All About Photo has selected the best photo exhibitions on show right now, special events and must-see photography exhibits. To focus your search, you can make your own selection of events by states, cities and venues.
SLA Art Space is pleased to present "Photography," The exhibition, curated by
Francine Rogers and Julia Rothenberg, showcasing the work of Lithuanian photographer
Romualdas Požerskis and New York photographer Geoffrey Berliner.
While differing in the focal length of their gaze – Berliner is a master of the close-up and
Požerskis’ lens is more macro - they both explore intimacy, time, abstraction and
documentation through black and white analogue photography. This show includes 19
photographs from Požerskis’ work documenting his subjects against the background of small
town life in Lithuania during the Soviet/post-Soviet Era and 18 of Berliner’s portraits of
photographic artists and abstract works utilizing the wet plate collodion process..
Both Požerskis and Berliner are preoccupied with the passage of human beings through time.
Romualdas Požerskis, one of the best known Lithuanian photographers, was born in Vilnius in
1951 and lives and works in Kaunas, where he teaches the history and aesthetics of
photography at Vytautas Magnus University. In the body of work from which we have drawn, he
follows and records his subjects in and through historical time, sharing their lifeworld of the
street, the town square, the courtyards of Soviet Era housing complexes, marketplaces and
homes for the aged. Creating an ethnography in images, Požerskis is an anthropologist who has
“gone native” – forfeiting the objectifying gaze of the scientist and the photojournalist’s cool
detachment. With this sacrifice he humanizes subjects whose social marginality (the aged in his
Last Home series or the touching and elegant portraits of Little Alfonsas, children on the
awkward edge of puberty) might be exploited or rendered grotesque or pitiable in the hands of
less empathetic photographers. In Požerskis gaze, these subjects and the environments in which
they are woven are rendered with the affection and empathy that emerges from a shared sense
of community and experience..
Berliner’s portraits also record both the passage of time and an intimate relationships that
derive from deep empathy, but his approach is psychological rather than anthropological.
Berliner, a native New Yorker who was introduced to photography at an early age, is co-founder
and Executive Director of Penumbra Foundation, an arts organization devoted to both historical
and alternative photographic processes in New York City. Through Penumbra’s lecture series,
workshops, exhibitions spaces, residencies and other programs, Berliner meets a
comprehensive range of photographers. Over the last decade, he has utilized the 19th century
wet plate collodion process to make tintype portraits of the artists who come through
Penumbra. These images are taken with period large format studio cameras, where they are
recorded on a metal plate processed by hand. Despite the immediacy of this process (sitters
can view their image as they’re being made as a unique hand-crafted direct positive image
object), it is also slow and deliberate enough to provide time for interaction with the subject.
This is time Berliner savors. It allows for a natural interaction with the subjects, who as
photographers, often are interested in learning about this process and thinking and talking
about how this historical process might inform their own work and vision. Together Berliner and
his subjects reflect on photography and myriad other topics and through this process come to
know each other more intimately. While, as Berliner explains, portraits are always a
collaborative process, he makes this collaborative dimension manifest. Sometimes, as with the
portrait of Samira Yamin, Berliner incorporates aspects of the photographer's process or vision
into his portrait..
Like a good ethnographer, Požerskis approaches time longitudinally, spending months or even
years with his subjects in their worlds. He produces multiple images of his subjects over time,
images which document change and the ravages of history. Berliner’s portraits also record the
passage of time, but frozen, in the immediacy of the flesh and the face. Where Požerskis
portraits rely on architecture, city streets and landscape to tell the story of time, Berliner’s
portraits are close up, set against an empty studio wall and free of any extraneous hints about
the subject’s position in time, space and history. Berliner’s time spent with subject in the studio
like an analyst with his client in the bland space of a therapist’s office tease out the subject’s
story, her history, her evolution. At the same time, Berliner’s process lays bare the individuality
and passage of time on the canvass of the subjects’ skin. The orthochromatic nature of the wet
plate collodion process itself reveals (sometimes brutally) irregularities, wrinkles, blemishes,
freckles, warts, moles that we collect over time. These are highlighted again by the use of the
large format camera and the directness of the process – the tintype is one of kind, it cannot be
retouched or photoshopped.
While much of this exhibition focuses on portraiture, like all great photographers, both
Požerskis and Berliner are obsessed with the formal, abstract potential of the photographic
medium. We see this in Požerskis experiments with dramatic natural light situations, (as in the
photo of the boy with an umbrella), in his painterly monochrome palate and most strikingly, in
his wide range of compositional expressions, in which figures are placed sometimes at striking
angles and sometimes in harmonious geometrical relationship to architectural and natural
elements. Berliner focuses his interest in abstraction in a series presented here in which
representational themes are eliminated entirely. Here Berliner is experimenting with form,
motion and light without the use of a camera or lens. With these images he moves deftly from
interaction with humans to interaction with the chemistry and tools of photography and the
essential elements of space time, light and form. These compelling images, juxtaposed with his
portraits, suggest, at least to this viewer, a dialectic between the finite and particular nature of
the individual and the timelessness and generality of space, form, time and motion.
All About Photo is pleased to present Reclaiming the Muse by Grace Weston
RECLAIMING THE MUSE
Patriarchy has controlled the narrative for 10,000 years. My staged miniature photography series, RECLAIMING THE MUSE, reframes historic artworks and stories in contemporary terms. In centering women, historically cast as objects of beauty or scorn, I strive to revitalize the muse with agency, furthering the issues important to me as a contemporary female artist.
Mythos, power dynamics, gender roles, liberation, empowerment, and self-preservation are explored in this series, all with a deceptively playful overlay. Although I never depict actual people in my photographs, the human psyche is undeniably at the center of my work. I am fascinated by the psychological landscape, our search for meaning and the contradictions of human existence. So many stories, myths and artworks throughout history address these same concerns. I have found much rich source material to inspire my own interpretations for this series.
In my research, time and time again, the women in myths, folk tales, the Bible, and elsewhere are held responsible for causing both the world’s ills and the failings of men. This includes their own rapes, which are recounted in mythology with shocking frequency, and are always deemed the woman’s fault, justifying her inevitable punishment. Of course, creating variations and reinterpretations of past tales and depictions is not a novel idea, but rather an age-old tradition, practiced throughout art history. My muses take back their power and tell their own stories. There is a rich well to draw upon from historical representations. We must remember, the old tales are fiction, and it is far past time for the retelling.
This series is ongoing.
Curator: Ann Jastrab, Executive Director, Center for Photographic Art
A World on The Move: Navigating Borders Amidst Conflict and War by Ada Trillo. Through the lens of a dedicated photojournalist, Ada Trillo’s collection of images chronicles the harrowing journeys of those who chose to remain amidst the chaos as well as those who embarked on the treacherous journey to escape. A powerful and intimate exploration of the experiences faced by individuals caught in the tumultuous upheaval of oppressive border conflicts within their homelands.
Step into the world of "On the Run from the Northern Triangle to America" and "The Ones Who Stay in the Heartland of Ukraine," two extraordinary photographic series of the photographer's tireless travels alongside refugees and migrants from Central America to the U.S.-Mexico border. Having dedicated seven years to documenting the plight of Central American refugees, the artist was compelled to extend their lens to the conflict unfolding as the Russian crisis engulfed Kyiv and beyond.
Through these photographs, we are invited to reflect on the choices forced upon individuals during times of turmoil and to bridge the gap between disparate worlds shaped by conflict and the pursuit of justice. It underscores the potential of photojournalism to ignite conversations, raise awareness, and drive change by giving a face to those existing on the fringes of conflict, striving for basic human rights.
Discover the captivating narrative of Mexican American photojournalist, Ada Trillo, through an immersive exhibition at the Chicago Center for Photojournalism. From September 22 to December 7, 2023, join us on a visual journey as we showcase the remarkable works of this dedicated artist.
Higher Pictures restages Carla Williams’ Princeton University Bachelor of Arts thesis exhibition from 1986. The seventy-two intensely personal self-portraits included here were made between 1984 and 1986, two years after Williams began studying photography at age 17. Her professor Emmet Gowin called it the best thesis show in his thirty-six years of teaching. Only a handful of the works have since been exhibited or published. This is the artist’s first exhibition with the gallery.
Williams’ images are at once tender and wise, awkward and exhilarating. They reflect a young woman’s burgeoning sexuality and expansive curiosity about the medium. As a Black woman processing a canonical history that positioned so many models, girlfriends, and wives as muses to their photographic ‘masters,’ Williams did not see herself reflected in any of the history books’ most revered images. She was nevertheless absorbing a classic, timeless aesthetic of female representation.
Her photographs were made using mostly Polaroid 4 x 5 and instant 35mm film formats. The immediacy of results allowed her to interact with the images at the time of the sitting rather than wait for the darkroom process, lending both an energy and technical looseness to the photographic finish. The images reflect Williams’ creative urgency, her desire to render the likeness in the moment. It would become a signature style in her work.
As a child of Hollywood, Los Angeles native Williams grew up with her own portfolio of head shots. She consumed the culture of performance, observing, mimicking, and fantasizing about the reality and representation of adult life, another role, another costume. Aged out of acting by her teen years, Williams would ultimately find her creative refuge on both sides of the camera.
The proliferation of selfie-culture in the last decade has compelled Williams to reflect on the populism and popularity of contemporary technologies and self-representation.
A lot of my influence at the time was popular culture, so it felt like the right time to see
the images in the context of the present and to fill in another important piece of
Black women’s contributions to the medium.
Williams received her BA in photography from Princeton University and her MA and MFA from the University of New Mexico. She spent the next decades working independently as a photography historian, writer, and editor. She has occasionally participated in publications and exhibitions, but never pursued a creative career.
Most of the photography that we view is very literal in its presentation – the images we see are set in front of us as if they are straightforward data. However, some photographers are more interested in the expressive potential of the medium. Barbara Cole, Michael Massaia and Joyce Tenneson have found unique ways to create photographs that are less about showing their subjects in a merely denotative manner, and more about concentrating on the mood, spirit and tonal range of their artwork. The images in front of a photographer’s lens can be captured and presented in a myriad of ways. The traditional tools that photographers have had to work with are focus, depth of field, palette (whether black and white or color,) scale and composition. In general art terms, Expressionism is referred to when an artist chooses to present the world in a subjective manner. He or she allows their sensibilities to reshape and reimagine the subject matter for emotional effect. The artworks have the ability to convey a specific mood and have a visceral effect. Cole, Massaia and Tenneson are practitioners of this experiential form of photography – their images have latent emotional effects.
Angelika Kollin’s captivating photograph Everyday Saint Lucy won first place in this year’s International Photography Competition. FMoPA is delighted to be able to present a selection from “Everyday Saints” and from her tender “Song of Psalms” series. Kollin is self-taught and engages with her passion for photography and art as a tool for the exploration of interhuman connections and intimacy. The direction of her work is driven by her lifelong yearning to understand and gain a deeper perspective on human loneliness and suffering, as well as the role faith plays in overcoming it. Born in Estonia, she has spent eight years living in African countries, exploring the same topics in various cultures and economic conditions.
Angelika’s work has been recognized by Lensculture (1st prize winner, 2020/finalist, 2022), BIFA (1st Place, 2021), Lucie Foundation (finalist, 2020), and PHMuseum (finalist, 2020), among others. Her work has been exhibited at Helsinki Foto festival, Lensculture group exhibition in New York, Cape Town (solo), OFF Foto Festival in Bratislava, FotoNostrum gallery in Barcelona, and The International Photographer group exhibition in Berlin.
The Center for Photographic Art is proud to present Collecting Light: 1973-2023, a solo exhibition by renowned photographer Michael Kenna. In celebration of Michael’s fiftieth year as a photographer, CPA partnered with Nazraeli Press to create this retrospective exhibition which includes some of the artist’s most beloved images as well as some that may not be as familiar! We’re honored that Michael will be here in person to discuss his career and sign copies of his latest beautiful monograph.
About the book:
In celebration of Michael Kenna’s fiftieth year as a photographer, Nazraeli Press is thrilled to announce the publication of Michael Kenna: Photographs and Stories. This gorgeous new monograph, beautifully printed on Japanese Kasadaka paper and bound in custom deep blue cloth, is limited to 2,000 casebound copies. It is published in association with the Center for Photographic Art to coincide with a traveling exhibition opening at their historic Carmel, California exhibition space in November 2023.
Kenna has selected one image for each year beginning 1973 (when he enrolled in the Banbury School of Art, right after leaving seminary boarding school) and for each subsequent year. Following the “Photographs” section is “Stories”, in which Kenna writes a brief text about each photograph in the book, and how the making of it related to his own life’s situation at the time.
Michael Kenna is arguably the most influential landscape photographer of his generation. Often working at dawn or during the night, he has concentrated primarily on the interaction between the ephemeral atmospheric conditions of the natural landscape, and human-made structures and sculptural mass. Over ninety books and catalogs have been published on his work. His exquisite, hand crafted, silver gelatin prints have been exhibited throughout the world and are included in such permanent museum collections as The National Gallery, Washington, D.C.; The Shanghai Art Museum, Shanghai; and The Victoria and Albert Museum, London. In 2022, Mr. Kenna was made an Officer in the Order of Arts and Letters by the French Ministry of Culture.
“This book is a journey, navigating places foreign and familiar, winding through black and white scenes full of spacious calm. It is a great pleasure to look at these images, to feel that maybe everything is going to be alright after all, that the world isn’t such a bad place, and magic still exists. There is a reassuring quality to these photographs, and I, for one, am grateful for Michael Kenna’s half century of watching the light and recording his vision.”
— From the Introduction by Ann Jastrab
Creativity takes many forms. Performing artists use their bodies, writers elucidate thoughts and put them on paper, and visual artists take their tools to a blank canvas or light sensitive paper. Artists, passionate about their craft are compelled to create exposing the invisible and engaging us in thought, emotion and narrative. We celebrate the tools artists surround themselves with as we create a studio visit through the works of two photographic artists, Chris Rauschenberg and Meggan Gould.
The intimacy of the studio and beautiful chaos of making is a visual feast. Chris Rauschenberg’s series Studio Views fills the gallery with color and creativity. These large scale composites engage us in the details and connection to the art practice of Rauschenberg’s friends and colleagues. Meggan Gould explores the darkrooms of fellow photographers, exposing the tools of the medium used in darkness.
Wig Heavier Than a Boot brings together photography and video by David Johnson and poetry by Philip Matthews. As we reveal Petal—a persona as whom Philip writes, and whom David photographs—the project crosses art-making rituals with isolated performances in domestic spaces and pastoral landscapes. Taken together, the images and poems reveal surprising relationships between character, observer, and author. The photographs provide one record of Petal and Philip’s personalities, blurring art-historical feminine / masculine postures and gestures. The poems provide another which elaborates upon the lived experience of performing or, sometimes, obscuring or protecting the self from being seen. Thus, a continuous exchange between photographer and two subjects in one body reflects the complications of power and gender expression through the history of photography.
Cody Bratt (b. 1982) is a San Francisco-born and based artist. His father, a photoengraver, and his mother, a multimedia artist, inspired his love of photography and book making, in particular. He holds a BA in Rhetoric with a formal concentration in Narrative and Image from the University of California, Berkeley (2005). Shying away from a literal approach, Cody’s photography employs primarily non-linear emotional or psychological approaches to exploring subjects and concepts. Unreliable memories, displacement, loss and coming of age feature centrally in Cody’s work.
He has exhibited internationally at Athens Photo Festival, Berlin Art Week, Month of Photography Los Angeles, Griffin Museum of Photography, Colorado Photographic Arts Center, ICP Museum, Brighton Photo Fringe, Filter Photo Festival amongst others. Cody is a 2016 LensCulture Emerging 50 Talent, 2018 PDN 30 nominee and 2019 Review Santa Fe attendee. His most recent series, THE OTHER STORIES, was honored with a 2020 CENTER Awards Director’s Choice Award and a 2020 Photolucida Critical Mass Top 50 distinction. Cody’s first monograph, LOVE WE LEAVE BEHIND, debuted by Fraction Editions in 2018. That series was awarded a 2018 Photolucida Critical Mass Top 50 distinction, named as a finalist for the 2016 Duke University CDS/Honickman First Book Prize and had images selected and published as winners in American Photography 34 (2018).
His work is in public and private collections in several states across the US, as well as Europe. Cody’s work has been published worldwide in print and online venues including PDN, LENSCRATCH, LensCulture, Lomography Magazine, iGNANT, Gente Di Fotografia, Blur Magazine, Aint-Bad, and Float Magazine amongst others.
Gitterman Gallery is proud to present a selection of avant-garde Czech photography with a focus on rare vintage works by two seminal figures, František Drtikol and Josef Sudek. Each created exquisite prints that added dimension to their innovative visions.
František Drtikol’s (1883-1961) photographs are distinctly emblematic of the Art Deco period (1920s and 30s) by merging styles of Symbolism, Pictorialism, and Modernism. Though most known for his Pictorial images of nudes in Modernist stagings, we highlight a series from the early 1930s he referred to as “photopurism.” In this series, he photographed paper cut-outs and carved wood figures, as Mannerist silhouettes of the human form, in geometric abstract environments, to explore themes of Buddhism. He gave up photography in 1935 to concentrate on painting.
Josef Sudek (1896-1976), after having lost his right armin combat during World War I, devoted his life to photography. Working with a large format camera, he stayed close to home. He primarily worked in his studio in Prague, photographing intricately constructed still lifes and atmospheric views through his studio window, as well as portraits, landscapes, and his city. Though Sudek chose seemingly conventional subjects, his delicate prints convey the poetic magic of the photographic medium.
In addition, we present an iconic image by Sudek’s early teacher, Jaromír Funke.
Chashama presents ''National Character: Photographing American Character'' an exhibition of large format color photographs by John Sanderson to be exhibited at ChaShaMa 266 West 37th, from November 17th to December 14th, 2023 with an artist's reception Saturday, November 18th from 5-8pm. The exhibition will include a selection of ten framed photographs ranging in size from 40x50" to 8x10" inches. The prints are selected from his larger body of work exploring the United States of America.
John Sanderson is drawn to broad topographical subjects within the United States of America. It is there in the outdoors he feels most creative. His photographs reconcile American motives of impermanence, and expansion within the contemporary landscape. His projects include themes such as transportation, leisure, residence, industry, and decay. The influence of growing up in New York City's Midtown Manhattan underpins much of Sanderson's work which is rooted in a passion for architectural design. He captures photographs for each project with multiple large format film cameras as well as smaller digital cameras as needed for commercial clients. Sanderson's photographs have been featured in a variety of publications such as: PDN Magazine, Slate Magazine, BBC News, The Wall Street Journal, Lenscratch, and NBC News. Fallen Flags, and Railroad Landscapes have both been the subject of several solo and group exhibitions. In 2017, he published National Character, a Monthly Monograph Magazine, by Subjectively, Objective.
John holds a BA in Political Science from Hunter College.
His work resides in a number of private and public collections including the Figge Museum of Art, MTA Metro North Railroad, New York Transit Museum, Center for Railroad Photography & Art, and the special collection libraries of the International Center of Photography, Amon Carter Museum, and UC Berkeley. Zatara Press published his Carbon County project in 2019, which originated with an artist residency at Brush Creek, Wyoming in 2015 and 2017. In 2022, the Kentucky Documentary Photographic Project commissioned Sanderson to photograph the Commonwealth of Kentucky.
Marian Goodman Gallery is pleased to present a new exhibition of Rineke Dijkstra. The exhibition will include the East Coast premiere of Night Watching (2019), a 3-channel video installation commissioned and first shown at the Rijksmuseum in Amsterdam in 2019. Dijkstra will also present a selection of never-before-seen works following a two-year period of revisiting her archive. These include new pictures from her Beach Portrait series, as well as selected portraits that span a decade created in locations all over the world. Both Night Watching and the new photographs show the diverse ways in which people connect to each other, to the camera, to art and to the viewer.
Night Watching (2019), a three-channel video installation, features 14 groups of people observing and speaking in front of Rembrandt's iconic painting The Night Watch (1642). These conversations vary from visual descriptions to conjectures on the circumstances in which the painting was created. A group of Dutch schoolgirls discuss whether Rembrandt gave the only woman in the painting the face of his wife Saskia; Japanese businessmen consider the painting’s potential for tourism; and a group of young artists discuss what it must feel like to make such an incomparable masterpiece. The scenes in the video are sequenced to explore the different ways a viewer might relate to a painting and its subject. The first groups speculate about what they are seeing: for instance, a dog painted in a vague manner, or an illuminated girl. They are followed by groups who link similar observations to their own personal lives, making comparisons between past and current society. The final groups examine the painting within an art historical context
Dijkstra was given unprecedented access to film Night Watching in the Rijksmuseum's Gallery of Honour, after closing time, over the course of six evenings. She filmed directly in front of Rembrandt’s The Night Watch, so that the participants would have a personal and close encounter with the painting. When exhibited at the Rijksmuseum, Night Watching was installed in a room adjacent to The Night Watch, offering visitors an opportunity to revisit the painting. In a broader context, Dijkstra’s Night Watching offers us the occasion to engage in and reflect on the conversational and social nature of people in a discursive relationship to art and history, and to consider the importance of storytelling in the creation of meaning, culture and history. These subjects were similarly explored in Dijkstra’s 2009 video installation I See a Woman Crying which features British schoolchildren looking at and discussing Picasso’s painting The Weeping Woman (1937) at Tate Liverpool.
While the Beach Portraits that Dijkstra exhibited earlier in her career often focused on young people as autonomous subjects, the works in this new exhibition focus on connection. The duos and groups in these works have been captured all over the world, from the beaches of Poland, the United States, and the Netherlands, to various locations in Ghana, the UK, and Ukraine. In these pictures Dijkstra raises the question of how the bond between people becomes visible - which can be through a subtle resemblance in appearance, a similarity in bodily attitude towards the camera, the casual holding of two hands, or even through a strikingly large difference between the characters. All photos in this exhibition invite the viewer to consider the ways in which human beings can forge identity and potency through their connection to each other. Precisely because of her exceptional eye for detail and the gestures unique to each individual, and her great sense of human relationships and emotions, these portraits shine a special light on the power of Rineke Dijkstra's unique oeuvre.
Rineke Dijkstra was trained at the Gerrit Rietveld Academie, Amsterdam. Her first solo exhibition took place in 1984 at de Moor in Amsterdam. Dijkstra's photographs have appeared in numerous international exhibitions, including the 1997 and 2001 Venice Biennale, the 1998 Bienal de São Paulo, Turin's Biennale Internationale di Fotografia in 1999 and the 2003 International Center for Photography's Triennial of Photography and Video in New York; Manifesta 10, St. Petersburg (2014); ICA, Boston in 2019; Barbican Art Gallery, London (2020); The Getty Museum, Los Angeles (2022).
Solo exhibitions of her work have been shown at Maison Européenne de la Photographie (MEP), Paris (2023); Timken Museum, San Diego (2022); Lehmbruck Museum in Duisburg (2022); Rijksmuseum, Amsterdam (2019) de Pont, Tilburg, the Netherlands (2018); Sprengel Museum, Hannover (2018), Louisiana Museum of Art, Denmark (2017); Hasselblad Center, Gothenberg (2017); National Gallery of Art, Washington D.C. (2016); San Francisco Museum of Modern Art, San Francisco, and Guggenheim Museum, New York (2012); Tate Liverpool (2010), Fotomuseum Winterthur, Switzerland, Jeu de Paume, Paris and Stedelijk Museum, Amsterdam (2005-6), and the Art Institute of Chicago, Chicago (2001). She is the recipient of a number of awards, including the Spectrum Internationaler Preis für Fotografie der Stiftung Niedersachsen (2018), the Hasselblad Foundation International Award (2017), Citibank Private Bank Photography Prize – now Deutsche Börse Photography Prize – (1998), Werner Mantz Award (1994).
Silsila - Arabic for ‘chain’ or ‘link’— is a multi-media project depicting Sama Alshaibi’s seven year cyclic journey through the significant deserts and endangered water sources of the Middle East and North African region.
The story of water and desert is an enduring paradox and starting point for broader and philosophical readings that place mystical and historical importance on the natural world and point to our uncertain ecological future.
The Robert Koch Gallery is delighted to announce Academy Award winning artist Zana Briski’s upcoming inaugural exhibition, Animalograms. Through her one-of-a-kind camera-less photograms, Briski offers viewers a synthesis of art and the natural world, immersing viewers in the realm of wild creatures within their native habitats. The resulting images are a record of the artist’s extraordinary animal encounters, all captured without the reliance on a conventional camera amidst the backdrop of nocturnal woodlands.
Briski’s ingenious process embraces the serendipitous interplay of uncontrollable and unpredictable factors. With meticulous preparation, Briski delves into a detailed study of her subjects' natural habitats, forging an intimate connection with their daily routines and the paths they traverse through the wilderness. The artist ventures into wild and remote locations on moonless nights, strategically positioning expansive sheets of light-sensitive photographic paper. In the presence of these majestic animals, she patiently awaits their appearances in complete darkness, at times enduring long, hushed vigils. When a wild inhabitant crosses the paper's path, she captures a fleeting exposure using a small hand-held flash, ensuring the creature remains undisturbed. The exposed paper is then carefully rolled and stored until Zana Briski later develops each life-size image in the darkroom and only then discovers if a successful image is created. To imbue an additional layer of depth and enhance image permanence, Briski enriches the resulting photogram by gold toning the print.
When successful, the uncontrollable and unpredictable factors fall into place and a singularly unique and otherworldly life-size image of wild creatures directly imprint onto photographic paper. Zana Briski aligns herself with the heritage of unveiling the imperceptible. In this realm, there exists no photographic negatives and each image stands alone in its uniqueness. Briski's Animalograms serve as spectral offerings, and invite us to contemplate the beauty and fragility of the natural world through her unique perspective.
Alongside Briski’s Animalograms, the gallery will exhibit a pair of the artist's Panoranimals works printed on custom handmade Japanese Kozo paper. These panoramic photographs capture vast landscapes and their animal inhabitants, imbuing them with an essence of authenticity and untamed beauty.
Following her graduation from the University of Cambridge, Briski attended the International Center of Photography in New York. Her thirty-plus years of dedication to her field have earned her recognition in the form of prestigious awards and fellowships. Her documentary film, Born Into Brothels, achieved highest acclaim by winning the Academy Award for Best Documentary Feature in 2005. Her film also received an Emmy, along with 33 other awards. Notably, she was also the recipient of two distinguished New York Foundation for the Arts Fellowships in 1996 and 1998. The Open Society Institute recognized her with a prestigious fellowship in 1999, and in the same year, she was awarded the Dorothea Lange-Paul Taylor Prize. Among her numerous distinctions, she was honored with the esteemed Lucie Humanitarian Award in 2005, in recognition of her commitment to humanitarian causes.
CLAMP is pleased to present “Spellwork,” an exhibition of still life photographs by Frances F. Denny inspired by the occult, motherhood, and the medium of photography. “Spellwork” is the artist’s fourth solo exhibition with CLAMP.
What is magic? In contemporary witchcraft circles, the notion of magic is seen as a practiced shift in consciousness. Though it is uncanny, magic is not supernatural. It is rooted in the mind—and in the earth. And photography itself is magical—a singular alchemy of vision, light, and glass.
On the heels of the Denny’s successful series “Major Arcana: Portraits of Witches in America,” she gave birth to her first child. “Spellwork” represents a rumination on the experience of childbirth and motherhood and comments upon the unique dynamic between a mother and her child.
The images in “Spellwork” are constructed in the studio using plants and flowers as well as personal items gathered from the artist’s home that together conjure a sense of collaborative, childlike play. Some of the plant materials were sourced from the artist’s backyard with others from grocery stores or specialty flower markets. All were chosen for their formal properties or symbolic resonance.
Each photograph features a flower invoking birth, fragility, and mortality, alongside a child’s symbolic “interruption.” Many images include a “magical” photographic shift (smoke, filters, blur, rainbows, refraction, spectral stars) and a plastic material representing a shield for the preservation of the self (often a container for a child’s mess). In the images the studio set becomes an altar; the act of creation is an incantation.
Together the images introduce a subjective duality of both artist and mother—the triumphant, deathly dance of those two roles, merging into one. The titles reference phrases from rituals and spells in The Spiral Dance by Starhawk.
CLAMP is pleased to present Minor Spectacles, a solo exhibition of photographs by Adam Ekberg, which originated at the George Eastman Museum in Rochester, New York, where it was on display from January – September 2023.
Ekberg builds constructions and executes experiments in front of the camera lens. These fabricated subjects are ephemeral and result in an event which ultimately exists only as a photograph.
Ekberg’s interventions vary in complexity from a single pumpkin bouncing off a trampoline to a concoction with a milk jug, bucket, cocktail umbrella, and lighter referencing a Rube Goldberg machine.
As a whole, this collection of images speaks to a simultaneously playful but also lonely practice. These constructions exist only for the artist and the camera in the moment. The hand of the constructor is never explicitly shown, as if these occurrences miraculously came to be in a landscape devoid of humanity.
Despite Ekberg’s sometimes elaborate constructions, the images maintain a humble quality, one enhanced by his use of mundane objects and materials. This transparency in process and production allows the viewer to unpack each image on equal footing with the artist and to share in the artist’s poetic visual associations.
Ekberg’s most recent solo shows was at the George Eastman Museum, Rochester, New York. Other solo exhibition venues include CLAMP, New York City; De Soto Gallery, Los Angeles; Platform Gallery, Seattle; Thomas Robertello Gallery, Chicago; and Fotografiska Gallery, Stockholm, Sweden. He has been featured in group exhibitions in major cities such as San Francisco, Portland, Kansas City, and Cork, Ireland.
Ekberg has been awarded residencies at Yaddo, Monson Arts, Playa, and Monhegan. He is the recipient of the Society for Photographic Education’s Imagemaker Award and the Tanne Foundation Award. His monograph The Life of Small Things was published in 2015.
Looking Forward—the second of two consecutive exhibitions celebrating the tenth anniversary of Pier 24 Photography—highlights a selection of photographers collected by the Pilara Foundation over the past decade. With a focus on single artist galleries, Looking Forward demonstrates our belief that exhibiting photographers’ works in depth is the best way to communicate their visions for a given project or moment in time.
Many of the featured photographers address the human condition in the twenty-first century. Tabitha Soren reflects on how we relate to others and the mass media we consume in an era dominated by digital technology. Tania Franco Klein depicts anonymous characters in cinematic worlds pervaded by feelings of isolation and disconnection, where ambiguity undermines any perceived narrative. Todd Hido juxtaposes ethereal pictures of romantic landscapes with scenes of industrial development and devastation caused by wildfires.
Erica Deeman, Zanele Muholi, Eva O’Leary, and Chanell Stone examine contemporary identity politics. Deeman’s portraits of men from the African diaspora speak to the social constructs of identity, gender, and race. Muholi’s evocative self-portraits integrating everyday objects redress inequalities in representation in portraiture by forefronting black, queer, and trans narratives in their native South Africa. O’Leary’s tender portraits of adolescent and college-age women focus on how the self-images of young women—informed by the media and societal expectations—shape their projected identities. And Stone creates intimate self-portraits, still lifes, and landscapes that explore the black body’s relationship to nature—overlooked urban environments in particular—claiming the natural world as a site for reconciliation and reprieve.
Pier 24 Photography’s long-standing dedication to collecting work related to the city of San Francisco and the San Francisco Bay Area is also prominent. In the reception area, we pay tribute to our location under the Bay Bridge with pictures commissioned by three different photographers—John Chiara, Veronika Kellndorfer, and Richard Learoyd—and an installation of vintage postcards illustrating this iconic structure through the decades. Awoiska van der Molen’s striking black-and-white nighttime scenes and John Chiara’s ethereal skyline views reveal their makers’ unique perspectives on and approaches to San Francisco’s urban landscape. Daniel Postaer’s poignant vignettes of the evolving city and Austin Leong’s wry black-and-white pictures of everyday moments on the street speak to a constantly changing social climate.
The exhibition’s earliest pictures exemplify twentieth-century approaches to working in the urban landscape. Fred Herzog and Ray K. Metzker documented everyday urban life in their respective cities of Vancouver and Chicago, memorably capturing their environs through their distinctive styles.
In 2019, Looking Back, the first of our two tenth-anniversary exhibitions, focused on some of the collection’s key building blocks. Looking Forward demonstrates the scope and focal points of more recent collecting. Together, these anniversary exhibitions consider the collection’s origins, decade-long history, and future trajectory.
American photographer Gillian Laub (b. New York, 1975) has spent the last two decades investigating political conflicts, exploring family relationships, and challenging assumptions about cultural identity. In Southern Rites, Laub engages her skills as a photographer, filmmaker, and visual activist to examine the realities of racism and raise questions that are simultaneously painful and essential to understanding the American consciousness.
In 2002, Laub was sent on a magazine assignment to Mount Vernon, Georgia, to document the lives of teenagers in the American South. The town, nestled among fields of Vidalia onions, symbolized the archetype of pastoral, small town American life. The Montgomery County residents Laub encountered were warm, polite, protective of their neighbors, and proud of their history. Yet Laub learned that the joyful adolescent rites of passage celebrated in this rural countryside—high school homecomings and proms—were still racially segregated.
Laub continued to photograph Montgomery County over the following decade, returning even in the face of growing—and eventually violent—resistance from community members and local law enforcement. She documented a town held hostage by the racial tensions and inequities that scar much of the nation's history. In 2009, a few months after Barack Obama’s first inauguration, Laub’s photographs of segregated proms were published in the New York Times Magazine. The story brought national attention to the town and the following year the proms were finally integrated. The power of her photographic images served as the catalyst and, for a moment, progress seemed inevitable.
Then, in early 2011, tragedy struck the town. Justin Patterson, a twenty-two-year-old unarmed African American man—whose segregated high school homecoming Laub had photographed—was shot and killed by a sixty-two-year-old white man. Laub’s project, which began as an exploration of segregated high school rituals, evolved into an urgent mandate to confront the painful realities of discrimination and structural racism. Laub continued to document the town over the following decade, during which the country re-elected its first African American president and the ubiquity of camera phones gave rise to citizen journalism exposing racially motivated violence. As the Black Lives Matter Movement and national protests proliferated, Laub uncovered a complex story about adolescence, race, the legacy of slavery, and the deeply rooted practice of segregation in the American South.
Southern Rites is a specific story about twenty-first century young people in the American South, yet it poses a universal question about human experience: can a new generation liberate itself from a harrowing and traumatic past to create a different future?
Southern Rites is curated by Maya Benton and organized by the International Center of Photography.
Kingston, NY, November 2, 2023–The Center for Photography at Woodstock (CPW) is pleased to open “Lost Kingston: Documentary Photographs by Gene Dauner,” the first major exhibition by this Kingston native. The exhibition is on view at CPW, 474 Broadway, Kingston, from October 28 through December 31, 2023.
Gene Dauner (b. 1944) is a self-trained documentary photographer who, in the late 1960s, began to record the destruction of Kingston buildings during planned urban renewal. From 1967 to 1973, young Dauner photographed nearly 500 historic buildings, mostly in Rondout, that were later demolished. The thousands of Kodachrome slides that Dauner made during this period were all carefully recorded in his ledger then stored in a closet for the next 40 years.
Dauner’s work first received widespread attention in the award-winning film “Lost Rondout: A Story of Urban Removal” (2016), directed by Stephen Blauweiss and Lynn Woods.
This exhibition of 34 photographs was organized by filmmaker and historian Stephen Blauweiss, noted for his books “The Life and Death of the Kingston Post Office” (2018) and “ The Story of Historic Kingston” ((2022). “Lost Kingston” is the first major exhibition to focus on Dauner’s photography.
“We are deeply honored to present this one-person exhibition by Gene Dauner, an extraordinarily talented local photographer, who, fifty years ago, as a young man in the 1960s, created an unparalleled documentary record of the destruction of much of Kingston’s rich architectural and cultural heritage,” said CPW Executive Director Brian Wallis.
The Fahey/Klein Gallery is pleased to present selected photographs by David Bailey. This exhibition includes some of Bailey’s signature images of luminaries of fashion, music, and fine art. In portraits and little-known “torn” prints, he captures subjects including Jane Birkin, Michael Caine, David Hockney, Helmut Newton, Jean Shrimpton, and Mick Jagger.
Bailey’s bold and iconoclastic style has made him one of the world’s most renowned living portrait photographers and earned him as much fame as his subjects. Discarding the rigid rules of a previous generation of portrait and fashion photographers, he channeled and immortalized the energies of London in the 1960s and beyond. Self-taught, his distinctive style comprises stark white backgrounds, uncompromising crops, and striking, seemingly spontaneous poses. From the beginning of his career, which now spans more than six decades, his arresting yet spare portraits and fashion images have conveyed a radical sense of youth and sexuality, often typifying the look of the times.
David Bailey was born in London in 1938. His childhood shaped his early experiences in the East End during the Blitz of WWII. Having left school at fifteen, he was conscripted into the Royal Air Force in 1956. Whilst posted in Singapore, he bought his first camera and was inspired to be a photographer after seeing Cartier Bresson's photograph, 'Kashmir'. Bailey started working with fashion photographer John French as his assistant in 1959. He left soon after to strike out his career as a photographer and published his first portrait of Somerset Maugham for 'Today' magazine in 1960. Bailey’s meteoric rise at British Vogue in the early ’60s was followed by the publication, in 1965, of his first photography book, Box of Pin-Ups, which, as its title suggests, depicted media stars such as Mick Jagger, The Beatles, and Andy Warhol, among many others. His mercurial persona was the inspiration for the principal character—a fashion photographer—in Michelangelo Antonioni’s modern classic film Blow-Up (1966), and Bailey went on to create some of the most memorable and sensual portraits of the last century. Bailey has exhibited worldwide, with the first of his landmark exhibitions in 1971 at the National Portrait Gallery, London. Other exhibitions have been held at the Victoria and Albert Museum in London (1983), International Center of Photography, New York (1984), Birth of Cool, Moderna Museet, Stockholm (2000), and Bailey's Stardust, National Portrait Gallery, London (2014), which travelled through 2015 to Padiglione d'Arte Contemporanea, Milan, and Scottish National Gallery in Edinburgh. Bailey's work is held in private and public collections, including the National Portrait Gallery in London, Victoria and Albert Museum, and Los Angeles County Museum of Art.
photo-eye Gallery is pleased to present “Reshaping the Earth: Energy and the Environment,” an
exhibition of photographs by Jamey Stillings and David E. Adams. This exhibition observes the
transformation of land due to the extraction of natural resources from the earth. This exhibition
also highlights a selection of images by Bremner Benedict that explore natural springs in the
Southwest, many of which are currently being threatened.
Jamey Stillings’ stunning color, aerial photographs record rapidly growing large-scale renewable
energy projects that incorporate wind, solar, hydro and mining projects in the Atacama desert of
Chile. The landscape of the Atacama desert has a long history of being altered by humans due
to the region’s abundant natural resources such as lithium, copper, gold and iron ore.
David Emitt Adams uses historical photographic techniques to explore his subjects, spark-
ing conversations about the past and present. His “Power” series features images of industrial
landscapes from the American oil industry, captured using a custom-built camera and printed
directly onto 55-gallon steel oil drum lids using wet plate collodion chemistry.
Benedict’s “Hidden Water” project documents springs in the Southwest, including the Chihua-
huan, Sonoran, and Mojave deserts, the Great Basin, and the Colorado Plateau. The project
raises awareness about the loss of these vital ecosystems that have long been essential to hu-
man survival but are overlooked in our modern world.
ABOUT THE ARTISTS
Jamey Stillings is a photographer based in Santa Fe, NM. His work is in the permanent collection
of the United States Library of Congress Museum, of Fine Arts, Houston amung other public and
private collections. His recent monograph ATACAMA: Renewable Energy and Mining in the High
Desert of Chile, was published by Steidl.
David Emitt Adams is a photographer based in Phoenix, Arizona. His work is in the permanent
collection of The Center for Creative Photography, The Santa Barbara Museum of Art, the Muse-
um of Photographic Arts San Diego, The Ogden Museum of Southern Art, The George Eastman
Museum, and The Worcester Art Museum as well as numerous private collections.
Bremner Benedict is a photographer based in Massachusetts. Her work is in the permanent
collection of Fidelity Art Boston Collection, The Center for Creative Photography, Tucson, New
Mexico Museum of Art, George Eastman International Museum of Photography, and Philadelphia
Museum of Art, among others.
Alfredo Boulton is considered one of the most important champions of modern art in Venezuela and a key intellectual of 20th-century modernism. He was a pioneer of photography, an art critic, a researcher and historian of Venezuelan art, and a friend to many of the great artists and architects of his time. This exhibition explores Boulton's multidimensional persona by showcasing his photographic work, his relationships with modern artists, and his influence on the formalization of art history in his country.
Image: Luis Sánchez Olivares, "El Diamante Negro," no. 2 (Luis Sánchez Olivares, "The Black Diamond," no. 2), 1952, Alfredo Boulton. Partial donation of the Alberto Vollmer Foundation. Getty Research Institute, 2021.M.1
Immersion: Gregory Halpern, Raymond Meeks, and Vasantha Yogananthan is an exhibition showcasing three projects created by the artists during their respective residencies—Halpern’s in Guadeloupe, Yogananthan’s in New Orleans, and Meeks’s in France.
The photography projects are part of Immersion, a French-American Photography Commission created by the Fondation d’entreprise Hermès and presented in collaboration with ICP and the Fondation Henri Cartier-Bresson, Paris. Consisting of alternating residencies between France and the United States, the Immersion program supports contemporary photography, with each laureate creating an original series to be shared with a wide audience through exhibitions at ICP and the Fondation Henri Cartier-Bresson, as well as through publications. Gregory Halpern’s book Let the Sun Beheaded Be (2020) is published by Aperture; Vasantha Yogananthan’s Mystery Street (2023) is published by Chose Commune; and Raymond Meek’s The Inhabitants (2023) is published by MACK.
About the Projects
Let the Sun Beheaded Be by Gregory Halpern (USA) is an ensemble of photographs taken during his 2019 residency in the archipelago of Guadeloupe, an overseas region of France with a violent colonial past. Guided by the region’s rich diversity and vernacular culture, Halpern’s images embrace and develop the Caribbean Surrealism of Martinican writer Aimé Césaire (1913–2008), from whose work the project’s title is borrowed. Slow and intimate, Gregory Halpern’s photographs pick out small details in which the tremors of history can be felt.
Vasantha Yogananthan (France) made Mystery Street in New Orleans during the spring and summer of 2022. Following a group of children as they play and explore together, Yogananthan’s images are alert to the subtleties of place, friendship, and growth. Replete with the artist’s celebrated attention to light and sumptuous use of color, Mystery Street is Vasantha Yogananthan's visual poem told in fragments, full of life, light, and the possibilities of youth.
Raymond Meeks (USA), an artist renowned for the unhurried nuance and contemplative intelligence of his photographs, spent much of 2022 in two regions of France—the southern border with Spain and the northern coast along the English Channel—that are important crossings for asylum seekers making their way to the United Kingdom. The Inhabitants, infused with care and deep empathy, looks to the land itself—its traces and pathways—as a silent witness to uncertain futures. What are the effects of this type of migrant life, when one is forced to leave behind one’s culture, to feel unseen and voiceless, to not feel at home in the world? This debut presentation of The Inhabitants features photographs from Raymond Meeks interspersed with fragmentary texts by George Weld, in a deeply empathetic exploration of the terrain that illuminates the spaces of temporary dwelling and fraught transit of so many who are seeking better lives.
Muriel Hasbun: Tracing Terruño is the first survey in New York City of the career of multidisciplinary artist Muriel Hasbun. The photography exhibition celebrates Hasbun’s dedication to exploring identity and memory, using her personal story to examine collective histories through photography, video, and installation from the late 1980s to the present. A descendent of Salvadoran and Palestinian Christians on her paternal side and Polish and French Jews on her maternal side, Hasbun grew up in El Salvador. Reckoning with a family history filled with exile, loss, and migration, Hasbun herself had to leave her home country in 1979 at the start of the Salvadoran Civil War. She moved to France and then the United States to study, settling in Washington, DC, where she has since worked as an artist and professor of photography.
Tracing Terruño presents a selection of Muriel Hasbun’s series, from her earliest photographic explorations in 1988 to recent photographic experiments with chemigrams and expired photographic papers. The exhibition will include Santos y sombras / Saints and Shadows (1990–97), a series in which Hasbun layers negatives of archival family documents and new images to create photographs that collapse receding memories with their impact on the present. In the series X post facto (équis anónimo) (2009–13), Muriel Hasbun re-presents a selection of X-rays from her father’s dental practice, decontextualizing medical records and turning the images into landscapes and abstractions, thereby unlocking their metaphoric potential. Selections from her most recent series, Pulse: New Cultural Registers / Pulso: Nuevos registros culturales (2020–ongoing), maps El Salvador by combining art history with seismic records.
Featuring 250 photographs taken from 1905 to 1978, Play the Part: Marlene Dietrich examines the multifaceted evolution of Dietrich’s (1901–1992) public persona. The exhibition features photographs by well-known artists such as Cecil Beaton, Irving Penn, and Edward Steichen as well as photographers with whom Dietrich collaborated repeatedly throughout her life, including the noted Hollywood photographer George Hurrell, Eugene Robert Richee, and William Walling Jr. Rarely seen and previously unpublished images, snapshots, some of the last photos of Marlene Dietrich, and other works complement the formal portraits and studio images that have come to represent Dietrich, illustrating the true complexity of her life. Drawn from the collection of Pierre Passebon, this exhibition marks the first time his noted collection will be shown in the United States.
Dietrich is best known for her starring roles in films including The Blue Angel (1930), the first feature-length German talkie, and for her long collaboration with the filmmaker Josef von Sternberg. Born in Berlin, she emigrated to the United States in 1930, vocally opposing the rising Nazi regime, and ultimately renounced her German citizenship. She became an active supporter of US troops in World War II, raising funds for refugees, and toured with the USO. For her efforts, she was awarded the Medal of Freedom in 1947. On-screen and off, she challenged the gender and sexual norms of her time, making her a core figure in feminist and queer film history.
Drenched in saturnalian escape, Ellen von Unwerth’s vibrantly raucous photographs beckon viewers into a world of debaucherous liberation and lushness. The artist theatrically styles her subjects as classic pinups and dazzling starlets in narrative-driven images — brimming with movement and decadence — that elucidate the vitality of unbridled expression. Through a glittering prism of sensuality and humor, von Unwerth reimagines the paradigm of the strong, self-assured woman, evoking a titillating emotional response to the female gaze.
This Side of Paradise is curated by Rafael Gomes, creative director of SCAD FASH museums.
Ellen von Unwerth (b. 1954, Frankfurt, Germany) began her career as a model in Germany and France, but quickly transitioned to a role behind the lens, drawing inspiration from her early experiences in her effusively glamourous photographs. Across her decades-long career, von Unwerth has gained recognition for her work on campaigns for Chanel, Dior, Miu Miu, Azzedine Alaïa, Agent Provocateur, Guess, Jimmy Choo, Ferragamo, and Absolut, among countless others. Her photographs appear frequently in the pages of Vogue, i-D, Interview, Elle, Vanity Fair, Glamour, and Playboy. Von Unwerth has also directed short films, music videos, and commercials, and published several pivotal titles combining fiction, photography, and femme empowerment. She has been honored with first prize at the International Festival of Fashion Photography in 1991, a LUCIE Award for Fashion Photography in 2019, a Royal Photographic Society Award in 2020, and an Iconic Photographer Influencer Award in 2021.
There is the story of the infant Krishna, wrongly accused of eating some dirt. His mother, Yashoda, comes up to him wagging her finger and scolds him: ‘You shouldn’t eat dirt, you naughty boy.’
‘But I haven’t’, says the unchallenged lord of all and everything, disguised as a frightened human child.
‘Tut! Tut! Open your mouth’, orders Yashoda. Krishna does as he is told. He opens his mouth and Yashoda gasps.
She sees in Krishna’s mouth the whole, complete, entire timeless universe. All the stars and planets of space and the distances between them; all the lands and seas of the earth and the life in them; she sees all the days of yesterday and all the days of tomorrow; she sees all ideas and all emotions, all pity and all hope, and the three strands of matter; not a pebble, candle, creature, village or galaxy is missing, including herself and every bit of dirt in its truthful place. ‘My Lord, you can close your mouth’, she says reverently.
In any part of the universe there is a whole universe. Hamlet saw the infinite space in a nutshell; William Blake saw a world in a grain of sand, heaven in a wildflower, eternity in an hour.
Our daily perception relies on the assumption that reality is like a building and as such, is made of building blocks. However, at a very microscopic level, quantum physics describes to us a scenario where elemental particles are basically energy fields. Activity is not the by-product of matter interacting, but the other way round. Entities turn out to be temporarily stabilized nodes in a web of interactions.
The things that we perceive and imagine are assemblies of a provisional nature. This essential fact is what Buddhism defines as emptiness. In fact, some of the most original ideas of the ancient Mahayana Buddhism (Nāgārjuna, c. 150 –c. 250 CE) are its critiques of the notion of identity: there are no two identical things in nature; nothing is identical toanother thing. And the central notion of “emptiness” suggests that there is nothing that exists only in itself, independent of everything else. The echo with modern physics is clear.
‘In a certain sense, everything is everywhere at all times. For every location involves an aspect of itself in every other location. Thus every spatiotemporal standpoint mirrors the world.’
The Gallery at Leica Store San Francisco is excited to announce our exhibition, The Weight of Time, which opens on Monday, October 30, 2023, featuring photography by Darcy Padilla. Comprising nearly forty mostly unseen photographs selected from her extensive projects, this exhibition invites audiences to embark on a visual odyssey, transcending from the heart of San Francisco to people and landscapes afar. These documented moments delve into the photographic fundamentals of context, emotion, and time.
The South has occupied an uneasy place in the history of photography as both an example of regional exceptionalism and as the crucible from which American identity has been forged. As the first major survey of Southern photography in twenty-five years, this exhibition examines that complicated history and reveals the South’s critical impact on the evolution of the medium, posing timely questions about American culture and character.
Featuring many works from the High’s extensive collection, A Long Arc presents photographs of the American Civil War, which transformed the practice of photography across the nation and established visual codes for articulating national identity and expressing collective trauma. Photographs from the 1930s to the 1950s, featuring many created for the Farm Security Administration, demonstrate how that era defined a new kind of documentary aesthetic that dominated American photography for decades and included jarring and unsettling pictures exposing economic and racial disparities. With works drawn from the High’s unparalleled collection of civil rights–era photography, the exhibition shows how photographs of the movement in the decade that followed galvanized the nation with raw depictions of violence and the struggle for justice. Contemporary photography featured in the exhibition demonstrates how photographers working today continue to explore Southern history and themes to grasp American identity.
The South cleaves toward old ways. But these are not old times, and this distinction is crucial to understand. The South is not ‘backwards’; it is palimpsestic and ritualistic, filled with people living the ravages of history. Revision and transformation are possible; however, that replay requires new ways of seeing.
Image: Sally Mann (American, born 1951), Blowing Bubbles, 1987, gelatin silver print, High Museum of Art, Atlanta, purchase with funds from Lucinda W. Bunnen for the Bunnen Collection, 1995.177.
In October 1849, twenty-seven-year-old Maxime Du Camp—an aspiring journalist with big ambitions—left Paris to photograph sites across the eastern Mediterranean. Officially encouraged to exploit photography’s “uncontestable exactitude,” he returned to France a year and a half later with more than 200 paper negatives, from which 125 were selected to illustrate Egypte, Nubie, Palestine et Syrie (1852). This work, the first photographically illustrated book published in France, arguably established an aesthetic standard for documentary photography: its salted paper prints are rendered in cool, gradated tones that one contemporary critic described as “vaporous gray.”
The published photographs stand in stark contrast to several sets (each unique) that Du Camp privately printed before planning his book. These “proof prints” are noteworthy for their surprising range of warm colors, handwork, and a luminescence that recalls their Mediterranean origin. Unlike the book’s focus on monuments and ancient ruins, they also provide evidence of modern civilization in unfamiliar, arid landscapes. Proof is the first exhibition to focus on The Met’s collection of these earlier prints, including previously unseen and unpublished views from a portfolio and a small, handbound album. Offering an exceptional opportunity to compare these photographs to those published in 1852, the exhibition reveals that Du Camp’s ultimate project did not present objective proof of its Mediterranean subject, but rather a complicated view shaped by personal ambition, emergent technology, and the taste and temperament of its nineteenth-century European audience.
Image: Maxime Du Camp (French, 1822–1894). Vue de la seconde Pyramide, prise au Sud-Est [View of the Second Pyramid, taken from the Southeast], December 10, 1849. Salted paper print from paper negative, 5 7/8 × 8 9/16 in. (15 × 21.7 cm). Gilman Collection, Gift of The Howard Gilman Foundation, 2005 (2005.100.376.19)
The Blackfork Bestiary is a photographic collection of the animals and insects from the Blackfork Creek ecosystem. Photographer and naturalist, Robert Langham, roamed his backyard in Tyler, Texas where he made the acquaintance of the creatures who briefly became his portrait subjects and were returned to the wild.
Robert will tell you that this body of work generated itself. He was trying to shoot something else entirely in Smith County, Texas, but the animals kept showing up to be reckoned with, sometimes right up to his doorstep. They were briefly, gently borrowed for a photograph, then quickly returned to the places they had each been found. That Langham also gathered them into a bestiary is my favorite part of the project. The very word invokes my imagination. Here he talks about his inspiration from the archaic form.
“Ancient bestiaries were the first scientific books. They cataloged living things from bees to dogs to fish.…and gave written descriptions of their defining traits: industrious, faithful, aquatic. They also cataloged animals of the imagination: the Phoenix, Unicorn, the Sea Serpent and described their magical powers. Further they wildly projected personal traits: The Lion was regal, the Fox cunning, the Owl, wise. I began to feel that our modern science, discarding those projections might have discarded something else as well.”
Langham urges us to try on that way of looking – with special fascination – with common neighborhood animals. We may have well-formed ideas of them, but we may not know them at all. In his photographs, we’re free to stare them down, face to face with a raw presence. The mystery of the individual animals themselves stays front and center. Langham’s photographs do not reduce their wildness. He does not dress them in gauze, or re-insert them into constructed environmental scenes. The humble studio set-ups are fairly simple. The human handlers are not hidden away, leaving the strangeness of the encounter between the two species inside the frame. Nature arrives alive in the tame clarity of the studio, a delicate and momentary collision.
– Lisa Woodward
In honor of reaching this significant milestone, Robert Mann Gallery is pleased to present, Michael Kenna: Celebrating Fifty Years, with the presentation of over twenty photographs made around the globe and selected for this exhibition by the artist himself.
This exhibition coincides with the release of his new monograph Photographs and Stories.
Michael Kenna: Celebrating Fifty Years exhibits a beautiful reflection of Kenna’s personal vision of the world spanning half of a century. The exhibition journeys
from panoramic views of Northamptonshire, England, to the desert dunes of Merzouga, Morocco, to the tranquil coasts of Hokkaido, Japan, to Venice,
Italy to name a few.
Kenna’s keen eye radiates through the long exposures of morning clouds and the motif of birds gliding through the sky. Kenna beautifully captures the geometrics of ancient Stonehenge as well as seaweed farms and a lone-fishnet structure in Biwa Lake. The selection navigates places both foreign and familiar through black and white scenes full of spacious calm and the guiding air of the artist himself.
All of the prints are beautiful renderings, traditional silver prints made in the darkroom and toned using Sepia by the artist. Kenna’s renowned pairing of natural landscapes and human-made structures, captured as the sun peaks over the horizon or in twilight, ask viewers to consider what lies just beyond the visible. Kenna’s own curation properly reflects his intricate skill and sense of adventure with views of the city-that-never-sleeps across from medieval Pacentro to the icy sheets of St. Petersburg, Russia juxtaposing the misty, rolling mountains of Yunnan, at the most eastern tip of the Himalayas.
Kenna's photographs have been featured in over four hundred and fifty solo exhibitions in galleries and museums around the world, and are in over one hundred permanent institutional collections. His contemplative and transportive photographs have clearly resonated with those who have a love of natures’ inherent beauty and the sublime.
Michael Kenna: Celebrating Fifty Years will debut at the gallery on December 14, 2023 with a reception and book signing with the artist from 6-8pm. The monograph Photographs and Stories contains one image for each year of Kenna's photography journey, beginning in 1973 (when he enrolled in the Banbury School of Art). Following the “Photographs” section of the book is “Stories,” in which the artist discloses how the photography relates to his own life’s situation at the time. The exhibition will be on view, by appointment, through February 2, 2024.
Gallery Luisotti is pleased to present “Christina Fernandez: Subdivision”, the premier exhibition in the Gallery’s new home in downtown Los Angeles at 818 S. Broadway. In this new body of work, Los Angeles-based photographer Christina Fernandez examines life in the suburbs, focused on the life of her teenage son. Subdivision finds Fernandez approaching familiar themes of community and itinerancy in the most quotidian of environments: the stucco, the sidewalks, and the streetlights of Los Angeles.
The photographs in Subdivision follow Diego, Fernandez’s son, across the surface of the city. As we see him both isolated and together with friends, what emerges are not just the distinct spaces teenagers occupy, but also the particular atmosphere in which he thrives. “Crepuscular” comes to mind: a word signifying the unique light of the sky just after the sun sets. The term is sometimes used by zoologists to describe the particular creatures who emerge at this time of day, and in suburbia we have a name for such beings: teenagers. Throughout her career, Christina Fernandez has had a remarkable ability to capture communal and familial places that often have quite challenging light sources. Lavanderia (2002-2003) pictures the facades of laundromats, artificially lit from within; the landscapes of abandonment in Sereno (2006-2010); or, View from Here (2016-18) capturing spaces from their abandoned interior looking out. What recurs throughout this work is not just Fernandez’s skill in capturing the Southland’s light, but that such light expresses a sense of familiarity and inhabitance.
As with much of her previous work, Subdivision’s visual interlocutors present a compelling survey of modern depictions of American life – from Robert Adams’ Summer Nights (1974), perhaps the most emotive of New Topographics-era photography projects, to the SoCal landscape in the coming-of-age film Rebel without a Cause (1955). Against these precedents, Fernandez’s Subdivision charts an equally poignant picture of social connectedness, inevitable solitude, and self-discovery, against a backdrop of residences, infrastructure, and the accouterments of teen self-expression.
Michael Kenna (b. 1953, Widnes, Lancashire, England) will have his fifth solo show at PDNB Gallery this fall season. His show coincides with the release of his book, TREES, published by Èditions Skira, Paris and another stunningly beautiful new book, Photographs and Stories, published by Nazraeli Press.
About two years ago, PDNB Gallery Co-Director, Missy Finger, read Richard Powers’ Pulitzer Prize winning novel, The Overstory. In this novel, there are individual stories with characters that find common connection with trees. One of the main characters is a woman who is a botanist that believes that trees talk to another. “The biochemical behavior of individual trees may make sense only when we see them as members of a community,”
This storytelling was quite compelling, and the botanist character helped define the importance of trees. She speaks of forests as an ecosystem that cannot be separated, cleaned out, but must remain intact, the dead with the living.
“There are no individuals in a forest, no separable events. The bird and the branch it sits on are a joint thing. A third or more of the food a big tree makes may go to feed other organisms. Even different kinds of trees form partnerships. Cut down a birch, and a nearby Douglas-fir may suffer…”
This exhibition, coinciding with the release of Keith Carter’s book, Ghostlight, features photographs that were taken in the mysterious swamp land and forest of the Big Thicket in Texas.
Keith Carter (b. 1948, Madison, Wisconsin), is known for his regional images of Texas, especially around his home town of Beaumont. Although he has traveled the world to create poetic images of interesting people, animals and nature, he spent several years before and during the pandemic, walking through this extraterrestrial land that is near his home.
The book is an extraordinary compilation of images and text that immerse the viewer in this hauntingly beautiful landscape. Keith will be signing copies of the University of Texas Press monograph, designed by Pentagram’s DJ Stout and Michelle Maudet, on Saturday, December 9th, from 3 – 6 PM.
Bradford Washburn (1911–2007) was an American mountaineer, cartographer, photographer and student of Alaska's mountains and glaciers. Washburn established the Boston Museum of Science and served as its director from 1939 to 1980. But he was best known for ascending multiple Alaska peaks over the course of two-and-a-half decades and for pioneering aerial photography while surveying Denali in the 1930s. This exhibition presents a selection of photographs from the Anchorage Museum collection.
These black and white images were taken between 1930 and 1979 in the Coast Range, Alaska Range, the Chugach and St. Elias Mountains. Washburn's photographic work incorporated aerial documentation of the landscape, as well as abstracted views of the stark contrast between shadowed abyss and sunlit snow. The photographs on view in this exhibition demonstrate Washburn’s ongoing fascination with the beauty of Alaska’s peaks and glaciers.
Stranger Fruit is a prayer, a protest, a silent commemoration, a call to action. Artist Jon Henry was haunted by the 2006 shooting of 23-year-old Sean Bell, one among scores of Black lives lost to police violence. The photographer’s response became a country-spanning set of modern American Pietàs—Black mothers cradling their sons. The mothers feel the weight of their sons, we feel the weight of love, of violence, of history.
Image: Jon Henry, Untitled #42, Central Los Angeles, CA. Image courtesy of the artist.
Heap-O-Livin features a selection of images by Wyoming photographer and diarist Lora Webb Nichols (1883-1962). Nichols created and collected approximately 24,000 negatives and 65 years of diaries throughout her lifetime in the town of Encampment.
In addition to the industrial and economic aspects of this sparsely populated ranching and copper mining town, Lora’s images and diaries documented the lives of the girls and women within private households.
Despite the inherent isolation created by geography, the long brutal winters, and the patriarchal ideology that undervalued the role of women in Encampment in the late 19th and early 20th century, a robust female-led community emerged that provided a network of spiritual and emotional support. This was cultivated through the habitual visitations of immediate and extended family and friends into each other’s homes during their transition from children to wives and mothers. In Nichols’ sphere, these visitations often involved the act of picture-making.
Lora photographed their duties and mothers and homemakers but also made photographs that reveal the pleasure they experienced in simply being in each other’s company.
Opening in the centennial year of the completion of the Alaska Railroad, this exhibition created in collaboration with Alaska Railroad historians and experts looks at the history, impact, and legacy of the railroad through archival images, objects, and ephemera. Examining three key eras of railroad history spanning the 20th and 21st centuries, the exhibition highlights crucial moments, technological innovations, and human stories connected to the railroad and its operations in Alaska. All Aboard includes public programs presented in collaboration with the Alaska Railroad, community clubs, and railroad enthusiasts.
Artists: Safi Alia Shabaik, Elizabeth Bailey, Dena Elisabeth Eber, Sarah Hadley, Diane Hemingway, Rohina Hoffman, Susan Lapides, Annette LeMay Burke, Annie Omens, Lori Ordover, Aurora Wilder Collective (Jennifer Pritchard in collaboration with Patrick Corrigan and DALL-E), Aline Smithson, Rosalie Rosenthal
Our hard drives may fail. Our phones might break. We may forget an image that was once cemented in our minds. Our relationships with images and devices that hold our memories define how we understand our position in the world. If Memory Serves emerges from the moments those devices fail us, our recollections betray us and our pictures refuse to bring back the people they once captured. This exhibition emerges from the intersection of our haunting pasts, possible futures, and our connections to photographic images, technologies and the systems that ask to speak for our photographs.
The projects included here invite the viewers to immerse in transitions and transformations, in discomfort, in the borderlines between vision and sense, knowing and unknowing. At the same time, these works refuse nostalgia in its depoliticized state. These projects are defined by the viewpoint and lived experiences of their creators: female-identified, immigrants, descendants of inherited traumas, caregivers, providers. Photography is key to efforts to claim visibility, capture narratives and elicit conversations about the lives of vulnerable bodies and communities. The works on view are opening points, a threshold, for a conversation that should never be silenced, a conversation that is concerned with the conditions of its production – the present and future of photography – as it is concerned with its political, social and personal content.
The exhibition begins with and honors Aline Smithson, a mentor, photographer and educator, whose work with artists is redefining photographic practice. If Memory Serves celebrates her immense contribution to photography and further comments upon the reach of her stewardship and pedagogy. The participating artists have all been studying with and from her. Seen together, their works offer profound insight into our co-existence with photography, suggesting meeting points between personal experiences and broader societal issues and conflicts – from privacy to grief, from representation to immigration.
The history of photography in the United States is deeply tied to the American West. From 19th-century survey expeditions to 21st-century environmental activism, western landscapes have been featured as some of the most prominent subjects in American photographic history.
This exhibition traces 150 years of Utah landscape photography from the UMFA’s expansive collection. The artworks offer insight into how generations of photographers have used this technology to construct an image of Utah. The photographs confront humanity’s impact on this land since the 1870s–the railroads, highways, mines, and other forms of infrastructure that puncture the “natural” landscape and shape our perception of this place.
Shaping Landscape offers a history of Utah landscape photography as it intersects with the legacies of industrialization and colonization in the American West.
Showcasing a collection of photographs by Carlton Ward Jr, this captivating exhibition celebrates Florida’s wild heart through the story of our state animal – the Florida panther. The panther was driven to extinction throughout its range in the eastern United States except for a small remnant population that persisted in Florida’s Everglades. Numbers had dwindled to fewer than 20 individuals by the 1980s, but heroic conservation efforts have helped panthers come back to nearly 200 today. The biggest obstacle for the panther’s continued recovery is access to enough of its historic territory throughout Florida and adjoining states.
Carlton Ward Jr is a National Geographic Explorer and photographer who has spent almost two decades fighting for the Florida Wildlife Corridor – a storytelling campaign he founded in 2010 that is creating a lifeline for the survival of the Florida panther and other threatened wildlife. Rising north out of the Everglades, the tale of the Florida panther has grown from the unlikely survival of a rare cat to a story of new hope for all wild Florida.
The photographs in the exhibit, which are featured in the new National Geographic film and book, Path of the Panther, provide an unprecedented portrait of the panther amidst Florida’s wildest landscapes. From the remote cypress swamps of the Fakahatchee Strand, to the
headwaters of the Everglades, the photographs will transport viewers into a hidden Florida that deserves to be seen and protected.
The lynching of fourteen-year-old Emmett Till by white supremacists in 1955 was a shocking tragedy, made worse by the appalling miscarriage of justice in the trial that followed. Emmett’s mother, Mamie, courageously made the decision to forego the privacy of her devastating loss by insisting the world see what they had done to her son. She chose to have an open casket funeral and invited the Black press corps in order to provide visual evidence of this tragedy to the world.
The collective awakening and the actions that followed contributed directly to the Civil Rights Movement. Driven by courage, the event inspired a generation to force change, and the images that record this tragedy sparked consciousness across society. The impact of these images shook the world and there was no turning back.
This photography exhibition begins with family photos of Mamie and Emmett, but at the core are extraordinary images made by Black photojournalists. The powerful photographs by Ernest Withers, for example, capture acts of bravery and of prejudice at the trial. Photographs of the funeral are fundamental to the story and are included. The famed images Mamie Till wanted “to let the world see,” however, are readily found elsewhere should one wish to bear witness.
The exhibition continues with images of many exhilarating moments of the Civil Rights movement that followed and concludes with a photograph taken last year by Deborah Watts, Emmett’s cousin, of President Biden signing the “Emmett Till Antilynching Act.” Although sixty-eight years have passed, the images, lessons, inspiration, and courage of this singular tragedy can and must continue to educate, provoke, and inform today’s generation. This is the “Impact of Images.”
The materials that contributed to this exhibition come from The Withers Collection, the Medgar Evers family and the Emmett Till Legacy Foundation, among other sources. Co-curator Chris Flannery gathered these historic photographs originally as support for the production of the 2022 film Till. Orion Pictures has generously made them available for this exhibition, which will feature screenings of the film and other public programs.
As one of America's most notable documentary photographers, Dorothea Lange offers a compelling glimpse into a pivotal period in American history. Marked by the Great Depression (1929-1939) and the tumultuous years leading up to World War II (1939-1945), this exhibition displays Lange's seamless ability to capture the essence of human experience in times of profound hardship. The photographs in this exhibition – selected from the Oakland Museum of California's Dorothea Lange Archive and the United States Library of Congress – showcase Lange's unwavering commitment to documenting history. Focused on the impacts of life in California, these photographs reveal Dust Bowl migrants, braceros (Mexican laborers brought to the U.S. as seasonal agricultural workers), and life within the migrant labor camps.
Image: Filipinos cutting lettuce. Salinas, California, 1935
Featuring photographs by two of the 20th century’s most important photographers, Death of a Valley is a nearly 70-year-old story full of contemporary issues such as water policy, private property rights, land conservation and local governance vs. state and federal jurisdiction.
Dorothea Lange is famous for her social realist images, including the iconic Migrant Mother which many consider THE image of the Dustbowl and Great Depression era of the 1930s. In 1956 she convinced Life magazine to commission a photo essay documenting the last year of the Berryessa Valley, including the town of Monticello, roughly 80 miles northeast of San Francisco. The entire area was due to be submerged with the opening of the Monticello Dam and the creation of Lake Berryessa to provide water for irrigation and recreational purposes.
Lange then invited Ansel Adams protege Pirkle Jones to collaborate on the project. “The Berryessa Project was one of the most meaningful photographic experiences of my professional life. When Dorothea Lange, a friend, and colleague, invited me to collaborate on this project with her in 1956, I looked forward to the experience.” –Photographer Pirkle Jones.
The essay proved unsettling for Life, and they declined to publish it. In 1960, the photographic journal of the Aperture Foundation published thirty of the photos as an essay entitled “Death of a Valley.” These photographs were then exhibited at the San Francisco Museum of Modern Art and later at the Art Institute of Chicago. Since then, the project has been largely forgotten; until now. The Booth Museum exhibition, organized with Lumière of Atlanta and the Special Collections and Archives at the University of California, Santa Cruz, and the Robert Yellowlees Special Collection, will include over 80 images, most having never been exhibited before.
For 30 years, the photographs of artist An-My Lê have engaged the complex fictions that inform how we justify, represent, and mythologize warfare and other forms of conflict. Lê does not take a straightforward photojournalistic approach to depicting combat. Rather, with poetic attention to politics and landscape, she meditates on the meaning of perpetual violence, war’s environmental impact, and the significance of diaspora. “Being a landscape photographer,” she has said, “means creating a relationship between various categories—the individual within a larger construct such as the military, history, and culture.”
An-My Lê: Between Two Rivers/Giữa hai giòng sông/Entre deux rivières is the first exhibition to present Lê’s powerful photographs alongside her forays into film, video, textiles, and sculpture. Never-before-seen embroideries—some large scale, others the size of a laptop screen—and rarely shown photographs from her Delta and Gabinetto series explore the relationship between mass media, gender, labor, and violence. And an immersive installation created especially for the exhibition attests to the artist’s long-standing consideration of the cinematic dimensions of photography and war.
Born in Vietnam in 1960, Lê came to the United States in 1975, after the fall of Saigon, as a political refugee. The two rivers in the exhibition’s title refer to the Mekong and Mississippi river deltas, to Vietnam and the United States. The phrase also gestures toward other subjects that Lê has inflected with her own experiences of war and displacement, from the Seine, to the Hudson River, to the Mexican-American border along the Rio Grande. It is a metaphor that invites viewers to reflect on the circularity of time and history, the layering of disparate geographies, and the intimacies that paradoxically grow out of conflict.
This exhibition brings together black-and-white masterpieces from the
Bibliothèque nationale de France’s photographic collections.
Nadar, Man Ray, Ansel Adams, Willy Ronis, Helmut Newton, Diane Arbus, Mario
Giacomelli, Robert Frank, William Klein, Daido Moriyama, Valérie Belin…: the
great names in French and international photography are brought together
in an itinerary that presents some 300 prints and covers 150 years of blackand-
white photography’s history, from its origins in the 19th century to
Underpinned by multiple visual explorations, questions relating to material permeate all fields of photography, from the creative process to presentation of the resulting images. Drawing on the BnF’s extensive collection of contemporary
photographs, the exhibition reveals photographic material’s capacities for
metamorphosis, along with its possible disappearance. A sensory, incarnate
history of photography is presented through unique works by almost two
hundred French and foreign photographers.
Chashama presents ''National Character: Photographing American Character'' an exhibition of large format color photographs by John Sanderson to be exhibited at ChaShaMa 266 West 37th, from November 17th to December 14th, 2023 with an artist's reception Saturday, November 18th from 5-8pm. The exhibition will include a selection of ten framed photographs ranging in size from 40x50" to 8x10" inches. The prints are selected from his larger body of work exploring the United States of America.
Paris Photo, the leading global art fair exclusively dedicated to the realm of photography, reemerges for its 26th edition with an exciting and eventful agenda set to unfold in the core of the French capital. Between November 9th and November 12th, 2023, the Grand Palais Ephémère is set to be the venue for 191 contributors coming together to present a comprehensive exhibition of the finest photographic works.
Huxley-Parlour is pleased to present Anthesis, the first solo UK exhibition of photographer Nadine Ijewere. Ijewere is known for her innovative and disruptive approach to fashion photography. The exhibition traces the radical fusion of genres across the artist’s work.<
With a record 702 emerging and professional photographers from Australia and across the globe, this year's festival will deliver the annual photographic competition with $70,000 in prizes as well as more than 100 exhibitions across the city.
We are pleased to announce that a pop-up exhibition of Elliott Erwitt’s photographs will open next month in Fitzrovia. Celebrating Erwitt’s 95th year, the exhibition includes 30 of the photographer’s most celebrated images from his long and storied career. The display presents six decades of Erwitt's sharp observation, from humorous street scenes to historic documentation.
Magnum Photos presents a selection from Alessandra Sanguinetti’s Some Say Ice at its Paris gallery, located in the 11th arrondissement. It is the first exhibition worldwide to exclusively present works from Sanguinetti’s remarkable fifth book, published by Delpire & Co in September 2022.
Fighting: Ukrainian War Photographers is an exhibition featuring images captured by sixteen Ukrainian artists and photojournalists who are documenting the invasion of their country by Russia. Organized for the U.S. by FotoFest and curated by Jan Pohribný and Igor Malijevský with support from the Ukrainian Association of Professional Photographers, Fighting: Ukrainian War Photographers offers a firsthand, in-depth view into the efforts of Ukrainian citizens and military to preserve their sovereignty.