Friday, March 13, 6:30pm: Leanne Shapton and Jason Fulford Talk at Dashwood

Dashwood Projects presents In Cars: On Diana, an exhibition of paintings on paper by artist and writer Leanne Shapton. The work is based on photographs of Princess Diana getting out of cars. In Shapton’s hands, Diana is abstracted and turned into shades of grey reducing her to form and motion, exploring themes of celebrity, identity and facsimile.

Dashwood Books published In Cars: On Diana in Nov. 2025. Named one of the best art books of 2025 by the Brooklyn Rail, Karen Gu writes “Shapton’s images have a blurred and expressive, almost pixelated quality that prioritizes Diana’s gestures and physicality instead of lingering on the fine details… Even abstracted, the paintings, especially seen one after another, feel undeniably and essentially Diana.”

In her extended poem in the Dashwood publication, Shapton writes 

“my favorite pictures
are the ones of her getting out of cars.
The reproduction of a royal is the point. 
Lineage, bloodlines, primogeniture,
their bodies, their images on objects, 
are objects.”

Shapton is the author of many books that push the boundaries of the form, most notably Swimming Studies (Blue Rider, 2012) and Important Artifacts and Personal Property from the Collection of Lenore Doolan and Harold Morris, Including Books, Street Fashion and Jewelry (Sarah Crichton/FSG, 2009). Since 2021 she has been the Art Editor at The New York Review of Books, previously the Art Director of The New York Times Op Ed page. She is co-founder of J&L Books, a not-for-profit publisher of photography, art and writing. She has been an adjunct professor at Sarah Lawrence College and Columbia University. She held solo art exhibitions at Thomas Fischer Gallery in Berlin, 2024, and Picture Gallery in Brooklyn, 2023. 

Jason Fulford is an artist and co-founder of J&L Books (with Leanne Shapton). He is a Guggenheim Fellow, a frequent lecturer at universities, and has led workshops across the globe. Fulford’s photographs have been described as open metaphors. As an editor and an author, a focus of his work has been on the subject of how meaning is generated through association. A selection of his monographs include Sunbird (2000), The Mushroom Collector(2010), Contains: 3 Books (2016), most recently Lots of Lots (2025).

Dashwood Books, 63 East 4^th Street, New York, NY Info

From the Home Office: AI45 Deadline extended to Friday, March 13

Call for Entries | American Illustration 45 | As humanly possile

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American Illustration 44 hardcover books have arrived stateside! Order your discount copy now, still for just $35 here Get a preview here

Friday March 13, 2pm: Sarah Stacke on Indigenous America at NYPL

Photographers Sarah Stacke and Táhila Moss discuss Stacke's new book, In Light and Shadow: A Photographic History from Indigenous America, and how Indigenous perspectives are reshaping the photographic canon. Stacke speaks with Táhila Moss, a featured photographer in the collection, about how Indigenous perspectives are reshaping the photographic canon.

The book presents over 250 photographs by 80 individuals and collectives—from fine artists to family chroniclers to yearbook staffs to political groups—alongside text exploring the relationships between the images and their makers, bringing to light a canon that has been developing on its own terms for decades.

Co-authored by Iñupiaq photographer Brian Adams and photographer/author Sarah Stacke, In Light and Shadow demonstrates that Indigenous people have been making photographs for their own purposes since the dawn of the medium—from 19th-century studio operators to contemporary artists working today.

New York Public Library, Lenox and Astor Room, #216, New York Public Library, Stephen A. Schwarzman Building, 42nd Street & 5th Avenue, New York, NY Register 

Wednesday, March 18, 5:30-8:30: Earth in the Balance: Artists’ Voices for the Planet at Interchurch

This exhibition, curated by Fran Beallor, presents work by forty-four artists of diverse perspectives who examine the climate crisis and our place in the balance of nature. Alone each makes a powerful statement through their paintings, drawings, sculptures, and installations, but when seen all together, the effect is dramatically amplified, reflecting the truth that nothing in nature exists in isolation. Above: Camille Seaman, Iceberg in Blood Red Sea, Lemaire Channel, 2016

The climate crisis is not a distant abstraction, but a present-day reality that impacts every aspect of our lives.  Earth in the Balance asks us to slow down, to look closely, and to recognize ourselves within the Earth’s story depicted on these walls. The works share grief and possibility in the same space. Some artists transform trash: discarded plastics, reclaimed wood, scrap textiles. This material evidence of overconsumption becomes expressions of recognition and renewal. Others focus on marine life, glaciers, endangered species, rainforest ecologies; inviting viewers to recognize what remains vibrant and worth protecting. 

Interchurch Center, 475 Riverside Drive, New York, NY Info

Continuing: Ceija Stojka: Making Visible at The Drawing Center

Ceija Stojka: Making Visible features the work of Roma artist, activist, writer, lyricist, and singer Ceija Stojka (1933-2013). Comprising more than sixty artworks, as well as a selection of sketchbooks, archival material, and documentary films made during Stojka’s lifetime, Making Visible explores the fullness of Stojka’s production as a visual artist, centered in her Roma life and heritage. Above: Ceija Stojka, in an undated photo, with one of her paintings. Courtesy of  Estate Ceija Stojka

On the cusp of the 1990s, when she was in her late fifties, Stojka began making art. Over the next two decades, she produced hundreds of paintings and graphic works based on her early life experiences as a Holocaust survivor. Born into an itinerant family of horse traders in Austria, her traditional Roma childhood was brutally disrupted by the German invasion in 1938, after which she and her family were deported to a succession of concentration camps, including Auschwitz, Ravensbrück, and Bergen-Belsen. Though Stojka, her mother, and four of her siblings survived, the remainder of her extended family perished, together with some 500,000 Roma and Sinti.

Stojka eschewed illustrative modes and a diaristic approach. Honing her choice of subjects to key episodes and select moments, she deployed a wide range of styles and formal idioms that evolved significantly over the two decades of her practice. Whether rendered in visionary and metaphorical terms, distilled in an emotive abstraction, or manifest as lyrical naturalism, Stojka’s art is grounded in the specificities of the concrete and historical. Deeply affecting, her works attest to the power of art to bear witness in the face of destruction, chaos and autocracy. See recent NYTimes feature

Through June 7 at The Drawing Center, 35 Wooster Street, New York, NY Info