New Museum Los Gatos is has recently opened a group exhibition,  Salon Jane: Resonance, featuring new works of traditional, alternative process, digital, and mixed media photographic art that highlight the innovation and collective wisdom that emerges from this unique artistic group. The exhibition runs through Sunday, June 28, 2026

For over a decade, the artists of Salon Jane have explored their artwork with the consistent presence of a dedicated working group for critiques, discussion and encouragement. Their meetings are a place to think seriously about photography, challenge the boundaries of the medium, and open new paths of creative expression. While each artist independently develops their own artwork, the Salon’s ongoing dialogues draw unexpected connections and resonance between each other’s ideas and aesthetics.

Curated by Allison Railo who has been curating exhibitions for New Museum Los Gatos since 2019. She earned an MA in Art History and Visual Culture from San Jose State University, specializing in contemporary alternative process photography. Her Master’s thesis grew into the 2020 NUMU exhibition Image + Object, featuring prominent Bay Area artists.

Allison earned her first MA in Museum and Gallery Management from City University in London, and her BA in World Arts and Cultures from UCLA. Allison’s love of photography began in a Bay Area high school photography class, where she learned the rules of straight photography and darkroom processing, going on to work in the photography department darkroom at The Fowler Museum at UCLA while working towards her degree. The combined passion for museum work and photography are perfectly aligned to collaborate with these exceptional artists in Salon Jane: Resonance.

Salon Jane is a six-member artist collective formed in Monterey in 2014. The members are Martha Casanave, Susan Hyde Greene , Jane Olin, Anna Rheim, Robin V. Robinson, and Robin Ward.

The members of Salon Jane. Photograph by Martha Casanave.

Curator’s Statement: Salon Jane: Resonance

The artists of Salon Jane have convened for over a decade – working independently and then coming together to thoughtfully and seriously discuss their artwork and share feedback. In Salon Jane: Resonance they present works of photography and mixed media, expressing deep philosophical and physical connections to worldly experiences, underpinned with a strong knowledge of the West Coast Photographic tradition that allows them to innovate in dynamic and unexpected ways.

For those unfamiliar with the West Coast history of photography, they will likely recognize Ansel Adams and what is known as straight photography, which emphasizes the camera and a strict set of rules for making a photograph – a style that cemented itself in the Monterey Bay area, where Salon Jane was formed. It is the understanding of these rules that has allowed many photographers to break them, and what the alternative refers to in the term Alternative Process. Broadly, this means using chemicals, papers, and darkroom techniques in ways other than those intended for the materials, and often no camera or lens at all to create images. One might see evidence of hand-painted chemicals, blurring and layering of images, unconventional additions like hand-stitching, or digital compositing, all techniques that Salon Jane artists employ. In this way, it is not only through imagery, but through process and presentation that ideas are expressed. As the artists say of their own work, they “tap into mystery”, offering a glimpse of humanity’s much sought-after knowledge of our existence and purpose on earth. Each artist has a point of view, from the expansive to the microscopic, and each piece bids us to try on this point of view in order to grasp some mysterious, yet deeply resonant facet of the human condition.

Some may ask: what is it that resonates within the gallery, and what is it that connects these artworks? The artists themselves have posed this question so as to make more visible the threads and ideas that connect their work, beyond what is purely visible. Perhaps it begins in the body, as an awareness that these works are a profound examination of humanity and life experience. The collective wisdom of Salon Jane emerges in the presence of the viewer who looks deeply, observing and understanding what is seen and unseen, so deftly revealed by the artists.

A vast expanse of ocean is Robin V. Robinson territory in her series In the Liminal, charting our emergence from one state to another, absorbing each state such that it becomes a part of us. The grid itself expresses this journey, from full immersion in the ocean – a muted and temporary existence, moving to the threshold of the surface where we have a sense of duality and uncertainty, and flowing up to oxygen and our earth-bound existence – though never fully shedding our watery origins. We are reminded to appreciate the long existence of life on earth and our small but important part in its story.

With a closer view of water, we shift to Robin Ward’s looping, layered imagery of waves and ripples transferring energy to heal and sooth. These images project a flowing, undulating scene that magnifies our experience of water’s unique properties.The combination of original photography with digital composites, videography and animation is so seamlessly accomplished that we want nothing more than to float in these healing, rhythmic waters on the screen. Ward endeavours to heighten our care for, and physical connection to, the natural world – finding personal healing in the process.

Engaging with the earth itself, Jane Olin examines the unseen networks of trees, showing us her towering, imposing images enhanced by the embrace of the unknown through  non-traditional darkroom techniques. Such openness increases the sense of mystery because there is no expectation of a particular result, and the images are as breathtaking as the trees themselves. Olin extends this line of creativity to the tiny treehouses constructed of photographs that one can imagine as a place of respite within this vast wilderness, prompting us to consider the enigmatic systems of wildlife and nature on earth.

The storyteller, as she calls herself, Anna Rheim combines photography, writing, painting and paper arts into elaborate books that reflect upon humanity and familial bonds – not so much to provide facts, but to present people as whole and multi-faceted beings in relation to others around them. We are prompted to consider our own families, and ask important questions about the nature of relationships over a lifetime. The books themselves are as complex as the people they reflect, and in this case, Rheim invites us to interact and indulge in an experience that blends artistry and craftsmanship with a thoughtful study of her sister’s purposeful life.

In her compelling installation, Heartbreaking Beauty, Susan Hyde Greene  shares the intense and personal experience of attending her beloved husband through illness and death. With detailed images of colorful roses in full bloom, alongside withered, wrinkled petals as they dry up, her stitched-together photographs chart the course of blooming, aging and death. The flower’s passage through these life stages contrasted with and mirrored what was unfolding in her home. The grand, quilted image holds these contrasts in balance, expressing our ability to remember youth and beauty while knowing that it can’t last. Further expressing such ideas, the meditative and careful hand stitching adds yet another layer of meaning, for it is an expression of the artist’s own hope, healing and acceptance.

Martha Casanave’s series of enlarged teardrops urges us to think about our own emotions. What do they look like under a microscope? Are the tears of sadness chemically different from tears of joy such that their appearance is notable? We are called to comprehend and empathize with the vast and intricate complexity of human emotions that enrich our lives. Using a unique, alternative process of cliché verre, the image is coaxed to the surface where the qualities present themselves along with Casanave’s descriptive, humorous, and poignant titles to further draw us in.

Through these dynamic artworks the artists impart valuable information, offering a precious reward for our time and attention. From the vastness of the ocean and water itself, to the imposing presence of trees; delving into the personal stories of families, the processes of blooming, aging and death; and envisioning the nature of a single teardrop, each artist inspires wonder, curiosity and a deep connection to the earth and to each other. We, the fortunate viewers of these works, are given both what we need and what we deserve, particularly in such turbulent times: a chance to recognize our profound connections to each other and the planet, encouraging us to strengthen these bonds with kindness, respect and understanding.

Installation of Resonance

Installation of Resonance

Installation of Resonance

Robin V. Robinson

©Robin V. Robinson, Shallows, v.2, Gelatin Silver Print, copper bleach, lith process, 5.25×8” image

In the Liminal

We forget that we evolved from the Ocean, yet our bodies remember our origin. One can be drawn to water and feel a sense of connectedness. When I dive in the sea, I am flooded with endorphins and find peace. Expressing deep time in images, I present a reminder of our place on Earth, our belonging that spans millions of years. We endured the original chaos and here we are, on land, breathing the spirit of life, our watery beginnings inside of us. These images offer a way to anchor ourselves in this moment, perhaps bringing calm to our present land-based situations. 

This is the third presentation of the series which I began in 2017 when I felt an especially uneasy sense of liminality. Those feelings were not only personal but included my concerns for the entire human species and all life on Earth. From there I was led on a creative path to explore the origin and evolution of life, the emergence of consciousness, and the radical intuitions of quantum physics. The images emerged in this process, informing my ideas and feelings around our existence.

I created this work using an alternative analog darkroom process which welcomes an alchemical spirit to the printing, expressing and transforming the elements of the planet. The images continue to unfold and reorganize as we experience increasing uncertainty in the world and an even more intense feeling of liminality. Remembering our origin and the perspective of deep time seems key to collective relief and peace.

©Robin V. Robinson, Breath I, Gelatin Silver Print, copper bleach, lith process, 5.25×8” image

Robin V. Robinson explores mystery and metaphors found in all forms of life, focusing especially on the way we look at the planet and ourselves. Her recent images are based on ideas about the human species and the relative permanence of the earth, with questions about our brief time here. This unique moment on the planet is unsettling and desires perspective. Robinson’s images provide intimate suggestions of our physical and spiritual place in this liminal state.

Ongoing work includes in-water images evoking curiosity about the ocean’s deep landscape, how it relates to dry land, and what is “normal” for human beings, now and in our rapidly changing environment. Robinson’s “Surfacing” series explores the tension we feel on the water and in life, on the edge between what is above and below, between the known and unknown.

Robinson embraces the element of chance: “I believe in the alchemy and thus the transformation that happens in the darkroom process, of both the material and the artist. This is why I remain an analog photographer.”

Robinson studied with West Coast Photography mentors, and at City College San Francisco and Foothill College. Her degrees in engineering and music from Cal Poly and Stanford Universities, and her personal studies of depth psychology contribute to her distinctive style of seeing and creating art. Robinson shows her work internationally and is in the permanent collections of the Monterey Museum of Art, the Bibliothèque Nationale de France and the National Mariners’ Museum. She is a regular contributor to the Dark Mountain Journal (UK). Based in Carmel, Robin is a past board member of the Center for Photographic Art and serves on the board of the Monterey Friends of CG Jung.

©Robin V. Robinson, Ocean Obscura, Gelatin Silver Print, copper bleach, lith process, 5.25×8” image

Robin Ward

©Robin Ward, Time Lapse: Solstice, Still of Video Composite

Streaming Mystic

Synaptic routes etch deep in the brain, like a river carving a valley in the earth. Circuitous pathways of conditioned behaviors and beliefs, molded by social environments and ancestry, set a course for an endless spin cycle if one does not become aware.

Radical introspection is difficult to embark upon in a noisy world. I set out on a solo journey deep into the wild to excavate and peel away the layers of patterns that were absorbed over decades, to deprogram and reprogram in the restoring frequency of nature’s rhythms. Present and silent, attuned to the rivers and rain, the interplay of motion, stillness and contemplation, alone and all one, led to myriad discoveries.

These blended video recordings merge a spectrum of cycles, seasons, streams, regions and hemispheres to offer a resonant experience of impermanence, cleansing and expansion. Through awareness, patterns shift, revealing endless opportunities to reroute and forge one’s own unique path, again and again.

@Rbin Ward, Time Lapse: Equinox, Still of Video Composite

Robin Ward fuses photography, digital compositing, videography and animation as a means to explore themes of transformation, perception and unity. She works concurrently in multiple ongoing series, employing a variety of techniques and tools from a macro lens to a drone.

Ward’s enduring art practice was seeded in youth beginning with drawing and painting and rooted in a lifelong fascination with nature. She landed on photography as a primary medium after taking it as an elective her final semester of college. She continued her photography education through numerous workshops at Brooks Institute of Photography, Sante Fe Workshops and the Center for Photographic Art. She has thrived in various careers in corporate marketing, commercial photography, graphic design and web design and development.

Ward shares her art in galleries, museums, private collections and health related corporate spaces. She has received numerous awards from International Color Awards and International Photography Awards.

Instagram: @robinwardphotography

©Robin Ward, Currents: Seagrass, Still of Video Composite

Jane Olin

©Jane Olin, Unexpected Beauty of Chaos Pigment print from unique silver gelatin print, 46 x 26” Tree Houses Mixed media photo sculptures.

Trees – Sentient Beings?

I work in the solitude of my darkroom creating otherworldly images. How do I do this? By purposely pouring, spraying and dripping darkroom solutions onto exposed silver gelatin paper. As I move from darkroom to studio, my intuition guides me in this rhythmic alchemical dance. The hours pass as trees come alive in a spiritual and metaphysical display.

Dr. Suzanne Simard deepens my understanding of trees. During years of research, she and her team discovered a magical symbiotic relationship between trees and fungi. As we walk in the forest, just beneath our feet, fungal mycelium interconnect the forest trees into a community regardless of species. Mother trees then direct carbon, minerals and water to struggling trees, all transported through the web of fungal filament. Even more surprising, signals of danger and coming drought travel to alert trees to protect themselves from infestation and, for younger trees, to educate them on preserving water during dry times. This amazing research is ongoing.

My desire for you, the viewer, is to discover spirit, reverence, and mystery in my tree images. Unexpected Beauty of Chaos records redwood trees exploding with vibrant new growth after a devastating fire in 2020. The Road Less Traveled honors a miracle tree living on a sandy beach at Lake Tahoe, roots exposed, but still standing. I wonder which mother tree is sending nutrients to her, there, on that isolated beach?

The evidence accumulated by Dr. Simard’s research validates what I’ve known since my childhood playing under the forest canopy. Trees are sentient beings.

©Jane Olin, The Road Less Traveled Pigment print from unique silver gelatin print, 28 x 22”

Award-winning fine art photographer Jane Olin is based in California’s Monterey Bay. Working for over thirty years in the epicenter of the West Coast photography movement, Olin originally learned straight photography in the style of the historic Group f/64 from students of Ansel Adams. Since then, she has carved out a distinctly personal vision that challenges traditional darkroom techniques.

Raised in Steilacoom overlooking Puget Sound in Washington State, Olin grew up surrounded by forests. She has traveled extensively and is especially drawn to Japan — both its aesthetics and its Zen Buddhism. She maintains a mindfulness practice and present moment awareness is embedded in her photographic process. Her choice of subject originates in internal questioning, personal experience, and relies heavily on intuition. She works in series of related images, a method that allows for extended explorations of her subject.

Olin’s work has been the subject of group and solo exhibitions at the Monterey Museum of Art, Monterey, Triton Museum of Art, Santa Clara, Center for Photographic Art, Carmel, all in California. In 2022, her work was included in the group exhibition, Trees Stir in Their Leaves at the Center for Creative Photography, Tucson, AZ and currently in Salon Jane: Resonance at NUMU New Museum Los Gatos, CA. Her solo exhibition In the Company of Trees was exhibited at NUMU New Museum Los Gatos in 2022, and at Illinois Tech, Chicago, IL in 2023-2024.

Olin has won numerous juror awards, including a FAPA Fine Art Photography Award, an IPA Top 5 Jury Portfolio Selection, and a Best of Show IPA International Photography Award. Her work is held in the collections of Center for Creative Photography, Tucson, AZ, Nevada Museum of Art, Reno, NV, Jordan Schnitzer Museum of Art, University of Oregon, Eugene OR, Tacoma Art Museum, Tacoma, WA, and Smart Museum of Art, University of Chicago, Chicago, IL. In California, her work is held at the Museum of Photographic Art, San Diego, Triton Museum of Art, Santa Clara, Crocker Museum of Art, Sacramento, and Monterey Museum of Art, Monterey. A lifelong champion of women in the arts, Olin founded Salon Jane, a women’s photography collective in 2014.

Instagram: @jane_olin

Anna Rheim

©Anna Rheim, Theta

I am a storyteller. My passion is sharing stories. So far, my family of origin has provided rich materials. Incorporating photographs, paint and words, my handmade artist books are each specifically designed to reflect the content.

Throughout my 40 years in photography, I have discovered the value of an intimate support group for pushing one’s creativity and nurturing the expression of one’s deepest emotions. The five women in Salon Jane are my artist family. They are a valuable source of encouragement and inspiration.

©Anna Rheim, Snooky Book

Anna Rheim graduated from Stanford University with a BA in History in 1966. She studied black and white photography and mixed media at Monterey Peninsula College with Henry Gilpin, Roger Fremier, and Don Anderson, and color photography and printing at University of California Santa Cruz with Jack Fulton. Anna has taken private classes with many noted photographers including David Bayles, Ruth Bernhard, Martha Casanave, Lisl Dennis, Tom Millea, and Ted Orland.

©Anna Rheim, My Sister Theta

Susan Hyde Greene 

©Susan Hyde Greene, Heart Breaking Beauty, detail

Heartbreaking Beauty

My piece, Heartbreaking Beauty included in Salon Jane; Resonance is the story of my husband, Jim’s illness and death August 10, 2022.  He was diagnosed with cancer June 2017.  By 2018 it had metastasized. I had known Jim since I was 12. We were kids running free within the same summer community on the Chesapeake Bay.   In our teenage years we enjoyed successive summer romances until early college days when we went our separate ways.  He claimed that he never stopped feeling guilty about the black eye that resulted when he threw a wet sponge a little too hard at me for a fundraiser.  My friend and I volunteered to be targets in a cardboard mermaid structure that we put our heads through.  Our friends and families paid a quarter each for the privilege. Jim and I met again in the late 90s and married in 2005.  We had many happy adventures until the end.

As he lay sick in one room, I noticed that there was a strange beauty unfolding in a Wedgwood vase of roses on our kitchen table.  They were transitioning from their just picked from the garden freshness to a different kind of beauty as they began to droop and ultimately completely dry. I could not bring myself to throw them away. Each night after dinner I photographed various portions and discovered a new and different beauty. A Heartbreaking Beauty. When printed the colors became vibrant and alive and I was moved to create a wall installation reminiscent of a quilt. Historically quilts have often been a beautiful way to memorialize someone loved.

I have always been curious about the art making potential of many kinds of  diverse materials. I explore the use of graphite, color pencil, paint, collage materials as well as cutting up and tearing portions of a piece then stitching; both machine and by hand.  Frequent subjects have been natural phenomena, beauty, plants, family and most often memory.  I am a natural born Memory Keeper for better or for worse.  Somehow, I remember the most obscure events and they often find their way into my work.  Similar to dream life, I never know what will float to the top. Flowers feature prominently in much of my recent work.  Some were photographed in the spring of 2020 as a reminder that no matter what happens in the world, spring will always arrive and with spring, beauty and new beginnings. – Susan Hyde Greene 2026

As she became aware that the history of art is the history of people, Susan Hyde Greene saw the possibility of bringing people together through the language of art.  Following the tradition of women using stitches to mend and heal, she uses stitches in combination with photography as a constant reminder of the fragile nature of our world.

She has long been interested in photography, textiles, and art history.  Greene received a Bachelor of Fine Arts  from University of Hawaii, Manoa and a Master of Fine Arts from University of Utah, SLC.  Honors for her work, include a University of Utah Graduate Research Fellowship Award, Marin Arts Council Individual artists grant for photography and First Place in the 2013 and 2015 Carmel, CA Center for Photographic Art International Juried Exhibition as well as small grants and honors for special exhibitions and programs.

Works are included in private and public collections including The Monterey Museum of Art, Monterey, CA; Stefan Kirkeby private collection ( formerly Smith Andersen North, San Anselmo, CA);  Adobe Systems; The Institute of Health and Healing Pacific Medical Center, San Francisco, CA; The Victoria and Albert Museum, London, UK; as well as University of Utah and the University of Hawaii.

Pieces have been included in exhibitions at The New Museum of Laos Gatos, Los Gatos, CA; Marin Museum of Contemporary Art; Monterey Museum of Art; Smith Andersen North; Green Chalk Gallery Monterey, CA, Triton Museum of Art, Santa Clara, CA; The Carl Cherry Center, Carmel, CA; Center for Photographic Art Carmel, CA; Rayko Photo Center, San Francisco, CA.; Tilt Gallery Scottsdale, AZ; and Art Intersection Gilbert, AZ.

As an Access Advisor for the Fine Arts Museums of San Francisco, Greene led Art Lovers workshops inspired by current exhibitions from 1995-2015.

Following completion of a Master of Science  Special Education  from Dominican University in San Rafael, CA, she taught art throughout Marin County, CA, founding Very Special Arts Marin with Youth in Arts as well as Art Pals, an intergenerational arts program.   Other teaching include the University of Utah, Santa Clara University and Napa Valley College.

©Susan Hyde Greene, Heart Breaking Beauty, Installation, Mended pigment print stitched with metallic thread

Martha Casanave

©Martha Casanave, Tear No 852: Now I’ll never know Salted Paper Print, 16 1/2 x 16 1/4”

Exporations Through a Fabricated Microscope: A Ccompendium of Tears

Memory is your greatest ally and your primary source material, because memory is your body as it was in the world and the world as it was and will be; memory is the people you have loved or wanted to love… The artist’s memory is a dangerous, necessary thing. Never disavow what you see and remember—it’s your brilliant stock-in-trade:remembering, and making something out of it. -Hilton Als

Before I knew what postmodernism was, I decided to make a lifetime “performance piece” of collecting my tears. I made a tiny, padded green velvet pouch to wear around my neck for this purpose; it contained a dropper, and several microscope slides. Each slide was numbered, and labeled with the date and place the tears were collected. Recently, I decided to make microscopic photographs of these tears. I was inspired by two things: first, by the activity of reviewing thirty volumes of photo albums (memories) I have assembled over my lifetime. And second, by the beautiful, round images of nineteenth-century photomicrography. Oddly, though I didn’t label the slides as such, I remember, upon looking at them in the microscope, exactly what emotion or event caused the tears.

I have captioned the images accordingly. Because I am keeping the captions ambiguous, I find that some of the captions can apply to more than one incident in my life, and perhaps in your life as well. Many deal with loss or miscommunication. Things that are done and cannot be undone.

Most of my tears are mere wellings, not flowings. What prompts tears? Regret, loss, happiness, humor, confusion, cold, foreign body in eye. Real trauma generally doesn’t cause tears at the time it is happening because the body dissociates and is preoccupied with survival. Tears require some kind of presence, some kind of realization. Then they become memory.

Appropriately, these images are printed as salt prints, the earliest photographic paper process devised by William H. F. Talbot in the 1830s. – Martha Casanave

©Martha Casanave, Tear No 932: Learning the truth, twenty years later Salted Paper Print, 16 1/2 x 16 1/4”

Martha Casanave has been a practicing photographer since childhood, and is primarily self-taught. She received her college degree in Russian language and literature, and, after starting a career as a translator, pivoted to photography, her first love. She then earned her living by doing environmental portraiture, teaching, and taking groups of American photographers on annual workshop trips to the Soviet Union/Russia, while exhibiting, publishing and selling her personal work. She taught photography at Cabrillo and Monterey Peninsula Colleges for thirty years.

Casanave became enamored with alternative and historical processes and camera-less photography in the early 1980’s. Her first monograph, Past Lives (David R. Godine, 1991),was published with the support of Polaroid and Agfa Corporations. Explorations
Along an Imaginary Coastline (Hudson Hills Press), a pinhole photography sojourn along the rocky Central Coast, was published in 2006. Her monograph, Trajectories, A Half Century of Portraits (Image Continuum Press) was published in 2013.

Casanave received the Imogen Cunningham Award (1979) and the Koret Israel Prize (1989). In 2021 she received the Fresno Art Museum’s Council of 100 Distinguished Woman Artist of the Year Award, only the second photographer after Ruth Bernhard to be so honored.

©Martha Casanave, Tear No 943: Hearing a diagnosis which could have changed the outcome Salted Paper Print, 16 1/2 x 16 1/4”

ABOUT the New Museum Los Gatos – NUMU

Founded in 1965, New Museum Los Gatos (NUMU), is a public, non-profit art and history museum located in the Civic Center Plaza in downtown Los Gatos. NUMU’s mission is to engage its community at the intersection of art, history and education through innovative, locally connected and globally relevant exhibitions, programs, and experiences.

 NUMU’s dual focus on art and local history provides for a diverse range of exhibitions and educational programs highlighting Los Gatos as well as artists from the Greater Bay Area. NUMU prides itself on showcasing a wide variety of artistic mediums as well as both emerging and established artists through thoughtful and engaging exhibitions that often contemplate social and environmental issues. As a collecting institution, we are caretakers of items related to Los Gatos history, spotlighting both the well-known and undertold stories that have shaped the town into what it is today. It is a remarkable,  accessible, and welcoming institution that serves as a cultural, collaborative, and educational hub for Los Gatos, the Bay Area and beyond.

Instagram: @newmuseumlosgatos

ABOUT Salon Jane

Artists have a long history of forming groups. Casual gatherings take place at favorite restaurants or more formal settings such as Gertrude Stein’s Salon in Paris or Ansel Adams and Imogen Cunningham’s photography group f/64 in northern California. Salon Jane is one such group.

Coming together in 2014, the six members of Salon Jane share feedback and inspiration that creates a safe atmosphere for risk taking and creative evolution.  California’s Monterey Peninsula has a deep tradition of straight photography as set forth by Edward Weston and others.  The artists of Salon Jane inhabit an island of innovation that pushes against those strict traditional boundaries. In content and process, each artist’s work transcends the ordinary while tapping into the unknown.

Salon Jane quickly evolved into a group of exhibiting artists. Their first exhibition at Green Chalk Gallery in Monterey in 2015 was followed by three gallery exhibitions. In 2018, Salon Jane took part in Monterey Museum of Art’s Year of the Woman with their show The Ethereal Zone. The exhibition Salon Jane: Present Tense at the Center for Photographic Art was held in 2021 and presented work created in 2020 during a time of uncertainty. In 2024, the group commemorated a decade together with Salon Jane Celebrates Ten Years! Photography Reimagined at Cherry Center for the Arts.

In the spirit of giving back, Salon members created, in collaboration with Center for Photographic Art, an annual Salon Jane Award for a Woman Photographer. The award is presented to the artist during the opening for CPA’s international juried exhibition.

Salon Jane: Resonance is on view at NUMU New Museum Los Gatos. As you step into the intimate Spotlight Gallery be prepared to not only view a dynamic and cohesive exhibit but to feel and sense the resonance that brings these works together.