Public Project
Currently On View
9,074
Currently On View
Location: New York City, New York
Nationality: American
Focus:
Photographer, Photography
Covering:
Latin America,
Middle East,
USA & Canada
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© 2024 Susan Meiselas
Congresswoman Shirley Chisholm speaking at the Democratic Women's Agenda Meeting, Democratic National Convention, Madison Square Garden, New York City, 1976
American Job: 1940 - 2011
Opening January 23, 2025On View through May 25, 2025
Drawing from works by more than 40 photographers in the ICP collection, with the addition of exhibition prints from contemporary photographers, American Job: 1940-2011 highlights the collection’s breadth and contemporary relevance by surveying the photographic response to labor organizing and strike activity, race and gender discrimination in labor, organized labor’s role in politics, labor and activism, and the intersection of labor and the social changes wrought by the economic restructurings of the twentieth century.
International Center of Photography
84 Ludlow Street
New York, NY 10002
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© 2024 Susan Meiselas
Installation view of Irma’s hands for ‘Women’s Work’ poster on a bus stop, San Francisco, 1992
What if Women Rule the World?
On View through January 05, 2025This solo exhibition of A Room of Their Own and Archives of Abuse will be part of a cycle of exhibitions exclusively dedicated to the work of women artists or artists who identify as female, under the broader umbrella title, What if Women Ruled the World?
From December 2023 to November 2024, the National Museum of Contemporary Art (EMΣT) presents a cycle of exhibitions, in four parts, exclusively dedicated to the work of women artists or artists who identify as female, under the broader umbrella title, What if Women Ruled the World? The cycle of exhibitions is based on an often-repeated hypothetical question: What would happen if governance was characterized by female traits?
Questions are posed not because we argue in favour of the establishment of a matriarchy, but because the programme aims to invite reflection on whether there is an alternative to the dominant patriarchal paradigm that is seemingly leading the world to climate meltdown, environmental degradation and war-induced destruction. At the same time, it is also a reconsideration of art history, especially in country like Greece, which for years has marginalised or rendered invisible so many women artists.
National Museum of Contemporary Art (EMΣT)
Kallirrois Ave & Amvr. Frantzi Str.
Athens, 11743, Greece
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© 2024 Susan Meiselas
Arrest alongside Interstate 5, 3:00p.m., U.S.-Mexican Border, Oceanside, CA, 1989 USA. Oceanside, CA. 1989. U.S.-Mexican Border, 3:00 p.m. Arrest alongside Interstate 5. (From the series: CROSSINGS) ©Susan Meiselas/Magnum Photos USA
Picturing the Border at The Cleveland Museum of Art
On View through January 05, 2025Picturing the Border presents photographs of the US-Mexico borderlands from the 1970s to the present taken by both border residents and outsiders serving as counter-narratives to the derogatory depictions of migration and Latino/as in the US that tend to circulate in the mass media.
Mark Schwartz and Bettina Katz
Photography Galleries
The Cleveland Museum of Art
Cleveland, Ohio
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© 2024 Susan Meiselas
US/Mexican Border, 5:00 pm Arrest of undocumented workers entering from Tijuana, CA, 1989 Contact email: New York : photography@magnumphotos.com Paris : magnum@magnumphotos.fr London : magnum@magnumphotos.co.uk Tokyo : tokyo@magnumphotos.co.jp Contact phones: New York : +1 212 929 6000 Paris: + 33 1 53 42 50 00 London: + 44 20 7490 1771 Tokyo: + 81 3 3219 0771 Image URL: http://www.magnumphotos.com/Archive/C.aspx?VP3=ViewBox_VPage&IID=2K7O3RHEUPSL&CT=Image&IT=ZoomImage01_VForm
Crossings at Texas State University
On View through February 25, 2025This exhibition explores the border and its crossings by bringing together Susan Meiselas and the participatory art and education project known as Borderland Collective, whose locally centered engagement with the border fosters vulnerability, uncertainty, and self-reflection while giving voice to the lived experiences of the borderlands. It considers how Meiselas’ installation Crossings irrevocably links the clandestine movement of migrants to a longer history of U.S. imperialism in Central America.
The Whittliff Collections
Texas State University
San Marcos, Texas
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© 2024 Susan Meiselas
USA. Essex Junction, Vermont. 1973. Lena on the Bally Box.
Carnival Strippers at the National Gallery of Art
On View through April 6, 2025
See how documentary photography transformed during the 1970s.The 1970s was a decade of uncertainty in the United States. Americans witnessed soaring inflation, energy crises, and the Watergate scandal, as well as protests about pressing issues such as the Vietnam War, women’s rights, gay liberation, and the environment. The country’s profound upheaval formed the backdrop for a revolution in documentary photography. Activism and a growing awareness and acceptance of diversity opened the field to underrepresented voices. At the same time, artistic experimentation fueled the reimagining of what documentary photographs could look like.
Featuring some 100 works by more than 80 artists, The ΚΌ70s Lens examines how photographers reinvented documentary practice during this radical shift in American life.
National Gallery of Art
Constitution Ave. NW
Washington, DC 20565
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