What Rose from the Cut

Graces Mews presents What Rose from the Cut, a group show exploring feminist strategies of collage.

Developed collectively between Graces Mews, curator Fiona Rogers, artist Justine Kurland, and collaborator and collector Sarah Miller Meigs, the exhibition reflects the gallery's interest in photographic process and the circulation and interpretation of images.

It brings together two significant bodies of research: Fiona Rogers' publication Cut Out: A Feminist History of Photo Collage, Montage and Assemblage (Thames & Hudson and V&A, 2026) which traces the previously untold relationship between photography, feminist art and collage, from the 19th century to the present day; and Justine Kurland and Sarah Miller Meigs' exhibition and publication The Rose (lumber room, 2025), which expands this history of collage through ideas of circular genealogy and kinship formed through association. What Rose from the Cut features international artists whose approach to collage amplifies and contextualise one another, forming a constellation that extends our collective vision of social, political and spiritual possibilities.

Included Artists: Lotte Andersen, Genesis Baez, Anne Bean, Claude Cahun, Tammy Rae Carland, Leonora Carrington, Moki Cherry, Tee Corinne, Giana De Dier, Jazz Grant, K8 Hardy, Lubaina Himid, Kati Horna, Hannah Hughes, Liz Johnson Artur, Mari Katayama, Zofia Kulik, Justine Kurland, Linder, Dakota Mace, Spandita Malik, Alix Marie, Jacky Marshall, Aspen Mays, Qiana Mestrich, Joiri Minaya, Helina Metaferia, Rachelle Mozman Solano, Yamini Nayar, Frida Orupabo, Gina Osterloh, Martha Rosler, Sarah Sense, Sheida Soleimani, Maud Sulter, Keisha Scarville, Penny Slinger, Annegret Soltau, Divine Southgate-Smith, Sitaara Stodel, Stephanie Syjuco, Dafna Talmor, Thato Toeba, Gee Vaucher, Bindi Vora and Carla Williams.

Fiona Rogers is the V&A Parasol Foundation Curator of Women in Photography. A curator and writer specialising in feminist photographic histories, she is the author of Cut Out: A Feminist History of Photo Collage, Montage and Assemblage (Thames & Hudson, 2025) and founder of Firecracker, a platform supporting women in photography. Her work has played a significant role in expanding scholarship around photography, collage and feminist practice.

Justine Kurland is an artist whose practice spans photography and collage. Her work has been exhibited internationally and is held in major public collections including the Museum of Modern Art, the Whitney Museum of American Art and the National Gallery of Art, Washington. Her recent publications, The Rose: A Circular Genealogy of Collage (2025), and SCUMB Manifesto (2022) have significantly expanded contemporary conversations around feminist collage, genealogy and the evolving language of photography.

Sarah Miller Meigs is the founder of the lumber room, based in Portland, Oregon, a site for contemplation, dialogue, and exchange around contemporary art. It is the home of the Miller Meigs Collection, which shares the Lumber Room’s core mission of supporting and investing in women and other underrepresented artists. Miller Meigs co-curated The Rose with Justine Kurland and continues to support it in this new iteration at Graces Mews.