spring-summer 1981) and Nostalgia of Mud (autumn-winter 1983) collections that encapsulated the New Romantic and Buffalo movements of 1980s London, contrasted by recent works from Kawakubo’s Not Making Clothes collection, spring-summer 2014, which saw her negate the boundaries between body and garment.

Vivienne Westwood
Vivienne Westwood, London 
(fashion house)
Vivienne Westwood (designer) 
Fragonard, evening dress, 
from the Cut, Slash & Pull collection, 
spring–summer 1991 
116 Pall Mall, London, October 1990 
Photo © Robyn Beeche 
Model: Sara Stockbridge

Reinvention looks at the way both designers have referenced the past or looked to the future, looking to sources of inspiration that include fashion history, tailoring traditions, decorative arts and textiles. For Vivienne Westwood art history has been a constant influence, most notably in her Portrait collection (autumn-winter 1990), which featured prints of famous eighteenth century paintings by Boucher and Fragonard emblazoned on the corsetry. For Rei Kawakubo, breaking the rules of taste has resulted in collections that bring together clashing pattern, ruffles and frills.

The Body: Freedom and Restraint explores the ways in which both Vivienne Westwood and Rei Kawakubo have consistently challenged existing conventions related to ideal and idealised female bodies and rallied against objectification. Beginning with iconic works from Westwood’s Erotic Zones collection (spring-summer 1995) and Kawakubo’s The Future of Silhouette (autumn-winter 2017-18), this section considers the ways in which both designers have redefined the female body.

Rei Kawakubo
Comme des Garçons, Tokyo
 
(fashion house)
Rei Kawakubo (designer) 
Look 13, from the Uncertain Future collection, 
spring–summer 2025. Paris, 28 September 2024 
Image © Comme des Garçons
Model: Astrid Wagemakers

The final section of the exhibition, The Power of Clothes, considers fashion as a tool to convey a message, personal or political, and the powerful individual female voice. It concludes with recent Westwood collections – Propaganda (autumn-winter 2025) and Chaos Point (autumn-winter 2008-09) – that utilise clothing and fabrics as a canvas for messaging about the environment, social inequity of political freedoms in an echo of her early punk days. These are seen in context with the self-reflective power of Kawakubo’s recent collections (Uncertain Future, spring-summer 2025) which express her emotional response to the state of the world.

Tony Ellwood
Portrait of Tony Ellwood AM, Director, NGV 
with VIVIENNE WESTWOOD, London (fashion house)
Vivenne Westwood (designer)
Gown, 1998, Dressed to Scale collection, autumn-winter 1998-99 
at the announcement of Westwood | Kawakubo on display 
at NGV International 7 December 2025 to 19 April 2026
Photo: Eugene Hyland
Tony Ellwood AM, Director, NGV said: ‘This exhibition celebrates two leading female fashion designers from different cultural backgrounds, who both had strong creative spirits and pushed boundaries. Through more than 140 designs from the NGV Collection and key international loans, Westwood | Kawakubo invites audiences to reflect on the enduring legacies of these groundbreaking designers and contemplate the ways in which fashion can be a vehicle for self-expression and freedom."
The exhibition will be accompanied by an ambitious world-first publication, also titled Westwood | Kawakubo, exploring the intersecting histories of Westwood and Kawakubo with new reflections from industry experts including Jane Mulvaugh, Valerie Steele, Stephen Jones, Akiko Fukai and Dame Zandra Rhodes.

FASHION DESIGNER VIVIENNE WESTWOOD

Vivienne Isabel Swire was born in Glossop, Derbyshire on 8 April 1941. In 1961, she married Derek Westwood, later divorcing and partnering with Malcolm McLaren. The couple became creative collaborators and proprietors of a retail outlet at 430 Kings Road Chelsea, going on to have a radical influence on international fashion over the next decade. Westwood and McLaren stocked the store with a combination of their own designs and purchased items, changing the name every few years to reflect the tenor of the clothing. Over subsequent years the store became; Let it Rock (1971), Too Fast To Live, Too Young To Die (1972), Sex (1974), Seditionaries (1977) and World’s End (1980).  

In 1980, Vivienne Westwood and Malcom McLaren’s interests began to diverge and by 1984 Vivienne Westwood was designing independently, moving her business to Italy for production with her new business partner Carlo d’Amario. Over the next two decades, Vivienne Westwood redefined her practice, embracing and reimagining Saville Row tailoring techniques and British textiles. She also began conducting regular archive research of London’s Victoria and Albert Museum and The Wallace Collection. In 1990 she launched her first full menswear collection and structured her business into a variety of labels, including Gold Label and its diffusion line, Red Label. Twice-awarded British Designer of the Year, in 1992 Vivienne Westwood was granted an OBE, and in 2006, a DBE. Vivienne Westwood died in London on 29 December 2022.

FASHION DESIGNER REI KAWAKUBO

Japanese designer Rei Kawakubo was born in Tokyo in 1942 and graduated from Keio University in 1964 with a degree in Literature and Fine Art. After working first as a stylist, she began designing her own clothes and established Comme des Garçons in 1969. The label was incorporated in 1973, coinciding with the presentation of her first major women’s collection. Despite her lack of formal training, Rei Kawakubo courted critical and commercial success. A new Tokyo boutique was launched in 1975, followed by a dedicated menswear line, Homme Comme des Garçons, in 1978. Rei Kawakubo debuted on the Paris runway three years later, in 1981, where she continues to show her two main collections twice-yearly. Her work is known for its conceptual and avant-garde leanings, and for a groundbreaking approach to form and function. Many subsequent projects and ready-to-wear lines have since been introduced and include knitwear, furniture and perfume. 

Rei Kawakubo’s work has been featured by museums in solo and group exhibitions and she has received numerous honours including the Mainichi Fashion Award in 1983 and 1988, Fashion Group Night of the Stars Award in 1986, the French Chevalier de L’Ordre des Arts et des Lettres in 1993 and, most recently, the Harvard University Graduate School of Design Excellence in Design Award in 2000. In 2017, her work was the subject of the Metropolitan Museum of Art’s Costume Institute exhibition, Rei Kawakubo / Comme des Garçons: The Art of the In-Between.

NATIONAL GALLERY OF VICTORIA
NGV International, 180 St Kilda Road, Melbourne, 3004 VIC

07/09/25

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

06/08/25

RPS International Photography Exhibition 2025 @ Saatchi Gallery, London

RPS International Photography Exhibition 2025
Saatchi Gallery, London
5 August - 18 September 2025

Lydia Goldblatt
Lydia Goldblatt
Lick
© Lydia Goldblatt
Courtesy of The Royal Photographic Society

Kunnath Keerthana
Kunnath Keerthana 
Boomika 1
© Kunnath Keerthana 
Courtesy of The Royal Photographic Society

Timon Benson
Timon Benson 
About to Leave
© Timon Benson
Courtesy of The Royal Photographic Society

Ville Niiranen
Ville Niiranen
Family Portrait
© Ville Niiranen
Courtesy of The Royal Photographic Society

The exhibiting artists for the 166th edition of the Royal Photographic Society's International Photography Exhibition (IPE), the world's longest-running photography exhibition, have been announced. Renowned for showcasing the diversity of contemporary photography from around the world, the works are on display at London's Saatchi Gallery.

More than 4,000 photographers, both amateur and professional, submitted work for consideration in the 166th IPE open call. 113 prints from 51 photographers were selected by a guest panel for inclusion in the exhibition.

Selected Photographers: Mark Aitken, Jocelyn Allen, Debe Arlook, Murray Ballard, Timon Benson, John Boaz, Sean Cham, Raeann Kit-Yee Cheung, Alex Currie, Megan K Eagles, Thomas Dryden-Kelsey, Andy Fell, Stefano Ferrarin, Austin Fischer, Margarita Galandina, Lydia Goldblatt, Francisco Gonzalez Camacho, Mat Hay, Ronya Hirsma, Peter Holliday, Lawrence W. Ivy, Ayesha Jones, Keerthana Kunnath, Jacopo Locarno, Deacon Lui, Mehdi Moghimnejad, Aidan Murgatroyd, Albert Ng, Ville Niiranen, Ryan O'Toole Collett, Ana Paganini, Andy Pilsbury, Tine Poppe, Matthew  Renew, Emilie Rondal Nielsen, Hyunmin Ryu, Aindreas Scholz, Kate Schultze, Nirvana Seepersaud, Aria Shahrokhshahi, Xu Shengzhe, Gokhan Tannover, Valentin Valette, lnes Ventura, Katie Waite, Alastair Philip Wiper, Hanna Wolf, Naoto Yoshida, Zeng Fengyang, ChengLong  Zhang, Danilo Zocatelli Cesco.

Francisco Gonzalez Camacho
Francisco Gonzalez Camacho
Do(I)ce
© Francisco Gonzalez Camacho
Courtesy of The Royal Photographic Society

John Boaz
John Boaz 
Fabian , Equestrian Eventer
© John Boaz
Courtesy of The Royal Photographic Society

Aidan Murgatroyd
Aidan Murgatroyd
The Tangential
© Aidan Murgatroyd
Courtesy of The Royal Photographic Society

Tine Poppe
Tine Poppe 
Chrysanthemum Morifolium 
© Tine Poppe
Courtesy of The Royal Photographic Society

The IPE has always reflected the times and this year's submissions are no exception with many photographers focussing on themes that include environmental issues, identity, community, family, and culture, showing how contemporary photographers engage with and capture aspects of the world that are not only visually compelling but also socially and culturally significant.

With this edition showing at Saatchi Gallery, London, more people than ever can view the work and appreciate the broad range of photography and themes captured in the final selection.
Victoria Humphries, CEO of the RPS comments: "This is another edition of the RPS International Photography Exhibition that pushes the boundaries of creative expression and celebrates the diversity and evolution of photography. When you view this exhibition and see the same themes evolving from every corner of the world you can't underestimate the importance of the RPS International Photography  Exhibition in bringing  these works together."

Mat Hay
Mat Hay 
Felipe Barrera Aguirre, traditional Chinampero farmer 
and agroecology teacher
© Mat Hay
Courtesy of The Royal Photographic Society

Murray Ballard
Murray Ballard
Men Playing Cards, Muro Leccese Salento, [2022]
© Murray Ballard 
Courtesy of The Royal Photographic Society 

Peter Holliday
Peter Holliday 
Kalle 
© Peter Holiday 
Courtesy of The Royal Photographic Society

Ana Paganini
Ana Paganini
Our Lady of Fatima
© Ana Paganini 
Courtesy of The Royal Photographic Society

The selection panel of experts consisted of Yuxing Chen, a Chinese artist and researcher based in the UK and previous recipient of the IPE 165 award; Kalpesh Lathigra,a British Indian artist occupying documentary and art practise and senior lecturer at London College of Communication/ University of the Arts London; Anne Nwakalor, a British Nigerian Photo Editor and Communications Officer and founding editor of No! Wahala Magazine; Nicola Shipley, Curator, Producer, Mentor and co-founder and Director of GRAIN projects; and photography consultant and long-term member of the IPE selection panel,Dr Michael Pritchard.

The two award recipients for the 166th edition of the International Photography Exhibition have been announced, with Lydia Goldblatt, and Keerthana Kunnath receiving the honours. Lydia Goldblatt  received the IPE Award for her series Fugue, which explores motherhood as a central theme, considering love and grief, mothering and losing a mother, as well as intimacy and distance.The Under 30s Award was presented to Keerthana Kunnath for her series Not What You Saw, which centres on South Indian female bodybuilders who challenge entrenched gender and beauty norms by embracing physical strength, a trait often considered as masculine.

On receiving the IPE award Lydia Goldblatt said:"It is a huge honour to have my work selected for the RPS IPE 166. I am deeply humbled and very grateful  to receive the IPE Award, and so excited to exhibit Fugue in the company of wonderful photographers. I am profoundly moved to know that this project, which began so quietly and privately, has resonated with the esteemed jury, and that it will have the opportunity to be seen by others who might a/so connect to its themes. To have my work recognised and seen within the rich context and history of the RPS is a very great privilege."

On receiving the Under 30s IPE Award Keerthana Kunnath said:" I am honoured to be named one of the two award winners at this year's RPS International Photography Exhibition. This recognition from such a prestigious institution marks a significant milestone in my photographic journey. It's a joy to see the series being appreciated and celebrated. Thanks to all the judges."

Simon Hill HonFRPS, RPS President,comments:"The RPS is proud to champion a dynamic and inclusive international photographic community. The International Photography Exhibition, with its unique legacy and global reputation, continues to be a vital platform for celebrating the richness and significance of contemporary photography. This 166th edition showcases an extraordinary collection of work from some of the most innovative and talented photographers worldwide. It is a testament to the power of photography to inspire, challenge, and connect us, and we are confident that this carefully curated exhibition will captivate and resonate with audiences through its diverse subjects, themes, techniques, and aesthetics."

RPS - ROYAL PHOTOGRAPHIC SOCIETY

SAATCHI GALLERY, LONDON

25/07/25

Lee Friedlander, Joseph Rodríguez, Garry Winogrand @ Museum Ludwig, Cologne - "Street Photography" Exhibition Curated by Barbara Engelbach

Street Photography
Lee Friedlander, Joseph Rodríguez, Garry Winogrand
Museum Ludwig, Cologne
Through October 12, 2025

Lee Friedlander - NYC
Lee Friedlander
New York City, 1963
Gelatin silver paper, print after 1963, 22 x 32,9 cm
Museum Ludwig, Cologne
© Lee Friedlander, courtesy Fraenkel Gallery, San Francisco 
and Luhring Augustine, New York 
Repro: Historisches Archiv mit Rheinischem Bildarchiv

Garry Winogrand - NYC
Garry Winogrand
New York City, 1969
Gelatin silver paper, print after 1978, 22,9 x 34,2 cm 
© The Estate of Garry Winogrand / Courtesy
Fraenkel Gallery, San Francisco
Repro: Historisches Archiv mit Rheinischem Bildarchiv 

Joseph Rodriguez - Taxi
Joseph Rodriguez
220 West Houston Street, NY 1984,
Gelatin silver paper, print after 1988, 25,2 x 37,2 cm 
© Joseph Rodriguez, Courtesy Galerie Bene Taschen 
Repro: Historisches Archiv mit Rheinischem Bildarchiv

The street life of cities has always been a fascinating subject for photographers, who have approached it in a variety of ways, from candid images documenting urban unrest to portraits that shine a spotlight on individuals. Since the nineteenth century, cities and photography have been directly linked through the idea of modernity. With the introduction of compact cameras such as the Leica, street photography developed into its own genre in the mid-twentieth century. Small-format cameras gave photographers greater flexibility and enabled them to respond quickly while remaining discrete. They explored public space without obtruding and, in contrast to staged photography, captured candid and spontaneous moments that had previously been considered unworthy photographic subjects. Influenced by Henri Cartier-Bresson’s concept of the “decisive moment,” these photographers sought to capture the fleeting instant when light, composition, and subject aligned to convey the significance of an event. 

Lee Friedlander NYC
Lee Friedlander
New York City, 1965
Gelatin silver paper, print after 1965, 22 x 32,9 cm
Museum Ludwig, Cologne
© Lee Friedlander, courtesy Fraenkel Gallery, San Francisco 
and Luhring Augustine, New York
Repro: Historisches Archiv mit Rheinischem Bildarchiv

Garry Winogrand - Women are Beautiful
Garry Winogrand
Untitled, from: Women are Beautiful, around 1970
Gelatin silver paper, print after 1981, 21,7 x 32,4 cm
© The Estate of Garry Winogrand / Courtesy
Fraenkel Gallery, San Francisco
Repro: Historisches Archiv mit Rheinischem Bildarchiv

Joseph Rodriguez Taxi
Joseph Rodriguez
I picked him up at a club and I took him to
Brooklyn. He was a happy camper, NY 1984,
Gelatin silver paper, print after 1988, 24,8 x 36,8 cm 
© Joseph Rodriguez, Courtesy Galerie Bene Taschen 
Repro: Historisches Archiv mit Rheinischem Bildarchiv 

This exhibition in the Photography Room at the Museum Ludwig is dedicated to three protagonists from two generations of street photography: Garry Winogrand (b. 1928 in New York, d. 1984), Lee Friedlander (b. 1934 in Aberdeen, Washington, based in New York), and Joseph Rodríguez (b. 1951 in Brooklyn, based in New York). Despite all three photographers sharing the same subject matter, each one pursues a singular approach that produces distinct results. Iconic photographs from the 1960s to the 1980s are displayed alongside lesser-known examples from each photographer’s oeuvre. All of the works on display were included in donations made by the Bartenbach Family in 2015 and Volker Heinen in 2018, or have been acquired by the Museum Ludwig since 2001.

Lee Friedlander nyc street photography
Lee Friedlander
New York City, 1966
Gelatin silver paper, print after 1966, 22 x 32,9 cm
© Lee Friedlander, courtesy Fraenkel Gallery, San Francisco 
and Luhring Augustine, New York 
Repro: Historisches Archiv mit Rheinischem Bildarchiv

Lee Friedlander Mount Rushmore
Lee Friedlander
Mount Rushmore, 1969
Gelatin silver paper, print after 1969, 22 x 32,9 cm
Museum Ludwig, Cologne
© Lee Friedlander, courtesy Fraenkel Gallery, San Francisco 
and Luhring Augustine, New York 
Repro: Historisches Archiv mit Rheinischem Bildarchiv

The landmark exhibition "New Documents" at the Museum of Modern Art in New York in 1967 helped launch the careers of Garry Winogrand and Lee Friedlander. Their striking photographs broke with visual conventions, such as a level horizon line or a centered main subject. Garry Winogrand frequently tilted his viewfinder, producing skewed horizon lines that offer a new view of reality and make his images appear spontaneous, as does his purposeful use of blurriness, overexposure, underexposure, and backlighting. Lee Friedlander, in turn, created compositions in which the viewer’s gaze is hindered by obstructions, such as shadows, signs, architectural elements, and streetlights, or is disoriented by reflections. 

Garry Winogrand Photograph
Garry Winogrand
Circle Line Statue of Liberty Ferry, New York, 1971
Gelatin silver paper, print after 1973, 21,7 x 32,4 cm
© The Estate of Garry Winogrand / Courtesy
Fraenkel Gallery, San Francisco
Repro: Historisches Archiv mit Rheinischem Bildarchiv

Garry Winogrand - Street Photography
Garry Winogrand
Untitled, from: Women are Beautiful, around 1973
Gelatin silver paper, print after 1973, 21,7 x 32,4 cm
© The Estate of Garry Winogrand / Courtesy
Fraenkel Gallery, San Francisco
Repro: Historisches Archiv mit Rheinischem Bildarchiv

Garry Winogrand and Lee Friedlander, who are represented in the exhibition with twenty images each, both use photography in a self-reflective way that brings the formal aspects of photography to the fore. This encourages an analytical gaze, producing an emotional distance between the viewer and the subject, which often results in ambivalent images where the intention of the photographer remains unclear. Garry Winogrand and Lee Friedlander each developed their own distinct style, embracing originality and authorship by merging documentary photography and personal expression. While they attempted to distance themselves from photojournalism and social documentary photography, eschewing eventbased, narrative-focused, and emotionally charged imagery, Joseph Rodriguez’s work deliberately engages with these genres. He aspires to give visibility to marginalized people by communicating with his subjects and attempting to tell their stories. Many of his photographs are accompanied by short commentaries that provide information about the context in which each image was created. Joseph Rodríguez’s pictures employ unusual perspectives and surprising compositions, and his use of reflections emphasizes the subjectivity of the photographer’s empathic gaze beyond the momentariness of the shot. The exhibition features around twenty photographs from his Taxi series.

Joseph Rodriguez - East Village, NY
Joseph Rodriguez
East Village, NY, 1984
Gelatin silver paper, print after 1988, 25,3 x 37,4 cm
© Joseph Rodriguez, Courtesy Galerie Bene Taschen 
Repro: Historisches Archiv mit Rheinischem Bildarchiv

Joseph Rodriguez, Pulaski Skyway, New Jersey
Joseph Rodriguez
Pulaski Skyway, New Jersey, 1984
Gelatin silver paper, print after 1988, 25,2 x 37,2 cm
© Joseph Rodriguez, Courtesy Galerie Bene Taschen 
Repro: Historisches Archiv mit Rheinischem Bildarchiv 

This is the first exhibition in the new Photography Rooms at the Museum Ludwig, centrally located on the second floor.

Curator: Barbara Engelbach

MUSEUM LUDWIG
Heinrich-Böll-Platz , 50667 Köln 

Street Photography - Lee Friedlander, Joseph Rodríguez, Garry Winogrand
Museum Ludwig, Cologne, May 3 – October 12, 2025