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Carmen Winant

Notes for the last safe abortion

Easter hours:
Thursday: Open
Friday: Closed
Saturday: Open by appointment

FUTURES is thrilled to present Notes for the last safe abortion by Carmen Winant exclusively for the PHOTO 2024 International Festival of Photography. This exhibition is a continuation of her museum exhibition,The last safe abortion, that will feature in the upcoming Whitney Biennial. This is the first time this work has been seen in Australia. 

To create this installation of several hundred images, Winant has reached back over 50 years, drawing on a number of archives as well as her own photographs to look past the drama of the philosophical, religious or political aspects of the discussion around abortion and recognise the daily labour it takes to keep abortion clinics open.

This work operates against the backdrop of the stripping back of abortion access in the US, where the future of women’s rights over their bodies is not as clear as it seemed in 1973, when Roe v. Wade guaranteed the federal right to an abortion up to foetal viability. With the overturning of this right in 2022, abortion has been banned, limited, or tested in 26 U.S. states and three territories—often without exemption for cases of rape, incest, or the life of the mother.

Curated by PHOTO Australia
Supported by FINI Frames

Carmen Winant (born 1983) San Francisco, California USA live and works Columbus, Ohio, USA. She is an artist and the Roy Lichtenstein Chair of Studio Art at the Ohio State University. Her work utilises installation and collage strategies to centre modes of feminist exchange and social movement building, with particular emphasis on intergenerational and multiracial solidarity. She has shown her work in the Museum of Modern Art (NY), Henie Onstad Kunstsenter (Oslo), Kunsthal Charlottenborg (Copenhagen), Contact Photography Festival (Toronto), Museum of Contemporary Photography (Chicago), ICA Boston, el Museo Universitario Arte Contemporáneo, The Print Center (Philadelphia), MIA (Minneapolis), Sculpture Center (NY), The Wexner Center for the Arts (Columbus) and other sites. Winant’s work is in the collections of the Minneapolis Institute of Art, MoMA, and Henie Onstad; it has been written about in the New Yorker, the New York Times, Artforum, Vogue, Frieze, Aperture Magazine, and Art in America. She is a mother to her two sons, Carlo and Rafa, shared with her partner, Luke Stettner