Category Archives: PHOTOGRAPHY


Gladstone Gallery presents LAND OF DREAMS, a new body of work by Shirin Neshat.

Comprised of more than 100 photographs and a two-channel film installation, LAND OF DREAMS marks a significant visual and conceptual shift for the artist, who has turned her lens to the landscape and people of the American West. For this exhibition, Neshat will present the entire collection of photographs from this series as well as both films, which will be complemented by an online viewing room and virtual screenings throughout the show’s run.*

See link below for details.


Through February 27, by appointment.

Gladstone Gallery

515 West 24th Street, New York City.

See The Future of Art Acccording to Shirin Neshat.

Shirin Neshat, Land of Dreams, Gladstone Gallery, January 16, 2021–February 27, 2021. Images © Shirin Neshat, courtesy of the artist and Gladstone Gallery.


Across his body of work, Reynaldo Rivera depicts people enmeshed in their own private worlds who completely transcend their surroundings through the force of imagination and their inner lives. This remains true, whether the subject is photographed in a garden, a public toilet, or a house party in pre-gentrified Echo Park. I think this is a primary difference between Rivera’s work and Nan Goldin’s, to whom his portraits of drag queens, trans women, and other friends might be compared. Goldin’s subjects in The Ballad of Sexual Dependency are downwardly mobile: middle class kids who took a wrong turn, captured in louche dens of bohemian squalor during emotionally intimate scenes… Rivera’s photographs of drag performers taken in Latino gay bars in LA between 1989 and 1997 reflect a different kind of collaboration. He sees his subjects less as they “are” than how they most wish to be seen, lending himself to their dreams and illusions of glamour. And why shouldn’t these dreams be realized?Chris Kraus*

This week, Linda Simpson and Reynaldo Rivera will present their new books—The Drag Explosion and Reynaldo Rivera: Provisional Notes for a Disappeared City—and join artist and editor Alex Jovanovich in conversation.

See link below to register for the online event.


Artforum / Bookforum

Tuesday, December 15.

4 pm on the West Coast; 7 pm East Coast.

*Chris Kraus, from her introduction to Reynaldo Rivera: Provisional Notes for a Disappeared City (South Pasadena, CA: Semiotext(e), 2020).

Linda Simpson (images in color, from top): RuPaul, 1992; group of drag performers, including Lady Bunny (far left); Dean Johnson, 1987; RuPaul; event card image courtesy and © Artforum and Bookforum. Images © Linda Simpson, courtesy of the artist.

Reynaldo Rivera (images in black and white, from above): Echo Park (self-portrait), 1996; Vaginal Davis, Downtown, 1993; Cindy Gomez, Echo Park, 1992; Elyse Regehr and Javier Orosco, Downtown LA, 1989). Images © Reynaldo Rivera, courtesy of the artist


The subjects in [my] early portraits were friends or acquaintances I was just getting to know, some of whom would become good friends, some with whom I would eventually lose touch. Some I have reconnected with. It was important in deciding to make portraits that they be of people with whom I desired friendship, platonic or romantic relationships. It was also a conscious decision that, regardless of the nature of our connection, the photographs would depict them as if they were, could be, or had been a lover. I wanted that kind of desire to be the foundation, to go all the way and then negotiate back.Paul Mpagi Sepuya*

PAUL MPAGI SEPUYA—the artist’s first institutional monograph—is out now. Co-published by the Contemporary Art Museum St. Louis and Aperture, the book surveys Sepuya’s various photographic series over the last ten years, and features essays by Malik Gaines, Lucy Gallun, Ariel Goldberg, Lisa Melandri, Evan Moffitt, and Grace Wales Bonner, with an artist interview by curator Wassan Al-Khudhairi.

For a discussion presented by Printed Matter in anticipation of its forthcoming virtual book fair, Sepuya will join Al-Khudhairi in conversation. See link below to register for this online event.


Printed Matter

Monday, December 14.

5 pm on the West Coast; 8 pm East Coast.

*“Interview with Paul Mpagi Sepuya by Wassan Al-Khudhairi,” in PAUL MPAGI SEPUYA (St. Louis: Contemporary Art Museum; New York: Aperture, 2020).

Published on the occasion of the exhibition Paul Mpagi Sepuya, Contemporary Art Museum St. Louis, May 17, 2019–August 18, 2019; Blaffer Art Museum, University of Houston, October 19, 2019–March 14, 2020. Organized by Wassan Al-Khudhaiti, chief curator, with Misa Jeffereis, assistant curator.

Paul Mpagi Sepuya, from top: Darkroom Mirror (_2070386), 2017; Self Portrait Holding Joshua’s Hand, 2006; A Portrait (0X5A6109), 2017; Mirror Study (4R2A0857), 2016; Studio Wall (_1000021), 2018; A Portrait (File0085), 2015 [Evan Moffitt]; Paul Mpagi Sepuya exhibition catalog cover courtesy and © Contemporary Art Museum St. Louis and Aperture, image—Darkroom Mirror (_2060999), 2017 (detail)—© the artist; Paul Mpagi Sepuya, The Conditions, Team Gallery, New York, installation view—Sepuya’s Model Study (0X5A3973), 2017 at left—photograph by Jason Mandella, image courtesy the artist and Team Gallery; A Portrait (0X5A8325), 2018; Orifice (0X5A6982), 2018; Aperture (_2140020), 2018. Images © Paul Mpagi Sepuya, courtesy of the artist.


My practice as a visual activist looks at black resistance—existence as well as insistence. Most of the work I have done over the years focuses exclusively on black LGBTQIA and gender-nonconforming individuals making sure we exist in the visual archive… The key question that I take to bed with me is: what is my responsibility as a living being—as a South African citizen reading continually about racism, xenophobia, and hate crimes in the mainstream media? This is what keeps me awake at night. — Zanele Muholi

ZANELE MUHOLI—the first comprehensive survey of the work of the photographer and visual activist—is now on view in London.

See link below for exhibition details. Also, watch a conversation between Muholi and Lady Phyll.


Through June 6.

Tate Modern

Bankside, London.

Zanele Muholi, Tate Modern, November 5, 2020–June 6, 2021, from top: Qiniso, The Sails, Durban, 2019; Beloved V, 2005; Sistahs, 2003; Bona, Charlottesville, 2015; Tommy Boys, 2004; Thembeka I, New York, Upstate, 2015; ID Crisis, 2003; Miss D’vine II, 2007; Vile, Gothenburg, Sweden, 2015. Images © Zanele Muholi, courtesy of the artist, Stevenson, Cape Town and Johannesburg, and Yancey Richardson, New York.


Wondrous stuff crops up in her imagery, stuffing itself into her sight. — Gordon Parks on Ming Smith

Join CAAM and Aperture for a conversation with Ming Smith on the occasion of the imminent publication of her book, Ming Smith: An Aperture Monograph. The artist will be joined by the book’s editor Brendan Embser, and contributors Yxta Murray and Namwali Serpell.

Smith’s monograph is copublished by Aperture and Documentary Arts. Signed copies are available for purchase at Eso Won Books. See link below to r.s.v.p. to the online discussion.


California African American Museum

Thursday, November 12.

5 pm on the West Coast; 8 pm East Coast.

Ming Smith, from top: Self Portrait (Total), 1986, courtesy Pippy Houldsworth Gallery; America Seen Through Stars and Stripes, New York City, New York Painted, 1976, courtesy Pippy Houldsworth Gallery; God, Mary, JesusPittsburgh, 1991, from the series August Moon for August Wilson; Desire, 1988, from the Transcendence Series, courtesy Jenkins Johnson Gallery; Ming Smith: An Aperture Monograph (2020) spread and cover images courtesy and © the artist and Aperture (2); Me as Marilyn, 1991; Beauty, Coney Island, 1976, courtesy Pippy Houldsworth Gallery; Sun Ra Space II, New York City, 1978, courtesy Jenkins Johnson Gallery; Oopdeedoo, Coney Island, Brooklyn, NY, circa 1972, courtesy Steven Kasher Gallery. Images © Ming Smith, courtesy of the artist.