CLAIRE A. WARDEN – MIMESIS

Posted on 2026-01-12

Working with alternative photographic processes, Warden physically intervenes in the creation of her images, manipulating silver halides directly on the negative. This deliberate disruption of the photographic surface becomes a metaphor for the layered forces—cultural, biological, historical—that shape identity. The resulting abstractions evoke visual languages borrowed from scientific imagery: cellular structures, topographic formations, and celestial fields. These references suggest systems of classification and observation, while simultaneously revealing their limitations when applied to something as fluid and complex as the self.

Mimesis positions photography not as a tool for description, but as a site of negotiation between visibility and erasure. The works hover between portraiture and landscape, presence and absence, reflecting how racialized identities are often read through fragmented or inadequate frameworks. By obscuring literal representation, Warden foregrounds the emotional and psychological dimensions of perception, challenging the viewer to confront how meaning is projected rather than discovered.

Opposite – Emphasis, 2015

Exhibition runs through to February 21st, 2026

Candela Books + Gallery
214 West Broad Street
Richmond
VA 23220

www.candelagallery.com

   Tweet

THE SHAPE OF THINGS – WHERE COLOR MEETS FORM

Posted on 2026-01-12

The Shape of Things: Where Color Meets Form explores photography’s ability to construct a sense of depth, presence, and materiality through chromatic intensity and formal precision. Presented at Holden Luntz Gallery, the exhibition brings together artists who treat color not as embellishment but as structure—an active force that shapes how space is perceived and bodies are imagined. Within this dialogue, color becomes a threshold between the visible and the sensed, inviting viewers to reconsider how photographic images occupy physical and psychological space.

At the heart of the exhibition is the work of Christopher Bucklow, whose practice stands apart for its fusion of conceptual rigor and quiet introspection. Known for his use of pinhole photography, Bucklow creates images that feel both ancient and futuristic, grounded in simple optical principles yet charged with metaphysical inquiry. In his celebrated Guests series, life-sized human silhouettes emerge from thousands of tiny apertures, each pinhole acting as a conduit through which light, time, and memory pass. The figures appear simultaneously solid and immaterial, suggesting presences shaped as much by absence as by form.

Opposite – Christopher Bucklow — Tetrarch, 1.29pm 30th July 2007

Exhibition runs through to February 17th, 2026

Holden Luntz Gallery
332 Worth Avenue
Palm Beach
FL 33480

www.holdenluntz.com

   Tweet

MARIO GIACOMELLI – LA GENTE, LA TERRA

Posted on 2026-01-12

Mario Giacomelli (1925–2000) stands among the most influential figures in postwar Italian photography, a self-taught artist whose vision reshaped the boundaries of the medium. Born in the small Adriatic town of Senigallia, Giacomelli left school at the age of thirteen to work as a typesetter, later serving briefly in the Italian army. His path to art was far from conventional: in 1950, he opened a small printshop in his hometown, and three years later, he purchased his first camera. What began as a curiosity quickly evolved into a lifelong exploration of image-making, where the darkroom became a place of invention and transformation.

Giacomelli approached photography as a field of experimentation, manipulating film and paper to create stark contrasts and bold compositions that captured the psychological texture of postwar Italy. His landscapes of the Marche region—rolling hills, furrowed vineyards, and solitary figures—became metaphors for resilience and renewal. The rural terrain, seen through his lens, transforms into near-abstract compositions, echoing the emotional power of contemporary painting while remaining deeply rooted in the land and its people.

Opposite – Paesaggio 230 (Landscape), from the portfolio “Paesaggio”, 1957-59

Exhibition runs through to February 15th, 2026

Santa Barbara Museum of Art
1130 State Street
Santa Barbara
CA 93101

www.sbma.net

   Tweet

NORMAN ROCKWELL – FROM CAMERA TO CANVAS

Posted on 2026-01-05

Norman Rockwell: From Camera to Canvas reveals an intimate and little-known side of one of America’s most beloved artists. For over forty years, photography served as the foundation of Rockwell’s creative process, his bridge between imagination and the finished painting. After producing initial sketches, Rockwell turned to the camera to stage his ideas, choreographing every detail of gesture, light, costume, and expression to bring his vision vividly to life before he ever touched a brush to canvas.

Opposite – Gene Pelham, Going and Coming, 1947

Exhibition runs through to February 15th, 2026

New Britain Museum of American Art
56 Lexington St
New Britain
CT 06052

nbmaa.org

   Tweet

LANDSCAPES

Posted on 2026-01-05

Landscape photography reflects our ongoing dialogue with the world around us. Sometimes vast and panoramic, other times intimate or microscopic, the landscape can be a literal space—or a symbolic one. Many images in this exhibition celebrate nature in its pure, untouched state; others examine how human presence shapes, disrupts, or defines the land. Beyond aesthetic beauty, these photographs carry emotional and psychological resonance. They reveal traces of memory, loss, affection, and longing embedded in place.
This exhibition brings together photographic artwork that offers a broad, interpretive, and personal investigation of the landscape, understood as a physical environment, an imagined terrain, or a conceptual space.

Exhibition runs through to February 14th, 2026

Praxis Gallery
2601 27TH Ave. S.
Minneapolis
MN 55406

www.praxisphotocenter.org

   Tweet

ASHIMA YADAVA – FONT YARD

Posted on 2026-01-05

Rooted in the symbolic space of the “front yard,” the exhibition frames domestic thresholds as sites where personal histories, cultural memory, vulnerability, and resilience intersect. Here, the home becomes both a literal and metaphorical landscape—one that reflects love, fear, silence, and survival across diverse communities in the San Francisco Bay Area.

At the heart of this body of work is Yadava’s refusal of the traditional, one-sided documentary gaze. Instead, she invites her subjects into the image-making process itself. Families are given black-and-white photographic prints and encouraged to color, mark, or embellish them as they choose. These gestures—thumbprints forming balloons, flowers outlining poetic lines in Tamil or Urdu—transform the photograph into a living, tactile conversation. The resulting images reveal not only how people wish to be seen, but how they understand themselves within broader social and emotional realities.

Exhibition runs through to February 14th, 2026

Chung 24 Gallery
698 Pennsylvania Avenue
San Francisco
CA 94114

www.chung24gallery.com

   Tweet