Photography

GRCC drops Title IX investigation against photography professor following his resignation, The Collegiate threatened with cease and desist letter

GRCC drops Title IX investigation against photography professor following his resignation, The Collegiate threatened with cease and desist letter
(Blace Carpenter/The Collegiate)

Grand Rapids Community College has dropped the Title IX investigation against photography professor Filippo Taglitai after he resigned from the college on March 24. This information comes via documents obtained by The Collegiate through the Freedom of Information Act. 

Tagliati was placed on administrative leave on Nov. 8 pending an investigation into alleged violations of the college’s Title IX Sexual Harassment Policy. Students who were enrolled in his classes were told that he was no longer teaching any classes and was unavailable for communication. 

The Collegiate received a heavily redacted Title IX investigation report that makes it impossible to read the allegations against Tagliati and details of the evidence collected throughout the investigation. 

Tagiati received bi-weekly payments of $3,886 for the duration of the investigation. He was paid more than $34,000 while the investigation continued. 

Taglati’s attorney, Tessa Muir, sent a cease and desist letter to The Collegiate on May 17 alleging that “Publishing any information from a dismissed investigation that did not result in any findings to support the claims against Mr. Tagliati would be defamatory.” The Collegiate received this letter before GRCC officials responded to our FOIA request, which included the excessively redacted investigation report.

“It is very concerning that an attorney would issue a ‘cease and desist’ letter to student journalists when the only information the attorney had was that the journalists had sent a FOIA request seeking information,” stated Erin Malone, Deputy General Counsel for the Michigan Press Association. “Such letters can reasonably be interpreted as an attempt to bully journalists from seeking information and reporting on truthful facts of public importance and have a chilling effect on the work of student journalists.”

GRCC hired Cathleen Dooley from Thrun Law Firm to investigate the formal complaint on Nov. 8, 2022. According to the report, the complainant provided Dooley with computer audio, transcripts of conversations, transcripts of text conversations, and two videos that recorded conversations between Tagliati and the complainant. Dooley also held a series of interviews with the complainant and witnesses over the course of several months, the report states. 

Tagliati refused to be interviewed by Dooley. The report states, “December 1, 2022: Respondent’s Advisor confirmed that he would not participate in an interview with this Investigator.”

In her letter to The Collegiate, Muir wrote, “It is important to note that no findings of wrongdoing have been made about Mr. Tagliati. The investigation was dismissed after his voluntary resignation at the end of the 2023 academic year. He has asserted from the beginning that the allegations against him were false and exaggerated, and there have been no findings or determinations in the case either way because the case was dismissed. He voluntarily resigned from the college at the end of the semester in order to avoid the stress of the ordeal any further — including a hearing — and for various personal reasons. He was not asked to resign, and he did not resign in lieu of termination.”

She continued,” …He maintains that the allegations are false, and they remain unproven. The allegations remain only accusations, which would ultimately have been reviewed and decided upon by a neutral and detached decision-maker after a hearing, had the process gone to completion. But after his resignation, the case was terminated.”

It’s unclear why the college did not pursue the investigation further.

“Although a school may dismiss a formal complaint if, at any time during the grievance process, the respondent is ‘no longer enrolled or employed’ by the school, dismissal is not required,” states the Questions and Answers section of the Title IX Regulations on Sexual Harassment document produced by the United States Department of Education which was updated in June 2022. 

As of this publication, the nature of the complaint, the evidence collected, and how the college handled the investigation remain unclear as the 22-page report was heavily redacted.

While everyone recognizes the need to protect potential victims, too often public bodies use Title IX protections for victims as a way to obscure how the public body deals with such cases and whether they are doing an effective job, as well as complying with the law,” stated Malone. “Over-redaction of reports like this raise questions about how the public body is performing its duties and undermine public confidence that these investigations are being properly conducted.”

The Collegiate has filed an appeal of the redaction in the interest of the public’s understanding of Tagliti’s removal and is awaiting a response. 

The Collegiate stated in the appeal, “The education of students in multiple sections of photography classes was disrupted when their instructor was abruptly put on administrative leave during this investigation, underscoring the public nature and impact of the investigation. In the interest of maintaining transparency for our readers and ensuring that the college is maintaining a safe learning environment for students and fair treatment of those accused of misconduct, The Collegiate is appealing the extreme redactions it received.”

More information about GRCC’s Title IX policy and guidance on how to report a concern can be found on the college website.

Wild and wondrous: Nature photography exhibit to open July 2 at Hammond Hall

Wild and wondrous: Nature photography exhibit to open July 2 at Hammond Hall

WINTER HARBOR — An exhibit of nature photographs by author and photographer Margie Patlak will open at Hammond Hall on Sunday, July 2 at 4 p.m.

The exhibit, titled “Wild and Wondrous,” is an exhibit of Maine nature photographs by. The photographs will be exhibited at Hammond Hall (427 Maine St. in Winter Harbor) through the end of August. These photographs are featured in Patlak’s upcoming photo book “Wild and Wondrous: Nature’s Artistry on the Coast of Maine,” which will be published by Down East Books/Rowman and Littlefield this July.

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Being Receptive as a Photographer

Being Receptive as a Photographer

In today’s world, many of us feel the pressure to constantly create and put out content, and that can be quite frustrating and detrimental to our process and enjoyment. There is something to be said for letting photos come to you, in a manner of speaking. This great video follows a landscape photographer as he does just that. 

Coming to you from Steve O’Nions, this excellent video follows him as he heads out on a landscape shoot and discusses the idea of being receptive to images. This sort of approach is not limited to landscape photography. For example, a lot of street photographers work by finding a spot with interesting light and a compelling composition, then waiting for action to enter the frame, which is partially why rangefinders are so popular for the genre, as they allow you to see what is going on outside the frame. The next time you head out, try letting photos come to you a bit more; you’ll likely find you enjoy the process far more. Check out the video above for the full rundown from O’Nions. 

And if you really want to dive into landscape photography, check out “Photographing The World 1: Landscape Photography and Post-Processing with Elia Locardi.” 

Dancing with Nature photography exhibit now open at BCM; opening reception planned for June 24

Dancing with Nature photography exhibit now open at BCM; opening reception planned for June 24

“Zinnia Kisses” by Kira MacNeil (Image from BCM)

From snapping shots of migrating wood ducks on her farm in Butler to the tiniest hairs and spines on a poisonous saddleback caterpillar, photographer Kira MacNeil has always had a camera in her hands, ready to capture whatever jumps in front of her. Heron, starlings, deer, butterflies, spiders, a praying mantis – all subjects of her first wildlife exhibit, Dancing with Nature, opening June 8 at Behringer-Crawford Museum.

Each photograph highlights the natural world found in Northern Kentucky. “This is all on my farm, out in the open.” says MacNeil. “This isn’t me going to different countries. You just have to be present.” MacNeil takes her Sony A7II camera with her whenever she hikes. Sometimes she gets really lucky and captures a mother bird feeding her hatchling, but more frequently she patiently waits days, sometimes weeks for the perfect lighting and subject to come her way.

“Let’s Be Friends” by Kira MacNeil (Image from BCM)

“Spiders make some of the best subjects,” she says. “They typically don’t mind you one bit, as long as you keep your space. You can watch them gently weave their webs in the mornings, with quiet intricate detail, or efficiently wrap up their prey for lunch.”

MacNeil frames her art with salvaged, repurposed wood from old structures on her farm, including an old abandoned farmhouse on her property. To her, repurposing salvaged wood is always a learning experience. The type of wood, age and history behind it make it a unique learning adventure. She has discovered how the wood’s personality comes through once the clean-up process begins. Pulling out the old nails, sanding away the years, seeing its beauty and imagining its history. The boards now have a new home and life complimenting her photographs.

Kira Ann MacNeil grew up in Massachusetts exploring the forests of New England. After meeting her husband, she had the opportunity to explore the world as she followed him through his military career. Traveling throughout the U.S., Europe and the Middle East, they landed in Northern Kentucky. Their farm in Butler serves as her muse, combining her love of nature and photography.

Kira Ann MacNeil (Photo from BCM)

MacNeil’s work has been featured in Flutter Me Shutters Magazine and Southeastern Council of Fly Fishers International and has won the Pendleton County Photo Contest for several years in different categories.

She recently started showcasing her art at summer festivals, such as the Ewenique Art Walk in Falmouth. Presently her work is available at Artifact, a gallery of local artisans in Cold Spring. She’s looking forward to continuing her involvement with the local artistic community, helping with conservation and educating others about local plants and wildlife in Northern Kentucky.

With her nature photography, MacNeil hopes to show others the simple beauty in nature that brings her a sense of peace and calm.

The opening reception for Dancing with Nature will be held on Saturday, June 24, 2-4 p.m. where guests can meet the artist and enjoy light refreshments with friends. Exhibit is included with museum admission and runs through Aug. 13, 2023.

Behringer-Crawford Museum is located at 1600 Montague Road-Devou Park, Covington. Hours are Tuesday-Saturday: 10 a.m.-5 p.m.; Sunday: 1-5 p.m. Closed Mondays and national holidays. Admission is free for BCM members, $9 for adults, $8 for seniors 60+ and $5 for children. Wednesdays are Grandparents’ Days: one grandchild is admitted free with each paying grandparent. Parking is free.

For more information, call 859-491-4003, email info@bcmuseum.org or go to www.bcmuseum.org.

Behringer-Crawford Museum

Street Photographer Captures Entertaining Shots, And Here Are His 40 New Works

Street Photographer Captures Entertaining Shots, And Here Are His 40 New Works

Anthimos Ntagkas is a street photographer from Greece. The moments captured in his images could be described as funny or sometimes even peculiar coincidences. However, it is not all about the coincidence, and more about the photographer who is always on alert, aware of whatever is happening around him. Ntagkas manages to find himself in the right place at the best time and point his camera toward some specific scene at a very particular second. Then he shoots one of his very unique photographs capturing ordinary scenes with an extraordinary outcome.

Today we prepared for you another portion of great shots by Anthimos. As Ntagkas mentioned during the interview featured in our previous Bored Panda post about his work: “Street photography is more artistic and creative. It is not only capturing the moment and the people in the streets but you also have to be an artistic director in order to combine people and elements in a fascinating perspective.” Let’s dive into the list of the most recent shots from Anthimos, and admire his artistic approach to street photography.

More info: Instagram

Photographer’s Shot Of Christ The Redeemer ‘Holding’ The Moon Goes Viral

Photographer’s Shot Of Christ The Redeemer ‘Holding’ The Moon Goes Viral
Photographer's Shot Of Christ The Redeemer 'Holding' The Moon Goes Viral

The photographer spent three years studying the moon’s alignment before taking the shot.

Christ the Redeemer, the colossal statue of Jesus Christ at the summit of Mount Corcovado in Brazil’s Rio de Janeiro, is a world famous tourist spot. Thousands of people flock to the Brazilian city to catch a glimpse of the statue, which was constructed in 1931. But a photographer recently clicked a stunning shot of the statue that has now gone viral. Taken after three years of failed attempts, Leonardo Sens’ photo appears to show ‘holding’ the moon with both hands.

The photographer has posted the picture on his Instagram handle. According to the description, it was clicked on June 4 as the moon went down behind the statue.

The post also mentions that the long-awaited shot was taken from Icarai Beach in Rio de Janeiro municipality of Niteroi, which is seven miles away from the statue.

Mr Sens told Brazilian news outlet G1 that he spent the last three years studying the moon’s alignment before taking the perfect shot.

“In the end, everything went well and I was able to register the long-awaited photo,” he said.

There are other photos too in the Instagram post, which has amassed more than 6.5 lakh likes.

“I have seen several pictures of the moon but you managed to leave the perfect angle in a memorable way,” one user commented on Instagram.

“I don’t even know what to say about these photos… it’s incredible, exciting,” said another.

According to Encyclopaedia Britannica, the statue stands 98 feet tall, with its horizontally outstretched arms spanning 92 feet.

It is made of reinforced concrete and sits on a square stone pedestal base about 26 feet. The statue is the largest Art Deco-style sculpture in the world, said Britannica.

Eastside student photography exhibition focuses on gun violence

Eastside student photography exhibition focuses on gun violence

The story of the new We Live Here photography exhibition of the Light Catchers Society began with two bullet holes.

A shootout in the neighborhood earlier this year left scars in the walls of The Rec building, the North Gevers Street headquarters of the Eastside nonprofit after-school program. One bullet smashed through two walls and struck the frame of a student photograph still on display from last year’s neighborhood-themed show. 

The incident helped solidify the theme for this year’s version of the annual exhibition, with the group of a dozen Booker T. Washington Elementary School sixth graders participating in the program choosing to focus on gun violence.

“The gun violence in the neighborhood is consistent and it’s been rising, just like it has in most other neighborhoods,” said Francisco Cortés, a photographer and educator who has run the Light Catchers Society as a formal after-school program since 2016.

Students in the program learn to operate digital single-lens reflex (SLR) cameras, video cameras and sound recording equipment. Then, they apply their skills with community-based research involving social justice issues. Their program year culminates with an annual photography-based public exhibition that also includes video interviews.

From left: Santiago Avi’na holds his image, “A Policeman’s View,” and Raven Williams holds her image, “Assisting the City.” Credit: Bria Woods / San Antonio Report

Each year’s We Live Here exhibition engages students to research and reflect on their neighborhood through digital photography and video interviews with residents. Past years’ shows have focused on other issues pertinent to the area, including gentrification and mass incarceration.

Though a dark subject for sixth graders, gun violence has touched the lives of each student or someone they know, Cortés said. 

Together with other Washington Elementary teachers and Charlie and Jen Foltz, directors of The GoodHood neighborhood organization that works with Light Catchers, students arranged interviews with Eastside residents, then recorded videos and made photographic portraits that will be featured in the We Live Here exhibition.

One portrait in the show is of Bernice Roundtree, mother of 18-year-old Charles “Chop” Roundtree who was killed by a police officer in his home in 2018.

From left: Mykayla Torres O’Neil holds her image, “Untitled,” and Santiago Guzman holds his image, “Bloom.” Credit: Bria Woods / San Antonio Report

A goal of the We Live Here portraiture project is to change perceptions and humanize the statistics and negative news that gun violence creates, Cortés said.

“It helps change the narrative, or the perception of people of the East Side,” he said. 

Working on the project teaches the students photography and video-making skills and “helps the students build empathy and sympathy for their own neighbors,” Cortés said. If you understand your neighborhood and your community, you tend to value it more, and tend to not harm the people around you.”

And for Cortés, the Light Catchers mission is personal. “My upbringing is very similar to these kids in this neighborhood,” he said. “So I understand that they need creative outlets. And I understand the traps that are headed their way. … So the earlier they can work on themselves the better.” 

The We Live Here exhibition opens Friday with a free public reception at The Rec from 7-9 p.m. The festive event will feature root beer floats, barbecue and live music at 1212 N. Gevers St.

Carers Week: Coping with caring through photography

Carers Week: Coping with caring through photography

As Carers Week continues, we meet Fiona, a professional photographer from Salford who cares for her husband who has dementia. Using her photography to help her cope with her caring responsibilities, Fiona has been building a series of pictures that represent the range of emotions carers often feel.

Fiona is a member of a carers group at Age UK Salford and will continue working on the project, entitled Caregiving, over time. Below, she gives Enable readers a preview of the work.


I don’t like the term “carer”. I’m John’s wife and caring for him is something I do. It’s not who I am. 

However, I often feel that the care-giving role takes over everything, and its not clear who “I” am anymore. This photographic project is about the emotions associated with this role, and about reasserting my identity. Making the images has been a helpful way to work through some of these emotions, and express them to others. 

Caring is exhausting. It’s relentless 24 hours a day, 365 days a year. 

There are no holidays, no sick leave. The logistics of organising respite care are so complex. Then, even if someone else is looking after him, you still worry. 

Knowing what is best, and where to turn for help is confusing – and I’m not the person with the cognitive decline.

The routines and support that you can put in place are so fragile – the slightest change means they break down. 

So many tasks fall to me. As well as care, all the routines of running a home and all the driving around. Trying to juggle all this means that being John’s wife often gets buried under it all. 

We had some great times together. It’s so difficult to hold onto the memories of the past, and build the memories of the future together when one person can’t remember. 


Visit the dedicated Carers Week website to find out more about the campaign and how to get involved (www.carersweek.org), or speak to Carers UK about accessing resources and support (www.carersuk.org, 0808 808 7777).

All images © : Fiona Robinson/Photos With Fiona


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A Landscape of Organized Chaos: Nigerian Photographers at MoMA

A Landscape of Organized Chaos: Nigerian Photographers at MoMA
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The museum’s celebrated series on emerging talents in photography turns to the first group show focusing on West Africa.

A boy, his face out of focus, is walking toward you. He holds a bucket, and there is a slight spring in his steps. In the foreground, clothes hang above the frame, like obstacles preventing you from looking. And this boy, where is he coming from? Where is he going to? Why does he seem happy even though he is surrounded by heaps of trash and bush? If you have ever lived in Lagos, Nigeria, then you will know that these clothes are most likely his school uniform that he had just washed and spread out to dry, and that his happy strides are from finishing the day’s laundry. Everything — the boy, the heap of trash, the bush — is out of focus, and what is truly seen are the clothes that frame his life.

Logo Oluwamuyiwa, “Coming Close,” from the series “Monochrome Lagos,” 2015. The clothes drying, perhaps a school uniform, frame his life,” our critic says.Logo Oluwamuyiwa

This scene from “Coming Close” by Logo Oluwamuyiwa, one of seven artists in the ongoing “New Photography 2023” exhibition at the Museum of Modern Art, embodies the springing zigzag of Lagos presented in a delicious and nuanced manner through the show. Although “New Photography 2023” is the 28th edition in MoMA’s well-known series since its inauguration in 1985, it is the first group show in the museum’s history featuring the work of living West African photographers. This turn toward a more global outlook is already bearing interesting fruits as the museum acquires a selection of works by Kelani Abass, Abraham Oghobase and Akinbode Akinbiyi — three of the photographers in the exhibition. “It has been a true honor to bring these works into the collection,” says Oluremi C. Onabanjo, an associate curator at MoMA who organized the show, which encompasses a broad range of styles and textures, colors and gestures, working through street photography, documentary, and abstraction, landing in Yagazie Emezi’s photojournalistic images of the October 2020 #EndSARS protests in Nigeria, when young people called for ending police brutality and disbanding the unit known as the Special Anti-Robbery Squad.

Yagazie Emezi, “Untitled,” from “#EndSARS Protests,” 2020, inkjet print.Yagazie Emezi; via Richard Taittinger Gallery, New York

In 2014, one year after he began his “Monochrome Lagos” series, from which his works in the show were selected, Oluwamuyiwa, 23 at the time, began visiting the Center for Contemporary Arts Lagos — an independent nonprofit art organization founded in 2007 by the Nigerian curator Bisi Silva — where he discovered the work of the street photographers Robert Frank and Garry Winogrand.

“They helped me develop a sense of kinship,” Oluwamuyiwa said by phone, “and I became confident that photographing was a valid way to understand a city.” His interpretations of Lagos are gritty and fast paced, matching the environment in which he works, yet he manages to elucidate things that can only be apparent to someone looking closely. In such moments, as in “Boss and Assistant” where two men in a Danfo (the rundown yellow minibuses used for public transport) seem to be whispering to each other, or in “Hazy II,” where light pours from under the Third Mainland Bridge onto two figures standing in a canoe, the images transcend their sharp surfaces and acquire a misty luster; grittiness gives way to haziness, and the private anxieties of Lagos life become heightened.

A quick history of Lagos: Indigenously peopled by the Awori, it was once a military outpost for the ancient Benin Kingdom, a slave trading port for the Portuguese, who named it after their own city, and eventually an entry point for British colonialism into Nigeria.

Amanda Iheme’s “Casa de Fernandez—Death-14” from the series “The Way of Life,” 2015, shows colonial history being erased. A circa 1840s building was once home to slave traders and later housed stores and a popular bar.Amanda Iheme

The vestiges of these histories, now mostly disappeared, subsist in dilapidated British colonial buildings and houses with Cuban-Brazilian type architecture built by formerly enslaved people who returned to Nigeria in the late 19th century. As part of her series “The Way of Life,” in 2015 Amanda Iheme began photographing the Casa de Fernandez, one of the colonial-era buildings reported to have housed slaves in the 1840s. Its ownership had passed down from Afro-Brazilians to auctioneers to a Yoruba owner who turned it into a bar, and down to the colonial government, which declared it a monument and used it as a post office. Tied up amid power cables from the streets, with aged beams and railings, the building’s pink sheen — a patina of its glory days — has mostly peeled off, revealing brown bricks underneath, a long march toward an impending death.

Karl Ohiri, “Untitled” from the series “The Archive of Becoming” (2015- ongoing). The artist creates “marvelously grassy, melancholic portraits,” developing negatives discarded by photo studios.Karl Ohiri

Iheme, in contrast to Oluwamuyiwa, and perhaps due to her own training as a psychotherapist, makes pictures that are soft toned and slow, as if listening for sound, but heavy and considered, as if she were plucking each frame from the jaws of oblivion. Iheme did literally save a stone from the rubble of the Casa de Fernandez when it was demolished without explanation by the government in 2016. Items in other photos include transport tickets, “Secret” government files, and passports she salvaged from the floors of a second ruinous building that used to house the Federal Ministry of Justice.

Akinbode Akinbiyi, “Bar Beach, Victoria Island, Lagos,” from the series “The Sea Never Dry.” His warm palette turns sand and water into the same color, so that a praying woman seems to be dividing the sea with her feet.Akinbode Akinbiyi

Akinbode Akinbiyi’s photographs — although not as directly — carry on this inspection of disappeared histories that lurk around Lagos, hunted by ghosts of what were national events. When one looks at his pictures of Bar Beach, on Victoria Island and selected from a series that the 76-year-old photographer started in 1982, it is impossible to discern that public executions of coup plotters and armed robbers, witnessed by thousands of Lagosians, happened here. Instead, focusing on the bustle that came to be the tedium of life at Bar Beach after the violent ’70s, Akinbiyi devises a warm black and white palette — resisting digital cameras and sticking only with lenses ground by hand — that turns sand and water into the same color, so that a praying woman garbed in white, walking away from a set of empty chairs toward the edge of the frame, her small Bible slightly raised, seems to be dividing the sea with her feet. In the second-floor galleries, the photographs are hung with what looks like office clips — a poignant technique that suggests that they can be easily rolled off, the same way the world of Bar Beach was folded away when the government cordoned off the seashore from the public, reclaimed the land, and turned it into an expensive and garish “Atlantic City.”

Kelani Abass, “Unfolding Layers 6,” from “Casing History,” 2021. Letterpress type-case with digital prints — part family memoir, part sculpture.Kelani Abass

Although this is a photography exhibition, there are sudden, extraordinary turns, starting with Kelani Abass’s work, when the lines between photography, sculpture and painting blur. Transposing 1960s-era photographs from his family archives into wooden letterpress type-cases, from when his father ran a letterpress printing company, Abass uses the personal archive to encase history in a way that complements the marvelously grassy, melancholic portraits by Karl Ohiri, who collected and developed various discarded negatives from photo studios in Lagos that had closed or turned to digital photography. The installation of Abass’s large family journal detailing personal philosophy, customs and traditions — some in Yoruba — looks less out of place because of Abass’s non-obtrusive and aged letterpress cases. (Ohiri’s “Skate-board” doesn’t work quite as well because the item, which transports a disabled Lagosian through the crowded streets, followed by the filmmaker, is a little bit difficult to make out.)

Abraham Oghobase, “Untitled 01,” from his “Constructed Realities” installation, 2019–2022. A series of 10 collaged works featuring printed silk chiffon layered on inkjet prints.Abraham Oghobase

In the center of the gallery are Abraham Oghobase’s layered manual and digital manipulations of photography on texts (records from Nigeria’s colonial period) providing an excellent backbone for the exhibition while stretching the limits of the medium.

This impressive dance with materiality in the show probably comes to a peak in Oluwamuyiwa’s posters, meant to be taken away by visitors. The first thing tourists in Lagos might notice are the multitude of roadside stalls where traders selling similar items cluster together as if sheer repetition is enough to interest any passer-by, and where items for sale are stacked publicly for easy dispersal, in the spirit of a city where everything must move swiftly because there is not even enough “time to check time,” as they say in Lagos. The posters are an invitation into the bumbling spirit of Lagos, mirrored by Oluwamuyiwa’s photographs — of sleeping mattresses layered on each other (“Repose Assistants”) and minibuses parked together (“Danfo Roofs”).

Logo Oluwamuyiwa, “Repose Assistants” from the series “Monochrome Lagos” (2020). Traders selling similar items cluster together and items for sale are stacked publicly for easy dispersal, in the spirit of a city where everything must move swiftly.Logo Oluwamuyiwa

“New Photography 2023” makes a compelling case for the turn of the series toward a global outlook focused on a city. There is harmony in the exhibition, allowing for experimentations on what a photography show might be when nuance is embraced. With a common anchor, it demonstrates how the works of seven individuals, properly meshed, might form a wondrous introduction for a traveling audience. The choice of Lagos as a starting point is a curious but astute one. Situated in a country currently gaining cultural capital for its Afrobeats music and fast-rising art scene, Lagos with its overwhelming pace is not particularly friendly to foreigners; it is a city that requires patience, work, and grit to love, and perhaps a bit of bravery. This is the point of the show: that astounding art demands and is worth the extra effort.

New Photography 2023: Kelani Abass, Akinbode Akinbiyi, Yagazie Emezi, Amanda Iheme, Abraham Oghobase, Karl Ohiri, Logo Oluwamuyiwa

Through Sept. 16, Museum of Modern Art, 11 West 53rd Street; 212-708-9400; moma.org.

From Belfast to the Karakoram mountains: the photography of Alain Le Garsmeur

From Belfast to the Karakoram mountains: the photography of Alain Le Garsmeur
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Laughing children in Berenty school, Madagascar, 1984. Assignments took Le Garsmeur worldwide; among the countries he visited were the US, Canada, Belize, Honduras, Jamaica, Nicaragua, China, Hong Kong, both North and South Korea, Bhutan, Tibet, Ireland, Scotland, Lisbon, France, Italy, Switzerland, Sweden, Poland, the former Yugoslavia, Russia, Israel and the West Bank, the UAE and Tunisia