Karen Navarro: Somos Millones

Mary Ellen Mark, one of the great American photojournalists, frequently turned her lens to those who had been pushed to the margins of society. This fall, the Gardner Museum brings the story of Mark and one of her long-time personal and artistic partnerships to the Fenway Gallery from October 10, 2024 – January 20, 2025. In 1983, Erin Blackwell, known as “Tiny,” was a 13-year-old girl escaping a difficult home life and living on the streets of Seattle, Washington. At the time, Mark was working on a story for LIFE about unhoused runaway teenagers in what was considered America’s “most livable city.” Mary Ellen Mark’s chance meeting with Erin in a discotheque parking lot would be the catalyst for a remarkable, deeply personal relationship. Over the next 30 years, Erin let Mark document her life. Through pregnancies and addictions, hardships and love, Mark chronicled Erin’s growing, changing family with unflinching empathy, making visible the tangled nature of human connections and the reality of poverty in the United States. The exhibition Mary Ellen Mark: A Seattle Family, 1983–2014 invites visitors to empathize with the struggles and triumphs of a multi-racial American family, and to feel the trust and inspiration that blossomed between Erin Blackwell and Mary Ellen Mark—a relationship that transcended that of artist and collaborator.

Casemore Gallery is pleased to present "Mercy, Give and Take", a group exhibition that explores the idea of opposition in the photographic works of John Gossage, Raymond Meeks, Awoiska van der Molen, Sean McFarland, and Aspen Mays. The show pairs works from each of the included artists, with each pairing sharing common visual elements—buildings, landscapes, photographic tools—but in markedly juxtaposed states, whether life or death, turmoil or serenity, idyll or menace, pushing up or giving way, or even transposal of space. In doing so, the viewer has the opportunity to look beyond the idea of opposition as having two parts, and ponder all that lies between. John Gossage (b. 1946) Staten Island, New York is an artist who has, more than most contemporary photographers, become noted for his intellectually engaging, subversive and well-crafted artist books and other publications. In them, the artist utilizes under-recognized elements of the urban environment—unused and abandoned patches of land, refuse and detritus, barbed wire, graffiti, and other disruptions—to explore themes as disparate as surveillance, memory and the relationship between architecture and power. Gossage was the recipient of a Guggenheim Fellowship in 2012. His photographs have been featured in numerous solo and group exhibitions over the past 45 years. His many one-person exhibitions have included The Better Neighborhoods of Greater Washington, Corcoran Gallery of Art, Washington, DC (1976); Photographs of Berlin, Cleveland Museum of Art, (1989); LAMF, Sprengel Museum, Hannover (1990); One Work in 39 Parts, The Saint Louis Museum of Art, (1994); There and Gone, Sprengel Museum, Hannover, (1998); The Romance Industry, Comune di Venezia, Venice (2003); Berlin in the Time of the Wall, Gallerie Zulauf, Freinsheim (2005); The Pond, National Museum of American Art, Washington, DC (2001); and Three Routines, Art Institute of Chicago (2014). Aspen Mays (b. 1980) received her MFA in photography from the School of the Art Institute of Chicago in 2009. Solo exhibitions of her work have been mounted by the Museum of Contemporary Art, Chicago; Hyde Park Art Center, Chicago; Light Work, Syracuse; and the Center for Ongoing Projects and Research, Columbus. Mays was recently included in the exhibition Anna Atkins Refracted: Contemporary Works at the New York Public Library (2019). Mays was the recipient of a 2006 Rotary Fellowship and was a 2009 Fulbright Fellow. She lives and works in the San Francisco Bay Area, California, where she is Assistant Professor at California College of the Arts. Raymond Meeks (Ohio, 1963) has been recognized for his books and pictures centered on memory and place, the way in which a landscape can shape an individual and, in the abstract, how a place possesses you in its absence. Raymond Meeks lives and works in the Hudson Valley (New York). He is the sixth laureate of Immersion, a French-American photography commission sponsored by Fondation d’entreprise Hermès. Exhibitions from this commission were presented in New York (ICP September, 2023) and currently in Paris (Fondation Henri Cartier-Bresson September, 2024). The Inhabitants, a book made in collaboration with writer George Weld, was published in August 2023 by MACK Awoiska van der Molen (1972) is a Dutch photographer known for her monumental black-and-white analogue images that represent her experience of the primordial and psychological space in the world she photographs. In 2019 van der Molen was shortlisted for the Prix Pictet, the global award in photography and sustainability. In 2017 she was both shortlisted for the Deutsche Börse Photography Foundation Prize and the recipient of the Larry Sultan Photography Award. Van der Molens' work has been shown at Foam Fotografiemuseum, Amsterdam; Huis Marseille, Amsterdam; Kousei-Inn, Kyoto; Les Rencontres d’Arles, France; Pier 24 Photography, San Francisco; Victoria & Albert Museum, London; The Photographers’ Gallery, London; FoMu, Antwerp; and Fotomuseum, Den Haag. Sean McFarland (b. California, 1976) creates work that explores the relationship between photography and the history and representation of landscape, particularly western landscapes and the skies above. With a focus on experimentation, the artist joins aspects of other mediums with photography to uncover the experience of seeing, the passing of time, and the knowledge that we and what we know cannot live forever. McFarland received a MFA from California College of the Arts, Oakland (2004) and a BS from Humboldt State University, Arcata, California (2002). His solo exhibitions include the San Francisco Museum of Modern Art, San Francisco, CA (2017); Visual Studies Workshop, Rochester, New York (2015); San Francisco Camerawork, San Francisco (2009), and White Columns, New York (2004). His work has been included in group exhibitions at the Berkeley Art Museum and Pacific Film Archive, Berkeley, CA (2018); George Eastman Museum, Rochester (2016); Aperture, New York (2014-15); and Bay Area Now 6, Yerba Buena Center for the Arts, San Francisco (2011). His work is in the permanent collections of the San Francisco Museum of Modern Art; Berkeley Art Museum and Pacific Film Archive; National Gallery of Art, Washington DC; George Eastman Museum; and the Milwaukee Art Museum. Francisco, and teaches at San Francisco State University. Image: Raymond Meeks, Halfstory #955 Canajaharie NY 2016, 2019

The Columbus Museum of Art (CMA) is proud to present Ming Smith: August Moon, an exhibition where the essence of everyday Black life unfolds with breathtaking honesty and reverence. Smith embarks on a poignant journey through the streets of Pittsburgh’s Hill District, intimately familiarizing herself with the landscape that inspired playwright August Wilson’s iconic “Century Cycle” plays. Smith captures the essence of Wilson’s characters, immortalizing their struggles, triumphs, and the quiet resilience that defines their existence. Smith’s upbringing in a literary family fostered an immediate affinity for Wilson’s subtle metaphors and characters, many of whom mirrored the people she knew from her own childhood. With her deliberate use of blurred imagery and obscured details, Smith creates a visual language that reflects the complexities of Black life in America, inviting viewers to see beyond the surface. Through her photographs, Smith documents the fortitude and fragility of Black communities, built amidst the challenges of Jim Crow laws, redlining, and everyday racism. As Smith traverses the streets of the Hill District, she captures moments of daily life that resonate with the themes of Wilson’s plays. From the camaraderie of pool players to the solitude of Aunt Ester in her fur and knitted hats, Smith’s photographs speak volumes about the resilience and humanity of Black community. August Moon is a visual journey that celebrates the richness of Black life and the enduring legacy of August Wilson’s storytelling. Through Smith’s lens, viewers are invited to immerse themselves in the beauty, complexity, and resilience of ordinary Black existence. Image: Ming Smith, Greyhound Bus, from the series August Moon, 1991 © Ming Smith

The Columbus Museum of Art (CMA) is proud to present Ming Smith: Transcendence, featuring the entirety of this remarkable series for the first time. Through this exhibition, CMA offers a rare opportunity to delve into Ming Smith’s identity as an artist deeply rooted in the diverse fabric of Columbus, Ohio. Smith’s lens intricately threads together the cultural tapestry of Columbus, showcasing the influences of luminaries such as Nancy Wilson, Aminah Robinson, Toyce Anderson, Toni Morrison, and Linda Goode Bryant. Ming’s narrative unfolds against familiar backdrops, from Carl Brown’s IGA on Mt Vernon Avenue to Dr. Tyler’s drugstore on the east side, resonating with personal memories of her father’s pharmacy. The halls of The Ohio State University reflect familial achievements, while S. Wheatland Avenue bears witness to pivotal moments in the Hilltop’s history. Transcendence surpasses the confines of traditional photography; it is a deeply intimate exploration of Ming’s reconciliation with her hometown. Inspired by Alice Coltrane’s transformative music, Ming’s series confronts the injustices of her racially divided upbringing in Columbus with compassion and insight. Ming’s narrative invites viewers to engage with the images as a public discourse, with much of Transcendence remaining unseen and unprinted, offering endless opportunities for exploration and interpretation. Join us in celebrating Ming Smith’s artistic legacy and reconnecting with her profound vision as we welcome the artist back to the city that shaped her. Through Transcendence, Ming invites us on a journey of rediscovery, where the past merges with the present, and the potential for understanding knows no bounds. Image: Ming Smith, Black Girl Dreaming (detail), from the series Transcendence, 1990 © Ming Smith

Take an epic journey through the American South from 1845 to today. In A Long Arc: Photography and the American South since 1845, presented at the Virginia Museum of Fine Arts, encounter the everyday lives and ordinary places captured in evocative photos that contemplate the region’s central role in shaping American history and identity and its critical impact on the development of photography. This is the first major exhibition in more than 25 years to explore the full history of photography in and about the South. A Long Arc explores the American South’s distinct, evolving, and contradictory character through an examination of photography and how photographers working in the region have reckoned with the South’s fraught history and posed urgent questions about American identity. Organized chronologically, the exhibition traces the South’s shifting identity in more than two hundred photographs made over more than 175 years. The exhibition’s individual sections delve into the themes of photography before, during, and after the Civil War; documentary photography of the 1930s and ’40s; images of a post–World War II South in economic, racial, and psychic dissonance with the nation; photography as catalyst for change during the civil rights movement; reflective narrative photography of the late 20th century; and contemporary photography examining social, environmental, and economic issues. A Long Arc presents a richly layered archive that captures the region’s beauty and complexity. Offering a full visual accounting of the South’s role in shaping American history, identity and culture, the exhibition includes photographs by Alexander Gardner, George Barnard, P.H. Polk, Lewis Hine, Walker Evans, Dorothea Lange, Marion Post Wolcott, Robert Frank, Clarence John Laughlin, Ralph Eugene Meatyard, Bruce Davidson, Danny Lyon, Doris Derby, Ernest Withers, William Eggleston, William Christenberry, Baldwin Lee, Sally Mann, Carrie Mae Weems, Susan Worsham, Carolyn Drake, Sheila Pree-Bright, RaMell Ross, and others. Image: The March from Selma, 1965, Matt Herron © Matt Herron

Marvel at the poetic street scenes, Hollywood portraits, fashion photos, and images of war produced by more than 30 Hungarian-born artists who transformed photography in the 20th-century. Curated by Alex Nyerges, Virginia Museum of Fine Arts Director and CEO, with Károly Kincses, founding director of the Hungarian Museum of Photography, American, born Hungary: Kertész, Capa, and the Hungarian American Photographic Legacy examines the pioneering artistry that often emerged out of backdrops of persecution and perseverance. American, born Hungary follows a remarkable number of émigrés and exiles from Hungary to Berlin and Paris and then on to New York, Chicago, and Los Angeles, where they reinvented themselves and American photography. This exhibition is the first full examination of their circuitous journeys to the United States—in the aftermaths of two world wars and Hungary’s student-led revolt in 1956—and the wondrous artistic legacy that developed along the way. More than 170 stunning, mesmerizing, and surreal photographs capture the unexpected beauty of fleeting shadows, gritty urban life, glamorous celebrities, and the broken promises of America. Included are works by notables such as André Kertész, László Moholy-Nagy, Martin Munkácsi, and György Kepes, along with less familiar names whose photos are instantly recognizable. One example is Robert Capa, a pioneer of modern photojournalism whose photos of Omaha Beach on D-Day are among the most famous of World War II. Providing a missing chapter in art history, the exhibition’s focus is the astounding impact of Hungarian-born artists on photography in the United States, especially in urban centers. Highlights include photos by Moholy-Nagy, whose avant-garde beginnings in Dessau, Germany, inspired a “New Bauhaus” that sought to establish the Windy City as a design incubator; work by tailor and photographer John Albok, whose photographs were praised by the New York Times; and André de Dienes, whose portraits of cinema’s icons, including Marilyn Monroe, helped fuel Hollywood’s Golden Age. Before opening at VMFA on October 5, American, born Hungary opened at the Museum of Fine Arts, Budapest, on April 5, 2024, marking the grand opening of a newly renovated exhibition space at the museum. After its run at VMFA, the exhibition will travel to the George Eastman Museum, the International Museum of Photography and Film and the George Eastman House, in Rochester, New York, where it will open September 26, 2025. Image: Virginia Bruce, ca. 1938–39, László Josef Willinger, (American, born Hungary 1909–1989) © Estate of Laszlo Willinger, courtesy The John Kobal Foundation

As the saying goes, a picture is worth a thousand words. In its more than ten years, Pier 24 Photography has exhibited many thousands of photographs, and thus hundreds of thousands of hypothetical words. Up until now, every show has begun with the Pilara Foundation Collection and expanded from there. Turning the Page is the first exhibition that does not feature works from our collection. Instead, it looks at and celebrates the photobook, a medium that has undergone its own renaissance parallel to our years in operation. Each of the galleries presents works from a distinct photobook, whether an iconic volume or a recent monograph. The content, sequence, and design of each selected book guided our approach to that particular installation, aiming for a thoughtful translation of its overall tone and intent. Ultimately, Turning the Page invites you to consider how the viewing context impacts our understanding of a photographic project. Among the classic works represented here are Robert Frank’s Les Américains (The Americans, 1958), Masahisa Fukase’s Karasu (Ravens, 1986), Larry Sultan’s Pictures from Home (1992), and Jim Goldberg’s Raised by Wolves (1995)—four photobooks that speak to the breadth of the medium across the second half of the twentieth century. Many consider The Americans so influential that every photobook since has been either in conversation with it or in rebellion against it. Ravens trades Frank’s restless questioning of the American dream for a dark, introspective processing of grief in the aftermath of Fukase’s divorce; both demonstrate how image sequencing can evoke feeling and narrative. Pictures from Home and Raised by Wolves build upon these precedents, combining image sequence, page layout, and text to tell powerful stories and reveal certain truths. Over the past twenty years, photobooks have become increasingly essential to many photographers, offering a distinctive medium for fully realizing their visions—often pushing the boundaries of the book form along the way. This approach to design and layout extends to how several of the featured photographers have installed works from their projects. Few artists have explored the photobook’s range as extensively as Rinko Kawauchi, whose Ametsuchi (2013) unifies book design with her project’s concept and visual content; her lyrical installation echoes the sequence and design within her book’s pages. Vasantha Yogananthan’s A Myth of Two Souls (2016–21) is a series of seven individual yet related photobooks, one for each chapter of the Hindu epic the Ramayana, upon which the project is loosely based. The design of Rose Marie Cromwell’s El Libro Supremo de la Suerte (2018) is based on Cuban charadas—small photocopied pamphlets that guide people in placing bets in Havana’s underground lottery by assigning numbers to everyday objects; Cromwell’s nonlinear approach to image sequencing is also informed by this random system. And in Wires Crossed (2023), Ed Templeton documents two decades of his life as a professional skateboarder in a dense, frenetic sequence evoking the look and feel of the skate world he helped create. These four photographers have conceived unique installations for Turning the Page that speak to the kind of engaging experiences they are known for creating when translating their works from page to wall. Pier 24 Photography has long believed in the photobook as an essential vehicle for both discovering new and exciting photographers, and looking deeply at the history of the medium. Additionally, we have contributed to the photobook community with our own publishing program. As with all of our shows, we hope you will see both familiar works that call out to you as old friends might, and unfamiliar photographers for you to encounter. It is this eye toward the future, with a humble respect for the past, that unifies the work on display. We hope you will join us as we turn the page together. PARTICIPATING ARTISTS: Richard Avedon | Libby Black | Rose Marie Cromwell | Rineke Dijkstra | Robert Frank | Masahisa Fukase | Jim Goldberg | Curran Hatleberg | Rinko Kawauchi | Baldwin Lee | Helen Levitt | Zanele Muholi | Cindy Sherman | Donavon Smallwood | Alec Soth | Larry Sultan | Ed Templeton | Vasantha Yogananthan Image: Rose Marie Cromwell, Martica, 2009–16, from the book El Libro Supremo de la Suerte. © Rose Marie Cromwell, courtesy the artist

Selected Artists: Leah Abrahams, Asiya Al. Sharabi, Federica Armstrong, Darryl Baird, Lowell Baumunk, Steve Bennett, Bonnie Blake, Marisa Brown, Lindsay Buchman, Xtine Burrough, Susan Kaufer Carey, Rebecca Chappelear, Victoria Crayhon, Jane Waggoner Deschner, Brian Fouhy, Leah Frances, Beth Galton, Amy Gaskin, Maryam (Nilou) Ghasempour Siahgaldeh, Rima Grad, Sharon Lee Hart, Charlotta Hauksdottir, Adriene Hughes, Charles Ingham, Candace Jahn, Lauren Johnson, Michael Joseph, Sherry Karver, Valerie Kim, Melissa Kreider, Judith G Levy, Annie Lopez, Jena Love, Jenny Lynn, Mara Magyarosi-Laytner, Ellen Mahaffy, Andy Mattern, Benita Mayo, Eric McCollum, Jenna Meacham, Julie Mihaly, Venessa Monokian, Kris Moore, Lisa Murray, Marni Myers, Lisa Nebenzahl, Cheryl Newman, Jackson Nichols, Charlotte Niel, Robert Nielsen, Rachel Nixon, Catherine Panebianco, Cyd Peroni, Mehregan Pezeshki, Jeff Phillips, Linda Plaisted, Wendy Ploger, Michael Pointer, Steve Prezant, Jennifer Pritchard, Michael Rainey, Brandon Ralph, Victor Ramos, David Richards, Susan Rosenberg Jones, Joel Rotenberg, Don Russell, Robin Salcido, Bill Saltzstein, Beth Sanders, Kris Sanford, Elizabeth Sanjuan, Deborah Saul, Angela Scardigno, Richard Schramm, Robert Schultz, Becca Screnock, Nicolo Sertorio, Rebecca Sexton Larson, Liz Albert and Shane VanOosterhout, Christine Siracusa, Paul Sisson, Jerry Takigawa, Dean Terasaki, Lacey Terrell, Cydney Topol, Hailey Trejo, Mark Troyer, Jim Turner, Brian Van de Wetering, Harry von Stark, Robert Weil, Francine Weiss, Andrea Wenglowskyj, Thomas Whitworth, Eric Williams, Jon Wollenhaupt, Ian Wright, Douglas Yates, Jennifer Zwick Jurors Statement The exhibition, Words & Pictures, is a fantastic representation of how artists are using two mediums to elevate their art making, The narratives featured in this exhibition range from personal and poignant to humorous and creative with words that accompany photographs and appear In and on photographs. Artists have incorporated text and symbols into their work since the beginning of time, but it was in the 1970’s when text and photography had a significant marriage and was at the forefront of visual culture and semiotic language. Artists such as Duane Michals, Sophie Calle, Jim Goldberg, and Carrie Mae Weems have used text to expand storytelling. Photography has returned to many of the methodologies created half a century ago, and it’s exciting to see the medium become so expansive. There are qualities that are universal to creating a compelling photograph. The work must have an intangible resonance and a sensitivity that links together images and ideas. The photographs have to be well crafted and have power, sometimes in their simplicity and sometimes in their complexity. Most importantly, the work must have authenticity—it has to convince the viewer that it has come from a genuine place, and it needs to persuade us that there is meaning and purpose behind the effort. The ubiquitousness of photography today requires creative approaches to all genres to shift the norms and reinvigorate the medium, as evidenced by the submissions to this exhibition. My Juror Selection Award goes to Charles Ingham. He submitted so many stellar images that it was hard to narrow it down. His work in both cinematic and intimate and he is a unique visual storyteller. For Honorable Mentions, I selected works by Angela Scardigno, Lindsay Buchman, Jackson Nichols – each artist elevating and expanding the visual experience with a particular visual persuasion. A big thank you to all who submitted—it was a pleasure to spent time with your work and though I selected a large number of images, there were still so many photographs that I wish I could have included. Aline Smithson

Digital Capture: Southern California and the Pixel-Based Image World is an ambitious exhibition spanning six decades (1962–2020s) that investigates the history and creative uses of digital imaging technology, from the genesis of digital imaging in Southern California research laboratories during the Cold War and space race of the 1960s to the ubiquity of digital media in our contemporary world. The exhibition and accompanying publication narrate the ideological shifts that occurred as digital technologies were adopted for artistic ends. Conceptually organized into themes exploring issues of agency, representation, culpability, and connection, Digital Capture features more than 40 artists working across several technological, computing, and imaging media. Participating artists: Rebecca Allen, Refik Anadol, Natalie Bookchin, micha cárdenas, Liliana Conlisk Gallegos, Nonny de la Peña, John Divola, Dynasty Handbag, EPOCH, Elisa Giardina Papa, Goldin+Senneby, Valerie Green, Lucia Grossberger Morales, Maggie Hazen, Lynn Hershman Leeson, Huntrezz Janos, Eugene Lally, Brandon Lattu, Ahree Lee, David Maisel, Frank Malina, Judy Malloy and Cathy Marshall, Lynne Marsh, Lauren Lee McCarthy, Mobile Image (Kit Galloway and Sherrie Rabinowitz), Lee Mullican, A. Michael Noll, Mendi + Keith Obadike, Charles O’Rear, Trevor Paglen, Nam June Paik, Sheila Pinkel, Sonya Rapoport, Marton Robinson, Dean Sameshima, Julia Scher, Ilene Segalove, Sonia Landy Sheridan, Barbara T. Smith, Christine Tamblyn, Penelope Umbrico, Stan VanDerBeek, Steina and Woody Vasulka, Gerardo Velazquez, Andrew Norman Wilson, Amir Zaki. Image: Micha Cárdenas and the Critical Realities Studio, Sin Sol / No Sun, 2020, screenshot of augmented reality app

Flower blooms at night invite us to delve into enchanting gardens after dark. Gardens require attention and care, slowly growing and evolving. The gardener must listen and negotiate the vast will and system of its universe. Each plant carries histories, symbolisms, mysteries, and mutations, emerging in these collages as emblems of adaptation. Robert Mann Gallery is pleased to present Night Gardens, a solo exhibition of works by Mary Mattingly on view from December 12, 2024 through February 7, 2025. Gardens produce food, medicine, fragrances of the earth—flowers, mulch, compost—textures, colors, and life. Birds, insects, and hidden movements stir in the dark, reminders that a garden is a world of its own. In this vibrant exhibition, Mattingly creates hyper-detailed images merging physical and digital realms into magical worlds. The twelve images in this exhibition are set in riparian zones where biological life responds to shifting water levels; the stories of these precious ecosystems go back to ancient times. In some myths, lotuses and water lilies rise from waters. Similarly, the thistle, both cursed and cherished, embodies resilience, even dispelling melancholy with its roots. Walking around Socrates Sculpture Park at twilight, the artist became inspired by the moonlit gardens. Mattingly took cuttings, scanned plants, painted and drew flowers, experimented with using fish tanks and mirrors, made flowers out of fabric, and used a digital program to further shape the subjects of her collages. Through these garden scenes, Mattingly “explores how disparate elements—ancient symbols, mythic blooms, evolving plants—come together to speak of survival, imagination, and transformation in a time of environmental upheaval. Night Gardens is an inquiry into the wild and shifting relationships between lifeforms, the self included.” In these images, Mattingly cultivates a garden that begins in reality and transforms into an ethereal myth of what could be. “The garden becomes a miniature world, echoing Foucault’s idea of a symbolic and even sacred enclosure—a universe in-between, where time and space, nature and artifice, history and future all overlap.” Mattingly’s work has been exhibited at locations including the International Center of Photography, the Seoul Art Center, the Bronx Museum, the Brooklyn Museum, the New York Public Library, deCordova Museum and Sculpture Park, Museo National de Belles Artes de la Habana, and the Palais de Tokyo among other venues. Her writings were included in Nature, edited by Jeffrey Kastner in the Whitechapel Documents of Contemporary Art series. She is a recipient of support from the Guggenheim Foundation, A Blade of Grass, New York Foundation for the Arts, and the Art Matters Foundation.

Consuelo Kanaga: Catch the Spirit presents the first West Coast retrospective on the work of this critical yet overlooked figure in the history of modern photography. A bicoastal artist between San Francisco and New York, Consuelo Kanaga was one of the first women to become a staff photojournalist at a major newspaper — The San Francisco Chronicle — in the 1910s. Over the course of six decades, Kanaga championed the artistic value of photography and documented urgent social issues, from urban poverty and labor rights to racial terror and inequality. Her work remains as relevant today as it was during her own lifetime. Organized from the collection of the Brooklyn Museum, this exhibition charts the artist’s vision, which spans pathbreaking photojournalism, modernist still lifes, and celebrated portraits of Black Americans. Image: Consuelo Kanaga, Kenneth Spencer, 1933 © Brooklyn Museum

Photographs by Roy DeCarava and Danny Lyon from the Sandor Family Collection As part of a generous gift of photographs to The Ringling from Richard and Ellen Sandor, we’ve received two significant portfolios: Twelve Photogravures by Roy DeCarava (American, 1919-2009) and Danny Lyon’s (American, born 1942) Memories of the Southern Civil Rights Movement. These bodies of work by two of America’s most consequential photographers offer distinct but complementary expressions of Black life and the struggle for civil rights in the U.S. This exhibition is curated by Christopher Jones, Stanton B. and Nancy W. Kaplan Curator of Photography and Media Arts, Natalia Benavides, The Ringling's Coville Photography Intern and Jevon Brown, The Ringling's Eleanor Merritt Fellow. Image: Danny Lyon, American, born 1942, Cairo, IL, 1962: SNCC field secretary, later SNCC Chairman, now Congressman John Lewis, and others pray during a demonstration. from the portfolio Memories of the Southern Civil Rights Movement,1962-1964, printed 1996, Gelatin silver print, Gift of the Richard & Ellen Sandor Family Collection, 2023, 2023.36.3