October 22, 2025
WORK IN PROGRESS: CONVERSATIONS WITH CREATORS is a monthly arts podcast with Albuquerque Journal writer Logan Royce Beitmen. Logan talks to visual artists, musicians, filmmakers, and others about their current projects, getting inside the minds of creators and exploring their creative processes.
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View the exhibition Ed Kashi A Period In Time here
Co-organized and co-presented by MOCA and The Brick, MONUMENTS marks the recent wave of monument removals as a historic moment. The exhibition reflects on the histories and legacies of post-Civil War America as they continue to resonate today, bringing together a selection of decommissioned monuments, many of which are Confederate, with contemporary artworks borrowed and newly created for the occasion. Removed from their original outdoor public context, the monuments in the exhibition will be shown in their varying states of transformation, from unmarred to heavily vandalized.
Co-curated by Hamza Walker, Director of The Brick; Bennett Simpson, Senior Curator at MOCA; and Kara Walker, artist; with Hannah Burstein, Curatorial Associate at The Brick; and Paula Kroll, Curatorial Assistant at MOCA, MONUMENTS considers the ways public monuments have shaped national identity, historical memory, and current events.
Following the racially motivated mass shooting at Mother Emanuel AME Church in Charleston, SC (2015) and the deadly 'Unite the Right' rally organized by white nationalists in Charlottesville, VA (2017), alongside Bree Newsome’s powerful removal of the Confederate flag at the South Carolina Statehouse (2015), the United States witnessed the decommissioning of nearly 200 monuments. These removals prompted a national debate that remains ongoing. MONUMENTS aims to historicize these discussions in our current moment and provide a space for crucial discourse and active engagements about challenging topics.
MONUMENTS features newly commissioned artworks by contemporary artists Bethany Collins, Abigail DeVille, Karon Davis, Stan Douglas, Kahlil Robert Irving, Cauleen Smith, Kevin Jerome Everson, Walter Price, Monument Lab, Davóne Tines and Julie Dash, and Kara Walker. Additional artworks by Leonardo Drew, Torkwase Dyson, Nona Faustine, Jon Henry, Hugh Mangum, Martin Puryear, Andres Serrano, and Hank Willis Thomas, are borrowed from private collectors and institutions.
The exhibition presents decommissioned monuments borrowed from the City of Baltimore, Maryland; the City of Montgomery, Alabama; The Jefferson School for African American Heritage, Charlottesville, Virginia; the Black History Museum & Cultural Center of Virginia, Richmond; the Valentine, Richmond, Virginia; and The Daniels Family Charitable Foundation, Raleigh, North Carolina. By juxtaposing these objects with contemporary works, the exhibition expands the context in which they are understood and highlights the gaps and omissions in popular narratives of American history.
MONUMENTS will be accompanied by a scholarly publication and a robust slate of public and educational programming.
MONUMENTS is co-organized by The Museum of Contemporary Art, Los Angeles (MOCA) and The Brick. MONUMENTS is co-curated by Hamza Walker, Director, The Brick; artist Kara Walker; and Bennett Simpson, Senior Curator, MOCA; with Hannah Burstein, Curatorial Associate, The Brick; and Paula Kroll, Assistant Curator, MOCA.
Presenting support is provided by the Mellon Foundation.
Images from Sanjay Suchak's work documenting the removal of Confederate iconography across the South have been selected to be part of the major new exhibit "Monuments" at the Museum of Contemporary Art Los Angeles (MOCA) which is co-curated by The Brick. In addition to being a part of the exhibit, Suchak's photo featuring the seated statue of Matthew Fontaine Maury from behind was selected to be the exhibition poster and the cover of the exhibition catalog book.
NY Times: Kara Walker Deconstructs a Statue, and a Myth
October 19, 2025
In a Turkish terrorist court in Diyarbakir, this Kurdish woman was sentenced to 13 years in prison, accused of belonging to the Kurdistan Workers Party, or PKK, which seeks to create an independent state in southeastern Turkey, 2006
One of Kashi’s most compelling images from that series was taken at a military tribunal in Diyarbakir, Turkey. A fashionably dressed Kurdish woman, accused of being a member of the outlawed Kurdistan Workers’ Party (PKK), stands at a cage-like witness stand, a handful of armed military men behind her.
“I think I got in because I was following a Kurdish human rights lawyer, so I sort of traipsed into the courtroom with him and made a few pictures. And that ended up being a very significant image,” Kashi said. “But after that image appeared in the magazine, they (the Turkish government) confiscated all the copies of (that) 1992 issue of National Geographic within Turkey.”
Despite the attempted censorship, that image, and others from the series, reached a wide international audience. Kashi credits those images with bringing much greater attention to the persecution of the Kurds, a subject that had previously gone underreported.
The Turkish government, meanwhile, grew increasingly restrictive on press freedom. Government repression is an ever-present challenge for photojournalists around the world, Kashi said, and something he has contended with many times.
“For journalists, and particularly for photographers, there is a constant battle of how much can we get away with. How close can we get? What can we access? And when that gets shut down, we have to find other ways to gain access,” he said.
The global landscape for press freedom has gotten significantly worse in recent years, according to Kashi, with widespread and concerted attacks on journalists that he calls “unprecedented.”
“Look at our own Pentagon and the restrictions they’re trying to place on the media,” Kashi said. “It’s a very interesting and tricky moment right now for the media in general, all around the world. There’s been an increase in journalists being arrested, imprisoned and in some cases killed, particularly in Gaza.”
Although Kashi said he has sometimes risked his life for stories, he was never deliberately targeted, the way he said some journalists are currently being targeted and killed in places such as Gaza and Ukraine.
“I’ve not worked in Ukraine, but a colleague of mine, who works a lot with the New York Times as a photographer, was just saying, the scariest thing is when you’re driving down a highway and you hear a drone overhead. It’s not even about (accidentally being hit by) missiles or bombardment from planes or artillery. It’s that a drone can take your car out because they suspect you of being the enemy, or they just want to,” Kashi said. “They know you’re a journalist. They wanted to target you.”
Despite the dangers, photojournalists continue doing their jobs, Kashi said, because they know it can change people’s hearts and minds. Kashi has seen the far-reaching impact his own work has had, and he hopes it will inspire others.
“If you tell good stories, and you tell them in an authentic and sincere way, you can reach people. You can penetrate their consciousness,” Kashi said. “And whether they donate money, or they get involved through their actions, or, at the very least, you might change their mind about something. That’s the reason we must do this work.”
Via Fotoist International Photography Festival
October 17, 2025
Exhibition: "A Brief Guide to Investigating War Crimes” by Ron Haviv - VII Foundation / 17.10.2025 / 18:00 / Barabar Centre - Grand 4th Floor
Photo: © Ron Haviv – VII Foundation / Young Darfuri girls leave a camp for internally displaced persons to gather firewood. Girls as young as 8 have been raped, attacked and killed trying to get wood. Darfur, Sudan, 2005
Exhibition: “A Brief Guide to Investigating War Crimes” by Ron Haviv
World-Renowned Photojournalist Ron Haviv Presents “A Brief Guide to Investigating War Crimes”
Internationally acclaimed photojournalist and co-founder of the VII Foundation, Ron Haviv, in collaboration with the Global Investigative Journalism Network (GIJN), presents the powerful exhibition “A Brief Guide to Investigating War Crimes.”
Curated by Haviv himself, the exhibition draws from the GIJN’s definitive guide for journalists covering war crimes, and features evocative and hard-hitting imagery by members of the prestigious VII Foundation. Through a compelling visual narrative, the exhibition explores the brutal realities of armed conflict, the mechanisms of war crimes, and their long-lasting human and societal impacts.
“A Brief Guide to Investigating War Crimes” underscores the critical role of investigative journalism, human rights advocacy, and legal accountability in uncovering the truth. It stands as both a tribute to courageous reporting and a call to action for justice and transparency in times of war.
Ron Haviv is an Emmy-nominated filmmaker and an award-winning photojournalist. He co-founded VII Photo Agency and The VII Foundation, where he currently serves as a director. He is dedicated to documenting conflict and raising human rights issues around the globe.
Haviv’s first photography book, Blood and Honey: A Balkan War Journal, was called “One of the best non-fiction books of the year,” by The Los Angeles Times and “A chilling but vastly important record of a people’s suffering” by Newsweek. His other monographs are Afghanistan: The Road to Kabul, Haiti: 12 January 2010, The Lost Rolls and Shadow of Memory.
Haviv has produced an unflinching record of the injustices of war covering over twenty-five conflicts and his photography has had singular impact. His work in the Balkans, which spanned over a decade of conflict, was used as evidence to indict and convict war criminals at the international tribunal in The Hague. President George H.W Bush cited Haviv’s chilling photographs documenting paramilitary violence in Panama as one of the reasons for the 1989 American intervention.
His work is in the collections of The Getty, Eastman House and Museum of Fine Arts, Houston amongst others and has been seen in numerous other museums and galleries, including the Louvre, United Nations, Council on Foreign Relations, Fotografiska, and the International Center of Photography.
Haviv has co-created multi-platform projects for Doctors Without Borders’ DR Congo: The Forgotten War and Starved for Attention, Unicef’s Child Alert for Darfur and Sri Lanka and the International Committee of the Red Cross’s World at War. His commercial clients include Ad Council, American Express, BAE, Canon USA, ESPN, IBM and Volkswagen.
Haviv is the central character in six documentary films, including National Geographic Explorer’s Freelance in a World of Risk, in which he speaks about the dangers of combat photography, including his numerous detentions and close calls. He has provided expert analysis and commentary on ABC World News, BBC, CNN, NPR, MSNBC, NBC Nightly News, Good Morning America, and The Charlie Rose Show. He has written opinion pieces for the Washington Post and The New York Times and spoken at TEDx along with numerous other lectures at Universities and conferences.
He is currently co-directing two documentaries, Biography of a Photo and Picasso of Harlem.
Via Natural History Museum in London
October 15, 2025
Wildlife Photographer of the Year at The Natural History Museum in London celebrates the extraordinary life with which we share this planet, while illuminating some of the urgent threats it faces. On exhibit October 17, 2025 to July 12, 2026.
Anna Boyiazis (USA) documents this low-tide scene of seaweed farmers tending to their underwater farm on the Zanzibar coast.
Seaweed farmers Maua Mkubwa (standing) and Maua Mdogo nurture their undersea garden in the Indian Ocean off Paje, Zanzibar, within the Menai Bay Conservation Area, the archipelago’s largest marine-protected area. As members of the women-led, community-based Mwani (Swahili for seaweed) Zanzibar co-operative, they sustainably harvest a red alga in the genus Eucheuma, known as eucheumatoid seaweeds. These are used to create handmade skincare for international markets.
This recent initiative is empowering local women and improving the livelihoods of families traditionally reliant on fishing — now facing depleted stocks due to climate change, overfishing and destructive practices. Seaweed cultivation also has environmental benefits: the fronds absorb carbon dioxide in photosynthesis and take up nitrogen and phosphorus, and act as a water purifier by reducing acidification and removing some pollutants. All this, while providing precious habitat for marine life.
Anna is a documentary photographer based between Southern California, USA, and East Africa. Her areas of focus include conservation, human rights, public health and women and girls’ issues. Her ongoing project Finding Freedom in the Water, which was first published by National Geographic, documents women and girls in Zanzibar learning to swim – an act of emancipation. Anna is a contributing photographer for GEO, National Geographic and The New York Times Magazine. She has an MFA from the Yale School of Art and a BA from the UCLA School of the Arts and Architecture.
Oct. 11, 2025
A lieutenant to Martin Luther King Jr. and a fellow preacher, he played a vital role in organizing voting-rights protests in 1965 that began with “Bloody Sunday.”
"But Mr. Douglas, an albino with fair skin, blue eyes and blond hair, was perhaps best remembered for a widely circulated photograph by Steve Schapiro in which he is the lone pale figure among a group of Black Americans walking arm in arm as they marched in Alabama."
October 10, 2025
NEW YORK – Christie's is pleased to announce the results of its Photographs sale, which concluded in New York on October 10. The online-only auction totaled $3.6 million, with a strong sell-through rate of 83% by lot and 115% against low estimate. The sale attracted robust global participation, including 24% of bidders and buyers new to Christie's.
Spanning the history of the medium, the sale was led by Ansel Adams (1902–1984) with Aspens, Northern New Mexico, 1958, which realized $330,200. This was followed by Edward Weston (1886–1958) with Wind Erosion, Dunes at Oceano, 1936, selling for $190,500.
The sale achieved a world auction record price an important work by Gordon Parks (1912–2006), American Gothic, Washington D.C., 1942, which realized $38,100 against a low estimate of $7,000.
Additional highlights included: Helmut Newton (1920–2004), Fifteen Photographs, 1980, which achieved $120,650, nearly double its low estimate and an Irving Penn (1917–2009), Café in Lima, 'Vogue' fashion photograph (Jean Patchett), 1948, which sold for $95,250, surpassing its high estimate.
The sale underscored continued demand for iconic photographic works and reaffirmed Christie's leadership in the category.
Sampler Jug (after Stubbs), No. 8, from the series Cumbrian Blue(s), New American Scenery, 2022, Paul Scott (British, b. 1953), transfer-printed collage on pearlware jug with "Defend The Sacred" by Ryan Vizzions, Courtesy of Paul Scott and Ferrin Contemporary,
© 2022 Paul Scott, photo credit: John Polak
October 10, 2025–January 4, 2026
Vance Waddell and Mayerson Galleries (Galleries 124 and 125)
Free. Exhibition does not require separate tickets.
At first glance, artist Paul Scott’s transfer-printed tableware may look familiar—like something you have seen in your grandparents’ china cabinet or a second-hand shop. Look closer and you will notice subtle differences that add up to a powerful narrative shift. Scott (British, b. 1953) subverts this seemingly unassuming blue-and-white “cultural wallpaper” to create sharp, thought-provoking social commentary. Working with new ceramic forms or repurposing antique pieces, Scott breaks, reassembles, erases, and adds details using screenprinting, engraving, and collage processes to create new “historical” patterns. Broadly, his works address updated narratives about art, history and American experiences.
Based in the northwest English county of Cumbria, Scott is an artist, author, curator and educator who is best known for his unique ability to employ extensive historical and technical knowledge of ceramics to create provocative artworks and social commentary. During a visit to Ohio State University in 1999, Scott became inspired by historical British-made blue-and-white ceramic transferwares that depicted American scenes, directly engaging American consumers. After his visit, Scott challenged himself to create his own versions that recontextualize the messages embedded within these historical works by focusing on contemporary imagery and subjects. Scott’s New American Scenery series reflects his personal experiences of being and traveling in America, and, in his words, the need to “rebalance the narrative with something more contemporary and inclusive.”
Scott shares: “Industrial transferwares were part of the new media revolution in the late 18th and early 19th centuries. They have always carried images and patterns which have journeyed through media, time, histories and geographies, capturing and changing meanings as they have travelled. Cumbrian Blue(s) contemporary artworks reference these original wares, so I very much enjoy opportunities which allow me to juxtapose my 21st century iterations alongside the historic in visual dialogues that act to re-animate (sometimes forgotten) objects from museum stores. For Recall. Reframe. Respond., I am excited to extend this process to include paintings, prints, photographs and other artworks from Cincinnati Art Museum’s extensive collections, creating new ‘conversations’ and reanimations.”
In addition to the Ryan Vizzions' images used on the transfer-printed tableware, The Cincinatti Museum of Art is exhibiting a print of "Defend The Sacred" by Ryan Vizzions.
