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Show Notes:

"Baxter St, in partnership with YoungArts, presents Sueños Senos Exhumadas del Cenote Yemaya, a solo exhibition by interdisciplinary artist Coralina Rodriguez Meyer. Engaging sculpture, documentary photography, and video installation, the exhibition space is transformed into an immersive psychic interior womb, tracing the survival of diasporic and integrated, Indigenous knowledge systems that have endured or adapted over millennia.

Conceived as a sanctuary structured in three distinct trimesters, the exhibition unfolds as a journey through bodily and cultural memory. At its center, Cenote Yemaya serves as the exhibition’s navel—a large-scale video installation mapping sacred water bodies from the Caribbean to New York, projected onto a Mother Mold fertility effigy. Cast from pregnant bodies and composed of materials including discarded medical latex gloves, hair, nails, birth control packaging, botanica elements, serape fabrics, and funeral flowers, the work embodies both loss and survival. Drawing from preservation rituals such as Andean mummification, Caribbean, and Creole birthing traditions, the effigy serves as a vessel for memory, resistance, and reclamation. A parallel series, Rodriguez Meyer’s Línea Negra photography (2007–present) documents the artist’s infertility diagnosis in 2007 and her subsequent biological pregnancy after overcoming monumental institutional violence. The first trimester of the exhibition is a sterile, hospital counter. An institutional space often hostile to melanated, queer, and immigrant bodies—the first decade of photographs documents the Mama Spa Botanica workshop (2007–present), conceived in collaboration with the artist’s full spectrum neighbors. Linea Negra is the hemispheric melanin line that appears on the abdomen during pregnancy. This natural mark, most prominent in people of color, is an index—an ancestral imprint inscribed between parent and child- connecting reproductive histories across geographies, genders, and generations.

Rooted in traditions that predate colonial borders, Rodriguez Meyer’s work reveals interdependent social structures—matriarchal, endangered, and vulnerable—yet persistent across generations. Visitors move deeper into the installation, to a spatial third trimester, where the environment transforms into a multisensory sanctuary of color, texture, and movement. Suspended serapes and a throne offer a moment of rest and reconstitution—activating the relationship between the body, memory, and material culture as tools for resistance.

The Apariciones: Virgen Gruta series (2020–present) situates fertility effigies within their endemic landscapes, reclaiming American material refuse as sites of matriarchal refuge. These vibrant, altar-like forms recall botanicas, domestic shrines, and sacred grottos, where marginalized communities have long cultivated protection and healing outside of sanctioned medical spaces or climate crises. The Foliage Obscura retablo installation honors syncretic healing traditions. Both immersive environments recall the Saltwater Underground Railroad—often understood as a terrestrial route—that was in reality a vast network of maritime and Indigenous sanctuary systems, where self-emancipated people navigated landscapes and social structures in search of refuge. This exhibition acknowledges that legacy, presenting preservation as an ongoing, active negotiation between our bodies and the landscape — beyond visibility and concealment, adaptation and resistance, grief and regeneration.

A mirrored photographic installation from the Double Consciousness Infinity Mirror series (2013–present) is viewable 24/7 in the Baxter St storefront, functioning as a visual call and response—echoing diasporic traditions of self-recognition and resistance while also confronting the gaze of institutional surveillance.

Spanning two decades of artistic and community practice in the Mama Spa Botanica workshop, Sueños Senos Exhumadas del Cenote Yemaya is not simply about Latine, Caribbean, immigrant, queer, or melanated people, but rather the practices that have long sustained those outside dominant systems, demonstrating a cultural, biological, and ecological resilience that exists in bodies, habitats, and memory.

ABOUT CORALINA RODGRIGUEZ MEYER
Homestead Everglades swamp born Coralina Rodriguez Meyer is a Miami & Brooklyn based indigenous Andean American (Colombian/Peruvian) Quipucamayoc artist, architect, archive digger, advocate and mother whose work spans 2 decades and 30 countries. Raised Ital & Tinkuy between Miami and the Caribbean, Coralina’s collaborative practice builds civic agency in their unvanquished barrios to resist assimilation and structural violence in American mythology."

https://www.baxterst.org/events/suenos-senos-exhumadas-del-cenote-yemaya/

Show Notes:

"Sean Kelly is delighted to announce Alec Soth’s fifth exhibition with the gallery, Advice for Young Artists which presents a curated selection of images from Soth’s recently completed body of work of the same name. Photographed during visits he made to twenty-five undergraduate art programs across the country from 2022 to 2024, the resulting pictures, interior studies, still-lives, and self-portraits depict Soth engaging with his subject while also reflecting, obliquely, on his life as an artist. There will be a reception on Thursday, March 6, from 6-8 pm. The artist will be present.

Although the title might suggest otherwise, Soth’s project is less about imparting his ideas to a younger generation and more about engaging with and learning from their creative energy. Instead of providing wisdom or guidance, he presents a fragmented and open-ended meditation on artmaking across different life stages, as well as the connections between photography, time, and aging. “I was just trying to be in the proximity of their energy,” Soth reflects. The photographs that emerged out of his visits are deeply empathetic. In his portraits of students at work or in their studios, he not only captures them as subjects but also positions them as artists in their own right. There is an implicit connection between the artist in front of the camera and the artist behind it. This is demonstrated by the ruminative and playful self-portraits that occur throughout the project: Soth situates himself not as an outside observer, but amongst his subjects.

Drawing inspiration from iconic American photographer Walker Evans’s late Polaroids, Alec Soth’s Advice for Young Artists marks a significant evolution in his practice, offering a fresh perspective two decades after the publication of his first book, Sleeping by the Mississippi, in 2004. Much like Evans, who visited universities in the 1970s and photographed extensively with a Polaroid camera, Soth embraces his encounters with students as a way to understand his work from a new perspective. As he describes it, “When I was at a school and totally focused on my work, I had the experience of age falling away.” Embedded in the environment of an art school, Soth taps into the zeitgeist and rediscovers his practice anew. In Advice for Young Artists Soth allows an easy humor to enter his photographs and finds surprising juxtapositions, he adapts and reinvents his visual language in response to the dynamic energy of his subjects. In this way, the series marks a moment of innovation in the career of one America’s foremost contemporary photographers.

Alec Soth lives and works in Minneapolis, Minnesota. His work is the subject of over twenty-five books and including his publications NIAGARA (2006), Broken Manual (2010), Songbook (2015), I Know How Furiously Your Heart Is Beating (2019), A Pound of Pictures (2022), and most recently Advice for Young Artists (2024). In 2008 Soth started his own publishing company, Little Brown Mushroom, which is based in Minnesota. Soth’s work has been the subject of solo exhibitions at international museums including the Deichtorhallen Internationale Kunst und Fotografie, Hamburg; the National Media Museum, Bradford, UK; The Finnish Museum, Helsinki; the Detroit Institute of Arts, Michigan; El museo de Bogotá, Colombia; the Fotomuseum Winterthur, Switzerland; the Jeu de Paume, Paris; and the Walker Art Center, Minneapolis. His work is in the permanent collections of institutions including the Museum of Modern Art, New York; the Brooklyn Museum of Art; the Los Angeles County Museum of Art; the Museum of Contemporary Art, Chicago; the Museum of Fine Arts, Houston; the San Francisco Museum of Modern Art; the Walker Art Center, Minneapolis; and the Whitney Museum of American Art, New York, amongst many others."

https://www.skny.com/exhibitions/alec-soth6

Show Notes:

"Andreas Gursky stands out as one of the most important photographers of his generation. His monumentally scaled works have redefined the medium in the twentieth and twenty-first centuries, capturing the circumstances of modern-day life in condensed form.

Interested in the workings of globalization, consumerism, and social phenomena as they relate to society, Gursky investigates the realities of our changing planet. In this unique solo exhibition at Sprüth Magers’ New York gallery, Gursky’s new and recent works as well as a selection of his well-known photographs are placed in an intertextual dialogue with Old Masters. Engaging with the images inscribed into our collective memories by the history of painting – from Pieter Bruegel the Elder to J.M.W. Turner and Carl Gustav Carus – the show examines how contemporary images relate to ones of the past, prompting viewers to consider their function as a silent foundation of the way we see.

For this exhibition, Gursky pairs his photographs with blown-up facsimiles of Old Masters to explore the conditions of image-making and uncover the conscious and unconscious relationships between images created centuries apart.

Upon entering the gallery, viewers are confronted with Gursky’s Eisläufer and Bruegel’s Winter Landscape with Skaters and a Bird Trap. Despite being separated by some five hundred years since their creation, both works display similarities in structure and composition. We see the harshness of winter and humankind’s capacity to adapt to and overcome extreme and precarious conditions. Gursky’s work, however, introduces a contemporary reference as crowds maintain social distance during the Coronavirus lockdown while walking and skating on the frozen Rhein in Düsseldorf.

'I have always spent a lot of time in museums and was able to see the paintings that have been recognized as masterpieces of Western history and its visual canon. This experience and influence have had an impact on my own work—I realized there were similarities to Old Masters that I had not intended; they weren’t conscious decisions in the genesis of my works.' –Andreas Gursky"

https://spruethmagers.com/exhibitions/andreas-gursky-new-york/

Show Notes:

"This exhibition of photographs by Denis Piel is an overview of his varied career. It includes his sensual and cinematic photographs for VOGUE and designers such as Donna Karan in the 1980s, and his abstract Padièscapes works, which are inspired by his organic sustainable farm in southwest France.

Denis Piel was born in France in 1944 and his family moved to Australia at the end of the war. After beginning his career in Brisbane and Melbourne, he was encouraged to move to Europe and then New York where he began to concentrate on fashion. His photographs were brought to the attention of Condé Nast and his rise began.

Immediately recognizable for their cinematic quality, his images were a sensational departure from the posed models of his predecessors. His always-sensual photographs tell a story which must be guessed at as several interpretations are possible. Often featuring reclining models lost in thought or engaged in mysterious narratives, Piel's photographs were more influenced by filmmakers such as François Truffaut and Stanley Kubrick than photographers. His star rose swiftly and he was soon the fashion photographer of the 1980s, shooting many celebrity portraits along the way.

After a decade, Piel moved on to advertising and filmmaking and in 2002 he moved his family to the Château de Padiès in southwest France where he became seriously interested in sustainable agriculture. This newfound passion resulted in his colorful and abstracted Padièscapes photographs; work which celebrates nature in flowers and gardens. These images are a departure from the fashion pictures of Piel’s early career, but reflect his continued interest in the environment and humanity.

In addition to his photography, Denis Piel has created film advertisements for Donna Karan and Anne Klein. In 1993, he directed his first feature-length documentary, Love is Blind. Piel's monographs include Moments (Rizzoli, 2012), Down to Earth (2016), Filmscapes (2020), and the upcoming Rosemary (2025). He was awarded the Leica Medal of Excellence for Commercial Photography in 1987 and his photographs are included in the permanent collections of The Victoria & Albert Museum and The Museum of Fine Arts, Boston."

https://www.staleywise.com/exhibitions/denis-piel5

Show Notes:

"Pace is pleased to present an exhibition of recent work by photographer Richard Learoyd at its 508 West 25th Street gallery in New York. On view from March 7 to April 26, the exhibition will feature a selection of photographs Learoyd produced with his custom-built camera obscura between 2018 and 2025. Deeply inspired by Dutch Golden Age painting, Learoyd’s latest works take viewers on a journey through intimate moments and intricate details, examining the relationship between subject, light, and space. The photographs on display explore a range of subjects, from hauntingly evocative portraits to still-life compositions that breathe life into the simplest of objects.

Learoyd’s unique photographic processes require an immense degree of technical precision, resulting in incredibly detailed, luminous prints with a tactile richness rarely seen in contemporary photography. Reflecting on the delicate interplay between light, shadow, and form, Learoyd’s work is imbued with a surreal, auratic presence that speaks to his enduring interest in the notion of collective photographic memory—the idea that a picture can be felt and understood on a subconscious level. The artist is renowned for his masterful use of light and his ability to capture the profound depth and stillness of the human experience.

“Light and space have always been central to my work," Learoyd explains. "I want to capture more than just an image; I want to convey a sense of time, intimacy, and presence—things that transcend the immediate and evoke a more timeless feeling."

Highlights in the exhibition, carefully curated by Learoyd, include a photograph of clasped hands, an ode to Alfred Stieglitz’s images of Georgia O’Keeffe’s hands from the first half of the 20th century. Also on view will be the artist’s most recent body of work, a series of photographs created using a new and transformative process of multiple impression printing layered with hand coated gesso on canvas. These multi-dimensional works showcase the artist’s exploration of depth, texture, time, and the relationship between photography and materiality.

In recent years, Learoyd has mounted solo exhibitions at the Fundación Mapfre Casa Garriga Nogués in Barcelona, the Victoria & Albert Museum in London, the Getty Center in Los Angeles, and the Nelson-Atkins Museum of Art in Kansas City. His upcoming presentation at Pace in New York will coincide with AIPAD’s 2025 Photography Show at the Park Avenue Armory, where the gallery will organize a special program with the artist—further details will be announced in due course."

https://www.pacegallery.com/exhibitions/richard-learoyd-new-york/

Show Notes:

"CLAMP is honored to present Flowers Drink the River, a solo exhibition by Pia Paulina Guilmoth—her first with the gallery. In this deeply personal body of work, Guilmoth documents the first two years of her gender transition while living in a rural, predominantly right-wing town in Maine. Her large-format photographs reflect both beauty and terror in a world where queer existence can be at turns both euphoric and deeply perilous. Haunting nocturnes replete with moths, snakes, and owls, are animated by raw, animistic rituals, representing Guilmoth’s search for beauty, sanctuary, and resistance amid the wild landscapes and intimate relationships that define her life.

Spanning themes of transformation, belonging, and defiance, Flowers Drink the River is an ode to trans women, queer kinship, and working-class survival in the backwoods of central Maine. Guilmoth’s photographs reject easy categorization—mud-drenched bodies intertwine in the dark of night, spider silk drifts across glowing landscapes, and nocturnal creatures move through the frame like quiet witnesses. A burning house rages in the distance with a calm white horse seemingly unawares. Friends piss from tree branches like a warm summer rain. These photographs inhabit the space between land and body, pleasure and threat, inviting viewers into a world where boundaries are blurred, and survival is a necessary act of creation.

Guilmoth’s photographic practice is rooted in collaboration—both with her human subjects and the natural world. She constructs delicate sculptures from spiderwebs, flowers, and other found materials, then waits as the environment intervenes, letting wind, water, and light reshape her compositions. This meditative approach extends to her relationship with the animals she photographs, earning their trust over weeks and months before capturing their presence on film.

“Each night for a week in August, I would sit in the tall, tick-infested grass behind the orchard, covered in Scent Killer Gold, wearing a ghillie suit, holding a tray full of crushed apples in one hand and a 30-foot makeshift shutter release cable attached to my 4 × 5 camera in the other,” Guilmoth recalls. “The same family of deer would get more comfortable with my presence each night. Eventually, they were eating the ripe fruit from my hands. The following Tuesday, I would have my first HRT consultation. I was keeping it a secret, knowing there was no way I could safely transition in this place, but also no way I could hide my changing body over the following months and years.”

Guilmoth’s use of large-format photography is both a technical and emotional choice, emphasizing patience, precision, and physical engagement with the medium. “I have always embraced slowness in my life,” Guilmoth states. “Both in the place I live and the way I aspire to be. Art and being with people I love are the things that allow me to really exist in a moment.” The intricate process of setting up each shot, from building trust with wild creatures to manipulating natural elements, reflects the broader themes of her work: resilience, adaptation, and the search for beauty in unlikely places.

At its core, Flowers Drink the River challenges the conventions of documentary photography. Rather than approaching her subjects as an outsider, Guilmoth photographs her own community—trans and queer people navigating life in a region that often denies their existence. The result is a body of work that resists voyeurism, instead offering an intimate, deeply felt portrait of chosen family, survival, and joy. “Resistance for me is saying: ‘You can try and take everything from me—healthcare, safety, affordable housing—but you can’t take away my joy and the ability to find beauty in my life,’” she explains.

The exhibition is accompanied by a monograph of the same title published by Stanley Barker."

https://clampart.com/2025/01/flowers-drink-the-river/#25

Show Notes:

"CLAMP is pleased to present “West,” an exhibition of recent photographs and videos by Zack Seckler, continuing his signature aerial perspective, transforming vast landscapes into painterly compositions where land, water, and sky dissolve into near-abstractions.

Seckler’s ability to distill the essence of immense terrains into fluid, almost dreamlike visuals, challenges traditional representations of the American landscape. His lens captures the interplay of organic forms and natural forces, revealing a world where the familiar dissolves into the unexpected, and scale becomes elusive.

Like Alfred Bierstadt, Thomas Moran, Carleton Watkins, and other painters and photographers of the later part of the 19th century who ventured west to depict and explore America’s vast and uncharted landscapes, Seckler documents the Rocky Mountains, the arid Southwest, and more lush scenes in California. But unlike his predecessors, Seckler is equipped with imaging technologies and means of travel allowing him to record the same landscapes from vantage points and in details incomprehensible in centuries past.

The artist’s approach bridges past and present, acknowledging the historical impulse to chronicle and celebrate the wilderness while employing a contemporary, almost abstract sensibility that shifts the focus from romantic documentation to commentary and interpretation. Seckler’s images and videos reveal rhythmic patterns and unexpected color harmonies across various sprawling western terrains now touched by man’s footprint.

The artworks embrace a surrealism of scale—where minute details, like the bend of a river or a lone animal’s tracks, become the focal points of vast, minimalist canvases. The textures of the land, shaped by erosion, water flow, and human intervention, take on a lyrical quality, transforming rugged topographies into soft, painterly gestures. Challenging the viewer’s sense of perspective, Seckler encourages an experience of the landscape as both intimate and infinite, structured yet ephemeral.

The aerial vantage offers a view transcending the limitations of the human eye, inviting a reconsideration of the land’s scale and vulnerability. His compositions, at once serene and dynamic, speak to the power of nature and the imprint of time, making visible the otherwise imperceptible rhythms that define these remote and majestic expanses.

Zack Seckler was born in Boston and studied psychology at Syracuse University. Then, traveling solo with a point-and-shoot camera in northern India, his mind opened to the visual world. Upon returning to Syracuse, he took coursework in photography at the renowned Newhouse School. With an internship in a Hong Kong photo studio and editorial work in New York City, he developed his vision for image-making. “West” is the artist’s third solo show at CLAMP."

https://clampart.com/2025/02/west-2/#thumbnails

Show Notes:

"New York, NY (opens April 3, 2025) – Psychic Readings* is pleased to announce “The
Safety Net,” a two-person exhibition that examines life in today’s American small towns,
through the work of documentary photographers Stacy Kranitz and Chris Verene. The
exhibit highlights the resilience of human spirit and the importance of mutual aid. It
features a selection of new works and images from throughout the photographers’
careers. The exhibition will open at Psychic Readings* gallery at 629 E 6th Street New
York, NY 10009 on Thursday, April 3, 2025, and will run through May 10, 2025.

Kranitz and Verene focus on a unique, sensitive, and intensely personal approach to the
documentary tradition. They have dedicated their careers to photographing communities
which are often overlooked and underserved. Verene has been photographing his family
and friends in the small midwestern town of Galesburg, Illinois since the late 1980s, while
Kranitz has documented communities in the Appalachian region for the past fifteen years.
These communities share similar situations thousands of miles apart. The artists show us
that the government’s social safety net doesn’t work for people living near the poverty line.

Stacy Krantiz explains, “On paper, there are resources available through government
programs, but in reality, they are nearly impossible to access. I find this is the biggest
disconnect for people. If you have never needed these resources, you do not understand
how difficult they are to obtain and keep.”

Kravitz and Verene both work in communities where the safety net does not provide
accessible and adequate resources. Both see declining rural health care (rural hospital
closures, maternity care deserts) the rise in rural homelessness and the lack of economic
opportunity as significant factors in declining quality of life. Verene writes, “The local
government condemned my friend’s home, arrested the occupants for trespassing when
they tried to return, then bulldozed houses they deemed to be where people used drugs.
Now, those people have no where to live and the situation is far worse.”

The exhibition’s curator, Ani Cordero, has long worked in grassroots organizing, and aims
to highlight the intersection of art and activism with this project. Cordero notes the artists’
commitment to harm reduction and their active encouragement of positive change from
within the community through their work.

Stacy Kranitz and Chris Verene are both recent Guggenheim Fellows, and both have
monographs including these topics published by the prestigious Twin Palms Press.

About Stacy Kranitz: Stacy Kranitz is an American photographer born in Kentucky and
currently lives in the Appalachian Mountains of eastern Tennessee. She has received
numerous awards including the Michael P. Smith Fund for Documentary Photography and a
Center for Documentation Fellowship. She recently collaborated with ProPublica on a
project about abortion rights in Tennessee. Her work is included in public collections
including The Harvard Art Museum, The Museum of Fine Art, Houston, and The Duke
University Archive of Documentary Arts. Krantiz’ work has been featured in publications
including The Atlantic, Bomb Magazine, The New York Times, Time Magazine and The
Washington Post.

About Chris Verene: Chris Verene, born in DeKalb, Illinois in 1969, began photographing
his father’s small hometown of Galesburg in 1987. For nearly four decades, he has
continued intensively photographing the stories of his family members, friends, and their
community in the same area. Verene is currently working on the third book in his series.
Verene’s work is in numerous museum collections including The Met, The Whitney, The
Jewish Museum, The Getty, and SFMoMA, and has been featured in many major art
publications, including ArtForum, Art In America, The New York Times, Frieze, and Parkett.

About Ani Cordero: Ani Cordero is a Puerto Rican singer, composer, activist, and co-
founder of Puerto Rican Independent Musicians and Artists (PRIMA), which has provided
support in Puerto Rico in the aftermath of Hurricane María. She has been featured on
Democracy Now, All Things Considered, and profiled in The New Yorker. Cordero is the director of Chris Verene’s ongoing performance work, The Self-Esteem Salon®, is Verene’s long-time artistic collaborator and partner. Cordero worked with the North American Congress on Latin America (NACLA). Cordero is partnered with Action Lab, a strategy
center for social movements that sparks political and personal liberation.

Psychic Readings* is an artist-run gallery in the East Village neighborhood of New York City, in full time operation since 2021."

https://www.psychicreadingsgallery.com/

Show Notes:

"Reflections marks the first solo exhibition of photographer Rahim Fortune, who hails from Texas. Over the past decade, Rahim has used photography to explore collective history and cultural visual language in the American South by intertwining documentary and personal narratives. This exhibition showcases two bodies of work: I Can't Stand To See You Cry (2021) and Hardtack (2024).

Rahim Fortune, born 1994, is a visual artist from the Chickasaw Nation of Oklahoma. He uses photography to ask fundamental questions about American identity. Focusing on the narratives of individual families and communities, he explores shifting geographies of migration and resettlement and the way that these histories are written on the landscapes of Texas and the American South.

Fortune’s previous book, I Can’t Stand to See You Cry, was published by Loose Joints in 2021 and was nominated for the Paris Photo-Aperture Photobook of the Year and the winner of the Rencontres d'Arles Louis Roederer Discovery Award 2022. His 2024 monograph, Hardtack (Loose Joints), has garnered international attention, earning a nomination for the Deutsche Börse Photography Foundation Prize 2025. His work has been featured in exhibitions worldwide and many permanent collections, including the High Museum of Art, Atlanta, GA; LUMA Arles, France; the Victoria and Albert Museum, London; the Virginia Museum of Art, Richmond; the Nelson Atkins Museum, Kansas City, MO and the Boston Museum of Fine Art. Fortune is represented by Sasha Wolf Projects, New York, NY.

I Can’t Stand To You Cry explores Texas, the surrounding states, and the people fixed within its complex landscape. Fortune analyses relationships between family, friends, and strangers, all caught in a flood of health and environmental issues while working to maintain grace. The artist uses his experiences to explore the friction between public and private life and the unspoken tensions in daily life through an approach rooted in the landscape. Moreover, Fortune’s biographical approach to photography attempts to unpack his identity and experience amid a pandemic, civil unrest, a cross-country move, a career, and the loss of a parent, thinking about the future and the past.

In Hardtack, Fortune borrows from the language of vernacular and archival photography to interrogate his community's historical relationship to photography. Rooted in the landscape, Fortune often uses sites of historical and cultural interest as a guide but not a subject, implying the deep ties that bind modern Black communities resiliently to their regions in the face of adversity and joy. A significant theme in Hardtack is Fortune’s striking portraits of coming-of-age traditions. Inside, young bull riders, praise dancers, and pageant queens inherit and gracefully embrace these forms of community ritual. Fortune's dignifying eye pays tribute to these cultural performances' rigor, discipline, and creative flair and the intergenerational conversation between young people and elders who pass down these traditions."

https://www.howardgreenberg.com/exhibitions/rahim-fortune

Show Notes:

"The retrospective exhibition Consuelo Kanaga: Catch the Spirit presents the work of Consuelo Kanaga (1894–1976), a critical yet overlooked figure in the history of modern photography. Co-organized with and first exhibited at the Fundación MAPFRE in Barcelona and Madrid, Spain, followed by a presentation at the San Francisco Museum of Modern Art (SFMOMA), the groundbreaking survey will return to the Brooklyn Museum, which houses the world’s most extensive Kanaga collection. Catch the Spirit explores the artist’s groundbreaking work in photojournalism, modernism, and social documentary, tracing the evolution of her art both chronologically and thematically through nearly 200 photographs, ephemera materials, and film. Catch the Spirit is curated by Drew Sawyer and presented at the Brooklyn Museum by Pauline Vermare, Phillip and Edith Leonian Curator of Photography, with Imani Williford, Curatorial Assistant, Photography, Fashion, and Material Culture.

Over the course of six decades, Kanaga captured the urgent social issues of her time, spanning urban poverty and labor rights to racial terror and inequality. Catch the Spirit charts the artist’s outstanding photographic vision, from her pioneering photojournalism as one of the only women working in the field in the early twentieth century to her modernist still lifes and celebrated portraits of artists and anonymous sitters alike. Kanaga’s oeuvre includes key figures and moments in early 20th-century North America, with a particularly strong focus on the lives of African Americans. The Museum holds a unique and invaluable collection of works by Kanaga that features nearly 500 vintage prints, 2,500 negatives, and archival material. Two works by Kanaga are currently on view in the Museum’s recently reinstalled American Art galleries, Toward Joy: New Frameworks for American Art.

Consuelo Kanaga began her career as a staff writer and photographer at the San Francisco Chronicle in 1915 before moving to New York in 1922 to work for the New York American newspaper. Soon after, she met Alfred Stieglitz, who encouraged her to pursue photography as an art form. After moving back to California in 1924, Kanaga met the Italian photographer, actress, and activist Tina Modotti and organized an exhibition of her photographs in San Francisco in 1926. During the early 1930s, Kanaga became associated with Group f/64 and was included in its landmark 1932 exhibition at the de Young Museum. In 1935 she returned to New York and began producing photographs for leftist journals such as Sunday Worker. She eventually joined the Photo League, where she lectured and became a leader of documentary group projects. During the 1940s and 1950s, she continued her commitment to photographing African Americans, documenting workers in the South during the Jim Crow era. In 1955 she was included in the landmark exhibition Family of Man at MoMA.

“Kanaga’s photographs shed light on some of the most critical social issues and actors of her time. Her work and legacy seem all the more important and relevant today,” says Pauline Vermare, Phillip and Edith Leonian Curator of Photography. “The Kanaga prints and negatives that Barbara Millstein brought into the photography collection are one of the major treasures of the Brooklyn Museum. We are delighted that this exhibition will bring attention to an incredibly modern and generous artist, who worked alongside many well-known photographers, such as Imogen Cunningham and Dorothea Lange. Kanaga was an invaluable mentor to many women photographers of her time. Now is a perfect moment to bring her back into the light. We hope that her life and work will inspire new generations of image makers and critical thinkers.”

The title of the show comes from a quotation by the artist: “When you make a photograph, it is very much a picture of your own self. That is the important thing. Most people try to be striking to catch the eye. I think the thing is not to catch the eye but the spirit.” The quotation encapsulates Kanaga’s use of photography to “catch the spirit” of the people she chose to focus on and of the times they lived in.The exhibition is organized largely chronologically and by bodies of work, broken into the following sections: “Photojournalism and the City,” “Portraiture,” “Americans Abroad,” “Photography and the American Scene,” “Portraits of Artists,” “Travels to the U.S. South,” and “Nature Studies.”

Using modernist visual language to address social and economic inequities, Kanaga’s work is visually arresting and unique when compared to that of her peers. The artist was committed to using photography to address difficult social issues from labor rights to discrimination, focusing on representing individuals who had either been misrepresented or ignored by mainstream media and artists. Considered modern and progressive for its time, her work—and the societal issues they capture—continues to resonate today. Catch the Spirit boldly brings history into the present to raise awareness for important contemporary issues.

The retrospective is accompanied by a catalogue highlighting Kanaga’s remarkable oeuvre and presenting new scholarship on this under-recognized artist. The publication includes an essay by Drew Sawyer with additional essays by Shalon Parker, Ellen Macfarlane, and Shana Lopes. Copublished by the Brooklyn Museum, Fundacion MAPFRE, and Thames & Hudson, it is the first major publication on the artist’s work in 30 years."

https://www.brooklynmuseum.org/en-GB/press/the-brooklyn-museum-presents-consuelo-kanaga-catch-the-spirit

Upcoming Shows

Show Notes:

"The Photography Show presented by AIPAD, the longest-running fair dedicated
to photography in the world, will take place April 23-27, 2025 at the Park Avenue
Armory, with exhibitors from around the globe unveiling an exciting and diverse mix
of work that reflects a fluid and dynamic understanding of the photographic
medium.

The Photography Show showcases exceptional presentations by esteemed
members of the Association of International Photography Art Dealers (AIPAD), along
with guest exhibitors and galleries new to the fair. The upcoming iteration of the fair

represents its continued evolution since returning to the Park Avenue Armory in
2024, with an emphasis on emerging artists, young galleries and new curatorial
approaches being placed in dialogue with canonical photographers and legacy
photography institutions.

AIPAD welcomes new members Galeria Alta, Galerie Julian Sander, LARGE GLASS
and Ungallery, coming to New York in April from Andorra; Cologne, Germany;
London, UK and Buenos Aires, Argentina. Exhibiting at The Photography Show for
the first time, their presentations will push the boundaries of photography and
provide new perspectives alongside the many established, long-time exhibitors.
Complementing these presentations and in tandem with an added day for this
year’s fair, The Photography Show will feature an expanded and robust slate of
programming. Four days of AIPAD Talks, hosted by thought leaders in the arts and
culture space, will be accompanied by insightful walkthroughs and educational
events. The celebration of the prestigious AIPAD Award, presented annually to a
pioneer in the community, recognizing them for changing the ways we perceive
photography, will take place during the new Opening Night Party on Wednesday,
April 23. The fair will utilize a new layout and floor plan that will see publishers brought into the main exhibition space, the Wade Thompson Drill Hall, highlighting the importance of book publishing within the landscape of contemporary
photography.

DISCOVERY SECTOR

AIPAD will debut its reenvisioned Discovery Sector for the 2025 edition of The
Photography Show. Reflecting its renewed commitment to platforming new and
emerging galleries, these booths will showcase single-artist or theme presentations
alongside focused historical exhibitions. The Discovery Sector will provide viewers
with opportunities to not only encounter new examples of photography and
curation, but to re-discover the work of some of the medium’s most iconic
practitioners as well.

EXHIBITORS

PHOTOBOOK + PARTNERS

About AIPAD
Organized in 1979, AIPAD, with its global membership across six continents, is the
collective expert voice for fine art photography dealers. Through its acclaimed
education initiative, AIPAD Talks and its flagship event, The Photography Show, the
organization enhances the confidence of the public, museums, institutions and
others in responsible fine art photography collecting.

Presented by AIPAD, The Photography Show is the longest-running exhibition
dedicated to the photographic medium in the world. The 2024 edition marked the
exciting return of the fair to the iconic Park Avenue Armory on the Upper East Side
of Manhattan."

https://www.aipad.com/show

Show Notes:

"New York City’s free premier photography destination

The annual Photoville Festival will return to Brooklyn Bridge Park and in all five boroughs of NYC in June 2025!

Each year brings a special and outstanding group of artists and programming partners to curate and present free outdoor photo exhibitions across all five boroughs of NYC. With stories highlighting hope, joy, and compassion, while honoring experiences of adversity and heartbreak, Photoville aims to elevate the power of visual storytelling by fostering empathy and understanding within our communities.

Stay tuned for the announcement of the festival dates and the open call for exhibition and programming submissions!

The festival opening weekend will bring two full days of family-friendly activities, carefully curated photography workshops for professionals and lovers of the craft, engaging tours, and a powerfully captivating night of visual storytelling.

And not to mention, free public programming throughout the month of June!

Photoville 2024 featured the return of the Photo Village in Brooklyn Bridge Park and our classic shipping containers, in addition to open air exhibits in Brooklyn Bridge Park and around all 5 boroughs. It also featured in-person and virtual workshops and special events, including artist talks, professional development workshops, tours and more. We displayed 87 exhibitions dispersed throughout New York City.

Over 1,000,000 visitors engaged with our free and public exhibitions in the five boroughs, showcasing the incredible work of over 200 artists, collaborating with partners including The New York Times, National Geographic, The Schomburg Center for Research in Black Culture, Alice Austen House, Doctors Without Borders, Magnum Foundation, Pulitzer Center and more.

Working with parks and city officials to safely install exhibition banners and custom structures throughout parks and public spaces in New York City, exhibitions remained on view for several months so that communities could enjoy them while using these open spaces as a place to recharge, exercise, and relax.

Daytime programming at the 2024 Festival included 100+ workshops and special events presented with and by artists and industry professionals, with partners such as Diversify Photo, Leica Camera, Adobe, ICP, PhotoWings, and more. Professional development workshops had over 600 attendees.

Over 700 students and educators across New York City attended our 2024 Festival education program which was proudly supported by our partner PhotoWings and the NYC Mayor’s Office of Media & Entertainment. Throughout the week, participants were able to meet exhibiting photographers to hear them speak about their work, while also attending panel discussions of student photographers beginning their journey in visual storytelling."

https://photoville.nyc

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Include Bookstores

Session Press / Photography Channel

NYC and Tokyo

Launched in March 2025, in collaboration with Session Press and Dashwood Books. Run by Miwa Susuda with photographers Anh Nguyen, James Maher, and John Sypal, this new initiative will feature artist interviews, peer discussions, and exhibition reviews, offering fresh perspectives on photobooks and photography exhibitions in NYC and Tokyo.

(Click to watch videos in popup)