When the National Socialists came to power, New York established itself as a city of arrival for German-speaking photographers who had managed to flee Europe. Photography as a medium was in a state of upheaval at this time, partly due to efforts to establish it as an art form. The exiles, in turn, brought different training, camera types and emigration histories with them. Some had already worked professionally, others had to give up their learned professions and acquired photographic skills through self-tuition. Their artistic strategies in exile in New York therefore also differed. The camera served as a medium for dealing with the metropolis, reflecting on the experience of emigration, building networks and simply surviving economically.

Imaging Animal Industry focuses on the visual culture of the American meat industry between 1890 and 1960. It describes how, during that period, photographs and other images helped to shape public perceptions of industrial-scale meat production.

Plucked straight from my personal diaries and photo library, Thank You for Ruining My Birthday portrays the rejection, loneliness, and uncertainty of dating in NYC after the sudden end of a long-term relationship.

In a collection of images that are both quiet and telling, Sunset Colonies portrays the vulnerabilities experienced by residents of South Florida’s mobile home communities amid rapid urban transformation and the threat of economic displacement. Photographer Diego Waisman captures a fractured sense of place in Miami-area neighborhoods that once flourished but are now increasingly forgotten.

A rethinking of photography through the framework of extraction, Camera Geologica advances an eco-critical reading of photography to consider the material links between mining and image making.

Drawing on extensive research in the archives of the United States Information Agency (USIA) and concentrating on the period from the mid-1950s through to the late 1960s, Darren Newbury traces the role of photography in the United States’ appeal to Africa. Newbury shows how photographing the political, cultural, and educational visits of Africans to the United States provided a space for the imagination of international cooperation and friendship; how the United States presented the civil rights struggle as an example of democracy in action; and how it pictured a world of integration and racial coexistence.

Memory Orchards presents a broad survey of family experience, through highs and lows, through lust and loss, creating a survey of work which reflects our understanding of ‘family’ in this moment.