26.6.25

Shared Lights: 35 Years of United Photo Press

Founded in 1990, United Photo Press was born from the desire to bring together diverse perspectives on the world—capturing life, culture, and the hidden stories in the most unexpected corners of everyday life. Thirty-five years later, in 2025, we celebrate a journey defined by a wealth of visions and by the creation of a truly international community of photographers—both amateur and professional—united by the commitment to tell stories with light.

This path—shaped by encounters, images, and creative persistence—inspired the title of our commemorative project: “Shared Lights.” An expression that symbolizes the collaborative spirit and the ongoing exchange of visual perspectives that define United Photo Press’s DNA. Here, every photograph is more than a record—it is an act of sharing, a spark cast into the shared space of memory and imagination.

To mark this milestone, United Photo Press is preparing the simultaneous launch of a commemorative book and an exhibition, which will feature both iconic images from our extensive archive and previously unseen works, recently captured by members of our network. It will be a celebration of the technical evolution of photography over these decades, but above all, a tribute to its human power—the ability to see, feel, and tell the world through the lens.

Symbolism: Photography, at its core, depends on light—whether natural, reflected, projected, or even imagined. The word “lights” evokes both the technical materiality (the light entering the lens) and the poetic dimension: light as a metaphor for knowledge, memory, hope, and discovery.

Collective Memory: Over 35 years, each captured image is a fragment of history—a flash that records a fleeting moment. These photographed “lights” become part of a collective memory that pulses from North to South of Madeira and beyond regional borders.

United Community: United Photo Press has never been just a name; it has always been a gathering place for sharing. Every issue, every contest, every exhibition—whether physical or digital—marked a convergence of photographers from different generations and styles.

Institutional Collaboration: The act of “sharing” also reflects our partnerships with Associação da Arca da Ajuda, Câmara Municipal do Funchal, Freguesia de São Martinho, and Museu de Eletricidade do Funchal. It proves that this project is rooted in the local community while projecting outward, maintaining a cohesion that has endured for three and a half decades.

To ensure the exhibition is once again the result of a living anthology, we invite current members, alumni, and guests to contribute:

Open theme linked to the concept: Photographs exploring notions of “light” (literal or metaphorical) and “sharing” (encounters, communion of gazes, solidarity, tradition or innovation).

Portraits revealing the “inner light” of people who have contributed to the Madeira community or to the local photography scene.

Records of emblematic places—especially public spaces, historic buildings, urban or rural landscapes where natural light highlights textures and colors.

Sequences (diptychs or triptychs) in which each image “passes the torch” to the next, symbolizing generational succession within United Photo Press.

Formats & Techniques: Any (analog, digital, mixed) so long as the images convey the ideas of “light” and “sharing.” Each member, alumnus, or invited guest may submit up to 10 high-resolution images, accompanied by a brief text (max. 150 words) explaining how their photograph engages with the central concept—or, alternatively, the project that follows the CV introduction as in previous publications. For the exhibition (mandatory for alumni and guests), each author selects up to 3 images for large-format printing.

By choosing a title that highlights “Shared,” we reinforce that this is not just another anniversary but a continuously renewing cycle. Every member who submits an image adds their “light” to the collective archive. Hosting the exhibition at the Museu de Eletricidade—a place where light was generated and transformed for years—creates a symbolic bridge: the light that powered local industry now fuels the artistic creativity of photographers.

“Bring your light. Share a fragment of history that represents your vision—from the most intimate portraits to landscapes rich with memories. Together, we will illuminate United Photo Press’s 35-year journey and inspire new chapters in Madeira photography.”

With this title and concept, we aim not only to honor the past but to spark each member’s creative contribution, ensuring that the exhibition and book genuinely reflect a community that, for 35 years, has photographed and shared lights and stories.

info@unitedphotopress.net

www.unitedphotopress.com

Ai Weiwei Will Unveil a Major installation in Ukraine


Ai Weiwei announced that he will produce an artwork about war and peace in Kyiv, specifically addressing the ongoing conflict between Ukraine and Russia. The project, titled Three Perfectly Proportioned Spheres and Camouflage Uniforms Painted White, will be showcased at the city’s Pavilion of Culture, the Soviet-era exhibition hall known also as Pavilion 13. The installation will open on September 14th and be open to the public until November 30th.

“In this era, being invited to hold an exhibition in Kyiv, the capital of a country at war, I hope to express certain ideas and reflections through my work,” Ai said in a statement. “My artworks are not merely an aesthetic expression but also a reflection of my position as an individual navigating immense political shifts, international hegemonies, and conflicts. This exhibition provides a platform to articulate these concerns. At its core, this exhibition is a dialogue about war and peace, rationality and irrationality.”

Three Perfectly Proportioned Spheres and Camouflage Uniforms Painted White will feature similar spherical forms to Ai’s “Divina Proportione” series, created between 2004 and 2012. This series was inspired by Leonardo da Vinci’s mathematical illustrations, first depicted in a book of the same name. In the new artwork, the three spheres will be made of metal, covered in camouflage fabric, and painted over with a thin layer of white paint.

“Of course, whenever you cover something, there’s still something underneath,” Ai said. “So I give extra meaning to how we’re dealing with reality and which layer of reality we’re dealing with. And is reality just what we are seeing or what we understand?”

Ai is recognized for his consistent and outspoken activism against the Chinese government and global conflicts, including the Syrian Civil War in 2016. One of his most notable political artworks is Remembering (2008), which held the Chinese government accountable for negligence that led to mass death during the 2008 Sichuan earthquake. In 2011, his continued political dissent led to his arrest and subsequent 81-day detention.

The Seattle Art Museum is currently mounting a retrospective, “Ai, Rebel: The Art and Activism of Ai Weiwei,” which will be on view through September 7th. Other recent museum exhibitions, at Museo de Arte Contemporáneo de Castilla y Leon in Spain and Ordrupgaard in Denmark, closed on May 18th and January 19th, respectively.

16.5.25

Day 2 at HIGH END Munich: United Photo Press Captures 41 High‑Resolution Demonstrations



On Friday, May 16, 2025, the bustling halls of the MOC Event Center in Munich set the stage for Day 2 of the HIGH END audio show, where United Photo Press dedicated its second day to filming 41 high-resolution demonstrations on the exhibition’s second floor. The HIGH END is renowned as the world’s leading international audio exhibition, bringing together over 500 exhibitors, 1,000 brands, and more than 22,000 visitors from over 40 countries across 30,000 m² of exhibition space. Over its four days, the event unites audio experts, producers, retailers, and music lovers under one roof to explore groundbreaking trends and world premieres in high-fidelity technology.

Beyond loudspeakers and streamers, Hall 1’s WORLD OF HEADPHONES zone has drawn crowds of enthusiasts eager to experience cutting-edge personal audio setups. Walking through the second-floor corridors felt like stepping into a curated sound gallery, where each soundproofed room showcased studio‑grade stereo systems and bespoke acoustic treatments. United Photo Press, a Munich‑based visual storytelling known for creating compelling narratives, leveraged its expertise to bring each listening session to life.

Using state‑of‑the‑art 4K cameras and ambisonic microphone arrays, the team captured every subtle detail of the presentations, from the warmth of tube‑driven amplifiers to the transparency of titanium‑tweeter speakers. Among the 41 recordings, listeners will find an array of demonstrations—from vintage components to modern digital streamers—highlighting the diversity of today’s high‑end audio landscape. The immersive footage oscillates between tight close‑ups of precision-crafted drivers and sweeping chamber views, reflecting United Photo Press’s commitment to both technical rigor and artistic framing.

All 41 videos are now live and can be viewed in high resolution on the United Photo Press Facebook page at www.facebook.com/unitedphotopress

As this edition marks the final Munich appearance of HIGH END before it relocates to Vienna, these recordings serve as a rich audiovisual archive of the show’s storied legacy. We invite readers and fellow audiophiles worldwide to press play and immerse themselves in the art and engineering of high‑fidelity reproduction, captured by United Photo Press at Munich’s grand audio spectacle.

P.S. - All videos have been recorded in high resolution and are best experienced with headphones for optimal audio immersion.

Carlos Alves de Sousa
United Photo Press
www.unitedphotopress.com

Stone, Sound, and Soul: Inside the Vision of Stones Speakers at HIGH END Munich 2025



From the moment you enter Hall 4 at High End Munich 2025, the commanding presence of Stones Speakers’ towering monolithic columns demands your attention. Carved entirely by hand from Euganean Trachyte—an ancient volcanic stone sourced from Italy’s Euganean Hills—these sculptural loudspeakers are not just feats of acoustic engineering, but profound expressions of heritage craftsmanship.

In a conversation with Carlos Alves de Sousa of United Photo Press, CEO Giacomo Munari shared the philosophy behind the company’s boldest showcase to date. “We start with 500-kg blocks of Trachyte, hand-selected for tonal neutrality and structural integrity,” Munari explained. “This stone has been valued since Roman times, and working with it is a tribute to both history and sonic purity.” At a workshop outside Padua, Master Mason Michele and his team use traditional chisels alongside diamond-tipped routers to shape each speaker over several meticulous weeks.

Yet, what’s hidden inside these stone giants is just as impressive. “Stone can sing—but not always in a good way,” Munari joked. To tame unwanted resonances, each column is lined with a precisely engineered lattice of stainless-steel ribs and sorbothane pads, creating an enclosure that isolates the driver’s energy and eliminates coloration. A cutaway model reveals this intricate anatomy—proof of the team’s relentless pursuit of acoustic transparency.

Stones Speakers designs its own drivers in-house: paper-coned woofers provide warmth, ceramic-coated midranges offer pristine clarity, and ribbon tweeters are carefully recessed to reduce diffraction. Combined, they deliver an uncolored midrange and thunderous yet controlled bass that few wooden or metal cabinets can replicate. In demo sessions, listeners described an almost holographic soundstage—where the stone seemed to disappear, leaving only the music suspended in space.

But these speakers are more than just instruments of sound. “We see them as art pieces,” Munari said. Each pair is unique, with hand-finished textures ranging from honed matte to subtly polished surfaces, some adorned with marble inlays or integrated LED uplighting that reveals the stone’s natural grain at dusk. During the show, a display model with charcoal veins and mica highlights shimmered under the lights, drawing admiration from audiophiles and art lovers alike.

Installation is no small feat—each 300-kg column requires custom wheeled cradles and a two-man team. But the impact is undeniable. “It’s not just a speaker—it’s a presence,” Munari noted. “Our clients aren’t merely audiophiles; they’re collectors who understand that beauty and performance should coexist.”

Looking forward, Stones Speakers is preparing a limited “Heritage Series” crafted from lumachella limestone, a richly patterned stone from nearby quarries. Each pair will include a certificate of provenance and a booklet detailing the geological history of the material. There are also plans for compact stone-encased headphone amps and center channels, expanding the brand’s offerings without compromising its core ethos.

As our conversation closed, Munari reflected on what drives their mission. “We’re telling a story—of place, time, and the human touch,” he said. “In a world of carbon fiber and CNC-machined aluminum, rediscovering the soul of sound through ancient stone feels not just radical, but necessary.”

By the end of High End Munich’s opening day, Stones Speakers had transcended the role of product. They stood as a testament to what happens when centuries-old materials meet uncompromising modern design—where craftsmanship becomes resonance, and stone becomes song.


Carlos Alves de Sousa
United Photo Press
www.unitedphotopress.com

15.5.25

The HIGH END international audio exhibition kicked off today



The HIGH END international audio exhibition kicked off today (May 15–18, 2025) at Munich’s MOC Event Center, showcasing around 500 exhibitors and over 800 high-fidelity brands from more than 40 countries. Norwegian singer-songwriter Anette Askvik inaugurated the fair as brand ambassador, opening with an immersive live performance of her album Liberty in a spatial audio format powered by Kii Audio. Her ethereal voice and cinematic arrangements set the tone for a show where music, innovation and emotion walk hand in hand.

The newly relocated Press Center in Atrium 2 proved to be a welcoming space for journalists and content creators alike—flooded with natural light, equipped with fast Wi-Fi, comfortable workstations, and quiet zones for interviews. A true upgrade that reflects the growing importance of media coverage in the audiophile world.

United Photo Press was present on the ground and documented the opening day in an unedited 30-minute film, offering a raw and immersive glimpse into the first hours of the event. Accompanied by a laid-back jazz soundtrack, the footage is now available for viewing here: UNITED PHOTO PRESS presents HIGH END 2025 (1)

The exhibition floor buzzed with excitement, offering continuous demos across all audio domains—from cutting-edge digital streamers and DACs to boutique tube amplifiers and handcrafted turntables. Over 70 headphone brands converged in the dedicated “World of Headphones” hall, where visitors could sit and compare models in optimized listening conditions. Every square meter of the venue pulsed with audio: from studio-grade monitors delivering ultra-precise imaging to compact wireless speakers that blend lifestyle with fidelity.

For lovers of analog sound, vinyl rigs were everywhere. Classic turntables paired with high-current modern amplifiers gave life to lush, resonant soundscapes. Many rooms showcased side-by-side setups that bridged retro aesthetics and contemporary engineering, giving a clear nod to the fair’s unofficial theme: where tradition meets innovation. Younger attendees were equally engaged—gravitating to systems with sleek form factors and DSP-tuned drivers that deliver immersive audio without cables or complications.

Anette Askvik’s role as brand ambassador wasn’t limited to the stage. Her presence reminded visitors of the emotional core behind high-end audio. Her immersive live set, presented through a multichannel spatial system by Kii Audio, gave a breathtaking demonstration of how technology can preserve, and even enhance, the soul of music. Special panels and roundtables also added intellectual weight to the fair. One in particular, focused on sustainability in vinyl production, featured artists and audio professionals discussing how tradition can evolve responsibly.

Back in the Press Center, daily conferences started at 11 AM sharp, offering direct access to product managers, designers, and even performing artists. The facilities were perfectly suited for fast turnarounds—many journalists were seen filing live updates and interviews in real-time, reflecting the energy of the show itself.

United Photo Press’s visual documentary captures it all: the first awe-struck faces stepping into demo rooms, the quiet focus of critical listening, impromptu technical explanations, and even candid moments in corridors where the real networking happens. Set against the smooth flow of jazz, the video is both a time capsule and an invitation to those who couldn't attend.

HIGH END Munich 2025 runs through Sunday, May 18. But even before the final note has played, the echoes of innovation, artistry, and passion will be felt long after. In 2026, the exhibition relocates to Vienna—a new city, a new chapter, but undoubtedly the same uncompromising dedication to the art of sound.

Carlos Alves de Sousa
United Photo Press

HIGH END Munich 2025 Fair Opens with Global Audio Buzz



From the moment I stepped into Munich’s MOC Event Center this morning, I could feel the air humming with anticipation—and not just from the fluorescent lights overhead. The High End fair had officially opened its doors, and the rich aroma of freshly unpacked cables, lacquered wood cabinets and precisely machined aluminum fronts wrapped itself around me like a warm, familiar blanket. Everywhere I turned, demo rooms pulsed with music: delicate piano trills through open‑baffle speakers, vinyl crackle giving way to sumptuous midrange from state‑of‑the‑art tube amplifiers, and the smoothest jazz riffs I’ve heard in months—each sonic vignette more intoxicating than the last.

Navigating the aisles, I spotted everything from minimalist desktop wireless systems to towering floor‑standers that looked like modern art installations. One brand had a system so transparent I swore I could hear the room breathing; another offered retro‑styled turntables, their platters floating above carbon‑fiber bases as if by magic. The technicians invited me to sit, dimmed the lights and let the music take over—sometimes a vintage Frank Sinatra cut, other times an avant‑garde chamber performance I’d never encountered. In every corner, engineers and designers hovered, tweaking crossovers or swapping cartridges, their eyes alight with the same obsessive passion that drives all of us who chase that perfect, uncolored sound.

Today’s standout moment came courtesy of United Photo Press, who rolled out a raw, 30‑minute film of the opening day. Backed by a laid‑back jazz score, the footage captures it all: the first curious visitors threading through narrow corridors; side‑by‑side comparisons of rival loudspeakers; candid interviews with brand ambassadors in the sunlit press center of Atrium 2, where expansive windows and plush seating made for the most civilized media lounge I’ve ever experienced. Watching it, I felt as though I’d relive every goose‑bump moment—like discovering a newish ribbon‑tweeter design that flirts with impossibly low distortion, or stumbling on a headphone benchmark that finally nails the bass without muddying the treble.

The press center itself felt like a high‑end system: spacious, ergonomically designed, and bathed in natural light that made laptops glow and notes scribbled in margins come alive. Journalists from across the globe clustered around power outlets, trading sound impressions in half‑spoken dialects as they compared headphone pads and USB cables. It was the perfect oasis between demo room marathons.

As I jot down this report, the fair’s energy lingers in my veins. Whether you’re chasing that elusive midband purity or simply craving the thrill of new sonic horizons, High End Munich never disappoints. For those of us who live by every decibel, today was a feast—and thanks to United Photo Press’s unedited film, you can taste it too. Just press play on their YouTube link, let the jazz soundtrack guide you, and prepare to feel the pulse of audiophile heaven.



Carlos Alves de Sousa
United Photo Press

10.5.25

United Photo Press Announces 35th Anniversary Book Project

 


United Photo Press Announces 35th Anniversary Book Project


Munich – United Photo Press, a global leader in contemporary photography exhibitions for over three decades, is excited to announce its 35th anniversary. To commemorate this milestone, the organization is inviting UPP members & guests artists worldwide to contribute to a special, limited-edition book titled “Reconnected 35”.

This deluxe hardcover publication will celebrate the rich history and diverse talent of United Photo Press, showcasing the work of both established and emerging artists. To be included in the book, artists are invited to submit an updated photo of themselves, a brief biography, and a selection of 10 high-resolution images.

Submissions are due by June 31, 2025, and can be sent to info@unitedphotopress.net

"We are thrilled to invite our global community of artists to participate in this exciting project,” said Carlos Sousa president at United Photo Press. “This book will serve as a testament to the enduring power of photography and the incredible talent of our artists & guests."

The "Reconnected 35" book is expected to be released worldwide in the first quarter of 2025. Members of United Photo Press & guests can pre-order their copies for a special price, plus shipping.

About United Photo Press

United Photo Press has a long-standing reputation for showcasing innovative and thought-provoking contemporary photography & books. With exhibitions held across four continents, the organization has fostered a global community of artists and photography enthusiasts.


25.4.25

“A Symphony of Innovation: HIGH END 2025 Set to Illuminate Munich & the world with Audio Marvels”


From May 15–18, 2025, the MOC Event Center in Munich will transform into a global pilgrimage site for audio aficionados, as HIGH END 2025—the world’s foremost exhibition for premium music reproduction—returns for its 41st edition. Under this year’s resounding theme, “Passion for Music,” hundreds of exhibitors from over 40 countries, alongside parallel showcases IPS – International Parts + Supply and WORLD OF HEADPHONES, will unveil groundbreaking technologies and exclusive world premieres that redefine sonic excellence. Brand ambassador Anette Askvik, celebrated for her seamless blend of emotional depth and technical precision, will personify the exhibition’s ethos.

UNITED PHOTO PRESS will be on-site throughout all four days, delivering in-depth reporting, evocative photography, and dynamic film features, bringing readers closer than ever to the cutting edge of high-fidelity sound.

A Festival of Sonic Mastery - Four Decades of Auditory Evolution
Since its inception in 1984, HIGH END has stood at the vanguard of audio innovation, setting global benchmarks for quality and performance. What began as a modest gathering of European hi-fi specialists has blossomed into an international showcase where manufacturers, designers, and music lovers converge to celebrate the art and science of sound.

Munich: The Beating Heart of High-Fidelity
The spacious halls and light-filled atriums of Munich’s MOC Event Center provide the perfect stage for exhibitors to demonstrate room-shaking subwoofers, crystal-clear streaming solutions, and the latest in acoustic treatment. From boutique speaker builders to major electronics brands, the sheer diversity of offerings guarantees that every visitor—from audiophile to industry insider—will discover new ways to experience their favorite music.

Parallel Universes of Innovation - IPS – International Parts + Supply
Beyond finished audio systems lies the world of components. IPS highlights the vital parts—precision capacitors, bespoke wiring, proprietary drivers—that form the foundation of high-end audio. Attendees can meet the artisans and engineers who craft these elements, gaining insights into the fine tolerances and meticulous testing that underpin every great system.

WORLD OF HEADPHONES
Personal audio continues to captivate enthusiasts and casual listeners alike. In its own dedicated zone, WORLD OF HEADPHONES spotlights the latest in portable lossless playback, noise-cancelling marvels, and custom in-ear monitors. From luxury over-ear headphones costing thousands to breakthrough wireless earbuds, this segment underscores the personal dimension of musical immersion.

“Passion for Music” Personified - Anette Askvik: Voice of the Exhibition
Norwegian songstress Anette Askvik, known for her hypnotic vocals and cinematic arrangements, has been named HIGH END 2025’s brand ambassador. Her oeuvre—where raw emotion meets meticulous production—mirrors the exhibition’s devotion to marrying soul-stirring artistry with technological prowess. Throughout the event, Askvik will host select live performances and speak on panels exploring the interplay between artist intention and playback fidelity.

What to Expect on the Show Floor
- World Premieres and Concept Demonstrations
- This year’s buzz centers on a clutch of world premieres:
- Emmersive 3D Audio Suite: A collaboration between leading DSP firms, promising to envelop listeners in fully spatialized sound.
- Next-Gen Vinyl Replay: A high-precision turntable design that virtually eliminates groove distortion.
- Modular Streaming Processor: A plug-and-play digital hub that adapts to evolving codec standards.
- Each demonstration promises not only impressive specs but also real-world listening sessions designed to let media and retailers experience the difference firsthand.
- Interactive Masterclasses: Across multiple lecture rooms, experts will share knowledge on topics such as tube-amp design, digital-analog conversion, and room-acoustic optimization. These sessions offer both technical deep dives for engineers and accessible introductions for curious consumers.

UNITED PHOTO PRESS: Your Insider Access - Behind the Scenes with Our Reporter
Commits to capturing every illuminating moment:
- Feature Interviews with pioneering designers.
- On-floor Photography, from grand reveal ceremonies to candid exhibitor interactions.
- Documentary-Style Filming, weaving together expert insights and visceral listening experiences into compelling video packages.

HIGH END 2025 promises to be a landmark event for the global audio community. Whether you’re chasing the subtlest harmonic detail, seeking the next portable listening breakthrough, or simply reveling in the shared joy of music, Munich’s MOC will deliver. Stay tuned to UNITED PHOTO PRESS for unparalleled coverage—because every note, every nuance, and every innovation deserves to be heard.

www.highendsociety.de

Carlos Alves de Sousa
United Photo Press

24.4.25

What Vivian Maier Saw in Color

Self-portrait New York NY May 5 1955


From the 1950s until a few years before she died, in 2009, destitute at the age of 83, Vivian Maier took at least 150,000 pictures, mostly in Chicago, and showed them to nobody. Now she has earned her place alongside Diane Arbus, Robert Frank, Lee Friedlander, Lisette Model, Garry Winogrand, and other giants of the American street. See her vivid photos, which might have languished in obscurity if not for a chance acquisition.

A photograph is a secret about a secret,” Diane Arbus said. In the case of Vivian Maier, the photographer was a secret, too. From the nineteen-fifties until a few years before she died, in 2009, destitute at the age of eighty-three, Maier took at least a hundred and fifty thousand pictures, mostly in Chicago, and showed them to nobody. It’s telling, perhaps, that one of her favorite motifs was to shoot her own shadow. For decades, she supported herself as a nanny in the wealthy enclaves of the city. But her real work was roaming the streets with her camera (often with her young charges in tow), capturing images of sublime spontaneity, wit, and compositional savvy. When pressed about her occupation by a man she once knew, Maier didn’t describe herself as a nanny. She said, “I am sort of a spy.” All the best street photographers are.

Maier’s covert work might have languished in obscurity if not for the chance acquisition, in 2007, of a cache of negatives, prints, contact sheets, and unprocessed rolls of film, all seized from a storage locker because she fell behind on the rent. When John Maloof, a Chicago real-estate agent, bought the material, everything about Maier’s identity was a mystery except for her name. It was only when he ran across her death notice, two years later, that her story began to unfold. (His wonderful documentary on the subject, “Finding Vivian Maier,” was nominated for an Academy Award in 2015.) Maier shot in both color and black-and-white; perhaps to establish her credibility as a “serious” artist, the first of her pictures to be widely disseminated were the latter. Now that Maier has earned her place alongside Arbus, Robert Frank, Lee Friedlander, Lisette Model, Garry Winogrand, and other giants of the American street, a new book, “Vivian Maier: The Color Work,” and a related exhibition at Howard Greenberg Gallery (opening on November 14th) consider her eye for the vivid.


Chicago, 1978.


Maier is such an original artist that it feels a like a cheat to play games of compare and contrast. But, leafing through the book, it’s remarkable how often other photographers spring to mind. On an unknown date, at the Art Institute of Chicago, she pulled a Thomas Struth when she documented a mother (a nanny?) and a child staring raptly at a painting on the wall, both dressed in navy and white; the composition is centrally anchored by another child staring, defiantly, directly at Maier. 

In another image, a red-headed boy, who sucks his thumb while slumped against a wood-panelled wall on which four framed handguns are hanging, could be the shy, sullen cousin of Arbus’s manic boy with a toy hand grenade. The detached bumper and crash-crumpled metal of a Volkswagen Beetle, shot in Chicagoland in 1977, assumes sculptural proportions that invite thoughts of Arnold Odermatt, the Swiss policeman whose forensic photos of automobile accidents deserve to be more widely known.


Location unknown, 1960.


The Beetle was yellow, a color that brings out Maier’s best. In 1975, she took one of her shadow self-portraits against a green lawn dotted with little gold blossoms; cropped by the lens, the dainty, painterly landscape splits the difference between a Warhol silkscreen of flowers and the allover compositions of AbEx. (Note that Maier was shooting her shadow in the nineteen-fifties, roughly a decade before Friedlander, who is renowned for the gesture, did the same.) 

The same year, she came across two men on a sidewalk—one standing, one striding—both wearing canary shorts and lemon-fizz socks. To their right is a woman in a sensibly dark woolly cardigan and a daffodil-colored skirt. Their outfits are almost absurdly sunny, but not one of them is smiling.


Chicagoland, April, 1977.


Maier can pack an entire short story’s worth of details into a single frame. Consider the overly tan, skin-baring couple shot in an unknown location in 1960. They stand peeping through two cruciform holes in a high wall separating them from a swimming pool. The woman’s dingy white curls echo the hue of the stucco; his peeling, freckled back repeats its mottled texture. The ruched fabric of her bitter-orange bathing suit is the same palette and pattern as a poolside cushion in the near distance.

Past the man’s ear, there’s a lively brunette whose blue one-piece is a shade darker than the water below. She’s thrown her arms in the air, as if describing a wild night at a party. The elderly pair are on the outside looking in, and it’s worse than having their noses pressed against glass—they can smell the chlorine. When you see that she’s clutching a wrinkly brown paper bag, the mise en scène becomes somehow sadder.


Location unknown, c. 1960–1976.


The Art Institute of Chicago, date unknown.


One question that has dogged the discovery of Maier’s photography is how a lowly nanny could make such high art. Let’s call that sexism. I’ve never heard anyone ask how another exceptional Chicago outsider, the visionary writer and artist Henry Darger, could have produced his fifteen-thousand-page magnum opus while holding down a job as a janitor. The photographer Joel Meyerowitz contributed a foreword to the new book, a canny choice given that, like Maier, he learned how to shoot on the streets. He also co-wrote (with Colin Westerbeck, who also contributes an essay) an esteemed volume on the genre, “Bystander: A History of Street Photography.” 

He concludes, rightly, that “Maier was an early poet of color photography.” But he also floats a wince-inducing theory about her knack for snatching secrets, what he terms all great street photographers’ “cloak of invisibility”: “She’s as plain as an old-fashioned schoolmarm. She’s the wallflower, the spinster aunt, the ungainly tourist in the big city . . . except . . . she isn’t!” Has Henri Cartier-Bresson’s “decisive moment” ever been defined in terms of his looks?


Location and date unknown.


Location and date unknown.


Chicagoland, March 1977.


Chicago, December 1974.


Chicago, 1975.



Location unknown, 1976.


Chicago, 1973.


Self-portrait, Chicagoland, 1975.


Self-portrait, Chicagoland, October 1975.

Andrea K. Scott



The MKG’s 125th Annual Exhibition at the Münchner Künstlerhaus


Whispers of Heritage, Echoes of Tomorrow: The MKG’s 125th Annual Exhibition at the Münchner Künstlerhaus, Illuminating Munich’s Artistic Pulse through April 27


The Münchner Künstlerhaus’s group exhibition, organized by the Münchner Künstlergenossenschaft (MKG), ran from April 19 to 27, 2025, showcasing over 120 works across painting, graphic drawing, and sculpture. Founded in 1868, the MKG brings together professional artists dedicated to promoting and disseminating the visual arts throughout Bavaria and beyond. Staged within the historic Künstlerhaus building in Munich, this event offered visitors a richly varied panorama of the local and regional contemporary art scene, highlighting themes such as urban identity, the clash between nature and industrialization, and formal experimentation. The visit was documented with photographs of numerous installations and works on display, capturing the depth and diversity of techniques and styles.


An aura of anticipation has settled over the venerable Künstlerhaus in Lenbachplatz, where, since April 19, the Münchner Künstlergenossenschaft’s annual exhibition has been unveiling its treasures to the city. Running through April 27, this showcase invites both Munich’s art aficionados and curious travelers to wander beneath the glass dome, whose natural light suffuses each painting, drawing, and sculpture with a luminous stillness . In honour of the MKG’s 125th anniversary, the exhibition weaves together threads of heritage and innovation, offering a poetic dialogue between time-honoured craft and contemporary experiment.


Bespoke QR codes discreetly accompany each work, opening doorways to films, artist interviews, and glimpses of their creative odysseys—a digital leitmotif that enriches the intimate encounter between observer and creator . Under the discerning eye of curator Dr. Anna Müller, the chosen pieces explore the pulse of urban existence, the tension between industry and wilderness, and the elastic boundaries of form. While each gallery unfolds its own narrative, together they compose a symphony of ideas that resonates throughout the historic halls.


In the painting galleries, Sandra Köhler’s monumental canvases juxtapose the rust and grit of factory silhouettes with the lush vibrancy of woodland vistas, creating a chiaroscuro of nature’s clash and convergence . Julia Wagner’s brushstrokes fracture the city skyline into kinetic shards, evoking the perpetual motion of metropolitan life in rippling layers of oil . The graphic drawings present a contrapuntal counterpoint: Petra Neumann distills Munich’s skyline into elegant ink lines on translucent rice paper, each stroke a testament to minimalism’s evocative power , while Tobias Klein’s hybrid compositions merge traditional India ink with the precision of vector graphics, forging a visual language that is both ancestral and avant-garde.


Stepping into the main hall, sculptures command their own gravity-defying presence. Lukas Schmidt’s “Peso Leve” rises three meters, its lattice of steel beams choreographing a ballet of tension and buoyancy that seems to defy physical laws . In contrast, Anna Fischer’s reclaimed timber installations speak of rebirth and sustainability, organic forms emerging from aged beams as if sprouting anew from the very floorboards.


Critics and visitors alike have responded with ardour. The Süddeutsche Zeitung praised the exhibition’s harmonious balance between Carl Spitzweg’s quaint romanticism and the probing vigour of today’s innovators, dubbing the show “a triumphant union of past and future” . The Münchner Merkur lauded the technical virtuosity of the sculptural works, suggesting that the inclusion of live performances in future editions could amplify the dynamic interplay between art and audience.


With over 3,000 admissions recorded in its first week, the exhibition underscores the MKG’s enduring role as a beacon of Munich’s cultural life. Admission is priced at €8, with concessions at €5 for students and visitors with disabilities; tickets are available at the on-site box office only . Open daily from 11 a.m. until 6 p.m. (closing at 4 p.m. on the final day), the Künstlerhaus offers ample time for contemplation and discovery until Sunday, April 27.


Looking ahead, the MKG has announced a 2026 biennial in partnership with leading European institutions, promising artist residencies, cross-border exchanges, and a pioneering online catalogue that will bring its members’ creations to a global stage . In the meantime, these last days of the 2025 exhibition beckon all who seek to experience the rich interplay of tradition and transformation at the heart of Munich’s artistic spirit.


Carlos Alves de Sousa
United Photo Press