STEPHAN LUPINO @ Galerija Fotografija

1.12.2016 – 7.1.2017

“…The debauchery, wildness, and eccentricity; all are found in Lupino’s photographs from the era. In his usual style, photographing clubs was actually a performance, and so were the clubs. The creative potential of partying has been a focus of art and music since the early 60s, with Andy Warhol, the most famous and controversial protagonist of the scene, at it’s head. Warhol was also one of the many famous artists and eccentrics who frequented the short-lived nightclub Area (1983 – 1987). Among the partygoers was also Stephan Lupino, who has set up an improvised photography studio in the bathroom of the club. Area promised a new world, in which art was the space in which you drank and danced.”

Galerija Fotografija
Levstikov trg 7, 1000 Ljubljana

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Priya Kambli and Mel Keiser @ Filter Space

© Mel Keiser & Priya Kambli

© Mel Keiser & Priya Kambli

Priya Kambli and Mel Keiser: A hole’s made of itself.
December 2 – 31, 2016

Opening Reception: December 2, 6 – 9 PM

This intimate exhibition explores the relationship of self to society, family, and ultimately self. Priya Kambli, after finding a family snapshot that was marred by her mother, alters photographs from her family archive as a way to conjure a personal mythology of her ancestry, and reconcile her relationship with her heritage. Mel Keiser creates visual multiplicities of herself to examine whether identity is singular or a system of discrete beings. Working with photography in visually distinct ways, both artists examine the role they play in the larger arena of the social construct of self, desiring to reconcile identity and relationships within a kind of personal void.

Filter Space
1821 W. Hubbard St.
Suite 207

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Nona Faustine @ Baxter St at CCNY

unnamedNona Faustine: My Country
December 8, 2016 – January 14, 2017

Opening Reception: Thursday, December 8 , 2016 | 6 – 8pm

Since 2013 Faustine has gained national and international recognition for her photographic work that plays with historical narratives haunted by the black female body. She has used self-portraiture to re-mark locations in NYC where the history of slavery is literally buried physically and psychologically. The photographic documentation of her self-made monuments which avoid conventional readings of a cohesive national history work to expose the ongoing tragic legacy of slavery. These images, however, are not only about accountability, but also about our collective relationship to history. Increasingly she appears as a new heroic figure who is her sex, who is her race – and yet universal, who is more than the sum of her subjective parts.

Baxter St at the Camera Club of NY, 126 Baxter Street, New York, NY 10013

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Jennifer Shaw @ Guthrie Contemporary

Jennifer Shaw: Flood State
on view through February 15, 2017

Opening Reception with the Artist: Saturday, December 3, 6-8pm

Flood State, a new series of photogravures by Jennifer Shaw, addresses the precarious act of making a home on vulnerable land. A response to the recent catastrophic flooding in Baton Rouge and central Louisiana, as well as the global trend of rising ocean waters due to climate change, Shaw deftly and delicately imagines a dreamlike floating world that may soon become reality for not only Louisiana, but much of the globe.

Guthrie Contemporary
3815 Magazine St.
New Orleans, LA 70115

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JEFF WHETSTONE @ Julie Saul Gallery

JEFF WHETSTONE: Crossing the Delaware
January 7 – March 4, 2017

Opening reception for the artist, Saturday, January 7, 5-7 pm

Julie Saul Gallery
535 West 22nd Street, 6th floor, New York, NY 10011

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Alberto Schommer @ Kutxa Kultur Artegunea

Alberto Schommer
2 December 2016 until 19 March 2017

All Schommer’s work is characterised by a powerful personality and a constant desire to achieve a formal break, which led him to explore all kinds of aesthetic territories.Here is his platform approaching Modernity.With this exhibition the Kutxa Kultur Artegunea will be embarking on a programme that the gallery will be devoting exclusively to photography in the course of 2017.

Kutxa Kultur Artegunea, Tabakalera Building
Plaza de las Cigarreras, 1
20012 Donostia/San Sebastián

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Viviane Sassen @ Museum of Contemporary Photography

Viviane Sassen, Yellow Vlei, 2014

Viviane Sassen, Yellow Vlei, 2014

Viviane Sassen: UMBRA
Jan 26 – Apr 1, 2017

UMBRA is conceived as an installation piece with eight different chapters, each with a distinctive character. Certain works presented in the exhibition refer to abstract painterly traditions that include artists like Kazimir Malevich, Piet Mondrian, or Mark Rothko. In other ways the installation refers to literary, scientific, and philosophical traditions, from Plato and Carl Jung to the young Dutch poet and writer Maria Barnas, who wrote poems to accompany UMBRA.

Museum of Contemporary Photography
Columbia College Chicago
600 S. Michigan Ave.
Chicago, IL 60605

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Book Review: The Eyes of the City by Richard Sandler

Two Faces, 5th Ave., NYC, 1989 © Richard Sandler / The Eyes of the City

Two Faces, 5th Ave., NYC, 1989 © Richard Sandler / The Eyes of the City

“These pictures are in part screaming at us to wake up and open our eyes to what’s happening … Richard is just putting it all down, making a record, exploring his own loneliness and mortality, compelled to document as a way to say he’s alive,
while pointing with equal wonder at beauty and horror …”
Jonathan Ames (from the Afterword)

Timing, skill, and talent all play an important role in creating a great photograph, but it is perhaps the most basic, primary element–the photographer’s eye–which is most crucial. In The Eyes of the City Richard Sandler not only showcases decades-worth of his strong eye for street photography, but also the eyes of his subjects as he catches them looking into his camera at just the right moment. Sandler’s work was shot in a period of time that spans pre-internet/pre-digital photography, and into the popular resurgence of the Street Photography aesthetic in the early 21st century. It seems like the distant past, and at the same time only 15 years past, but from 1977 to September 11th 2001, Sandler regularly walked through Boston and New York City, encountering all that the streets had to offer, and the results are presented here, many for the first time.


© Richard Sandler / The Eyes of the City

Sandler credits his fascination with street life to his years in New York as a teenager in the 1960s. Young Sandler, a frequent truant, spent much of his time in a very different Times Square than the sanitized tourist attraction we know today. Manhattan was a cyclone of faces: some at play, many clearly suffering. All eyes, ears, and heart, Sandler was sensitive to it all as a kid peering into this adult world. Such early impressions would come to play a significant role in his later street photography.

© Richard Sandler / The Eyes of the City

© Richard Sandler / The Eyes of the City

Living in Boston in 1977, and after two careers involved in helping others, as a natural foods chef and acupuncturist, Sandler realized an overwhelming desire to do something for himself, alone. As if on cue, a late 1940s Leica appeared in his life and he hit the Boston streets in an experimental mood. He shot in Boston for three productive years and then moved back home to photograph an edgy, nervous, angry, dangerous New York City. In the 1980s crime and crack were on the rise and their effects were devastating the city. Graffiti exploded onto surfaces everywhere and the Times Square, East Village, and Harlem streets were riddled with drugs, while in Midtown the rich wore furs in vast numbers and “greed was good.” In the 1990s the city experienced drastic changes to lure in corporate interests and tourists and the results were directly felt on the streets as rents were raised and several neighborhoods were sanitized, making them ghosts of what, to many, made them formerly exciting.

© Richard Sandler / The Eyes of the City

© Richard Sandler / The Eyes of the City

Throughout these turbulent and triumphant years Sandler paced the streets with all his knowledge of what the city was, ever on the lookout for what his eye connected to as New York transformed and changed the lives of everyone who lived in it. For better and for worse, one was simply “on the street” in public space, bathing in the comforts, or terrors, of the human sea and Sandler’s work is the marbled evidence of this beauty mixing with decay as only his eyes could capture it.

Hasid and Hipster, NYC, 2001© Richard Sandler / The Eyes of the City

Hasid and Hipster, NYC, 2001© Richard Sandler / The Eyes of the City










The Eyes of the City by Richard Sandler
Hardcover, 11-1/4 x 10-1/2 inches (28.5×26.6cm)
180 pages
ISBN: 978-1-57687-787-6

Richard Sandler is a street photographer and documentary filmmaker. He has directed and shot eight non-fiction films, including The Gods of Times Square, Brave New York, and Radioactive City. Sandler’s still photographs are in the permanent collections of the New York Public Library, the Brooklyn Museum, the New York Historical Society, and the Houston Museum of Fine Art. He was awarded a New York Foundation for the Arts fellowship for photography, a John Simon Guggenheim Foundation fellowship for Filmmaking, and a New York State Council on the Arts fellowship also for Filmmaking.

Dave Isay is the founder of StoryCorps and the recipient of numerous broadcasting honors, including six Peabody awards, a MacArthur “Genius” Fellowship, and the 2015 TED Prize. He is the author/editor of numerous books that grew out of his public radio documentary work.

Jonathan Ames is the author of the novels Wake Up, Sir!, The Extra Man, I Pass Like Night; a graphic novel, and The Alcoholic (with artwork by Dean Haspiel), among others. He is the winner of a Guggenheim Fellowship and is a former columnist for New York Press.

To purchase a copy of the book, see

(All images used by permission from The Eyes of the City by Richard Sandler, published by powerHouse Books.)


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Interview with photographer Szymon Barylski – Fleeing Death

Fleeing Death Project Statement
Thousands of immigrants, mainly Syrians, are coming to the refugee camp in Idomeni on the Greek-Macedonian border. It is occupied by people from different social strata. They are all found there fleeing the war, death and starvation. They continue their journey through Macedonia to the north and west of Europe. Not everyone manages to pass the verification of the documents, which leads to the separation of families. The refugees are living in difficult conditions and sleeping in overcrowded and soaked tents. They are frozen and have limited access to sanitation. The refugees are exhausted, tired and uncertain about their situation.

© Szymon Barylski

© Szymon Barylski


Cary Benbow (CB): Can you please explain how you started your Fleeing Death project?

Szymon Barylski (SB): I was watching the news and hearing about the refugees crisis, I felt that it could affect all of us!  As in the case of any of my projects, I approached this one in a very personal and individual manner. I think that all my projects have one common denominator – in almost all of my photographic reports, I document the poorest and the most unjust face of the world.

© Szymon Barylski

© Szymon Barylski

CB: What do you feel are the obligations of a photographer covering human rights issues? Do you feel an obligation to help the people in your photos?

SB: Yes, I have an obligation to the people in the photos –  otherwise I would never find myself here. All of us could find ourselves in the situations of people in my photos. Being a reporter involves trying to adapt to whatever we get and being able to learn from these experiences as much as we can. I’d like to see my photographs helping raise individual and collective consciousness of social, political and economic needs, and urge people to act, to be a part of creating positive changes. I think that when you do something as honest as you can, it influences people.

I hope my photos will increase individual and collective awareness about the social, political and economic need and urge people to act, and be part of positive changes.

© Szymon Barylski

© Szymon Barylski


CB: Has it been difficult to start and stop working on projects that involve people in need?

SB: It is especially hard for me at the beginning because I involve in these situations on purpose. I talk to people affected by problems, I mix with them. Yet, at the time when I start to take photos, I try to put emotions aside.

© Szymon Barylski

© Szymon Barylski

CB: How do you decide to take on new projects? Do you work on assignment for news agencies, or are you solely independent?

SB: Sometimes it is a impulse. But usually I choose topics that, I believe, are worth showing at the moment. I don’t work for any agency, I am just independent.

CB: What was your start into photography?

SB: I bought my first camera to have souvenirs from my travels in the form of photos. Soon I realized that a camera had become an integral part of me. I began with street photography, but I was always the most interested in listening to the stories of people. I have realized that it is possible to express oneself by means of photography, to show emotion and tell a story; for this reason I am engrossed in documentary photography and photojournalism.

© Szymon Barylski

© Szymon Barylski

CB: In your opinion, what makes a good photograph?

SB: I believe that it’s impossible to take good photos of something that one does not know well. Therefore, for each project I prepare individually, and objectively. Initially I do a thorough research of the press and the Internet. Then, I look for inspiration in the photos of other photographers and conversations.  The relationship with the people in the photos is very important. You have to get know the photographed people and approach them with respect. When we take care of this relationship in a proper way, they are capable of opening up in front of us, and with their sincerity and trust we will have a better story. My own narration, which is revealed in my photography, is very personal and universal at the same time.

The more honestly and personally I work, the better. The idea is to go deeply into oneself, think about the issues that one really wants to tell.

CB: What work are you currently working on? Any new projects?

SB: I have just returned from Nepal, where I my new project was created. I hope I will finish it by the end of the year.

© Szymon Barylski

© Szymon Barylski


CB: What advice would you give to someone who wants to start projects like yours?

SB: They should have the ability to search and record situations that other people don’t notice; and to understand culture differences. Besides this – it is hard work and discipline that matters.

Szymon Barylski is a Polish photographer based in Ireland, Galway. He has photographed the Syrian refugee crisis in his project, Fleeing Death, and has also photographed the inhabitants of Iquitos, the largest city in the Peruvian Amazon, and its Belen district where many people live in economic strife.


To see more of his work, and view his projects, visit his website:

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Andrey Tarkovsky @ The Lumiere Brothers Center for Photography

In the footsteps of The Sacrifice. V.Ivleva. Gotland. 2016

In the footsteps of The Sacrifice. V.Ivleva. Gotland. 2016

In the footsteps of The Sacrifice. In memory of Andrey Tarkovsky
December 16, 2016 – January 22, 2017

The exhibition is based on photos and interviews made this summer on the Swedish island Gotland, where The Sacrifice, the last Andrey Tarkovsky’s film, was shot 30 years ago. A special programme of film screenings, lectures and discussions will accompany the exhibition.
“Our exhibition is a tribute to one of the greatest directors in the history of Russian cinema 30 years after his death, as well as homage to the Gotlanders who took part in the shooting of the film,” said journalist, photographer and author of the project Victoria Ivleva.

The Lumiere Brothers Center for Photography

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