On August 22, 2026, Jake Lang hosted a "rally" outside Minneapolis City Hall to support a woman convicted of using racial slurs against a child. He was met by opposing protesters. Lang was later arrested for causing a riot as was Spider-Man.
August 24, 2026
"The tour begins outside a Burger King on Liberty Street in Lower Manhattan, and the guide explains why. People forget that this was commandeered by the police on Sept. 11, 2001, as a staging area amid the chaos, “NYPD Temp HQ” spray-painted over the front door.
What follows is a very specific narrative of the events of that day as told by a very specific guide, Christina Stanton, who lived it firsthand. She continues to watch it unfold, 25 years on.....
Why keep reliving that?1976, Part 14: Stanley Forman … - The Georgia Politics Podcast - Apple Podcasts
August 14, 2026
Welcome to The Georgia Politics Podcast! In this episode, we take a fascinating detour into the world of photojournalism with legendary photographer Stanley Forman.
Forman sits down to discuss his remarkable career, the photographs that shaped his legacy and the stories behind some of his most iconic images. From his early days as a young photographer to the moments that earned him national recognition and Pulitzer Prizes, Forman offers a firsthand look at the people, places and events he captured through his lens.
It's a conversation about photography, journalism and history — and a reminder of how a single photograph can capture a moment and define an era.
NEVER FORGET, STANDING FOR UNITY
BY EUGENE TAPAHE
70”x47” archival pigment print
44 Black and White Photograph Collage
Celebrating the tenth anniversary of the Standing Rock Movement to protect the water and land in North Dakota, this collection of 44 photos was taken over four months in 2016 at the Standing Rock camps. It documents the love and unity of thousands of people from numerous ethnicities, tribes, and cultures who made a spiritual journey to stand together to protect the water and the land.
During this time, Tapahe published articles and posted photos of his experiences at camp. He was asked why he went to the Oceti Sakowin camp. “I came because the land called me. I was here in a dream long before it happened. As a Diné (Navajo), it was my responsibility to be here, to help our people, our ancestors, our water, and our land. It wasn’t just a thought; it was what is in my heart. The connection to the land and nature can't be explained. It's felt deep inside. It's sacred to all who feel it."
10 years ago, Tapahe spent months completing this project to raise awareness of this once-in-a-lifetime historical event. Tapahe said, “The spirit in the camp was peaceful. It felt as if our ancestors were standing with us in unity around the sacred fire–singing and dancing. I sang and prayed for peace and resolve during my nights there. This spiritual awakening will always be with me as I continue my creative journey to photograph and document the beauty of Mother Earth and our people. I will never forget this courageous stand for unity."
August 8, 2026
An extraordinary picture collection spanning 100 works by photographers including Diane Arbus, Dorothea Lange, Richard Avedon, Nan Goldin, and Edward Steichen will be on view at museums across the United States.
The American Federation of Arts (AFA) announces the launch of the new traveling exhibition Presence: The Photography Collection of Judy Glickman Lauder, featuring photographs by more than 50 photographers and artists.
Not that long ago, the press could root out corruption, topple presidents, and end wars. Now, even the biggest scoops have little impact. Here's how and why the media lost its mojo.
Our so-called free press can no longer do what it used to do. That’s because it presumes an audience that shares the same factual reality most of us see. And that audience, a national citizenry that shares the same set of facts, no longer exists.
Via Musée Magazine
Written by Georgina Laube
August 6, 2026
The United States is one of the most visually and culturally represented countries in the world, yet despite its constant representation, a lingering question remains: is the image of the country shaped more by what it is or by what it is imagined to be?
AMERICA THE BEAUTIFUL, which opened over Memorial Day weekend at Monroe Gallery in Santa Fe, New Mexico, and runs through August 9, directly engages with this question. The timing of the exhibition is particularly significant. Memorial Day is both the unofficial beginning of summer and a national holiday dedicated to commemorating those who died in service to the United States. Against this backdrop, the exhibition examines representations of the country while complicating what it means to be American.
Bringing together more than 45 photographs, the group exhibition explores the complexity of the United States, its identity, its shared culture, and what it means to be an American on an individual and collective scale as the nation approaches its 250th anniversary during one of the most politically and socially divisive periods in its history.
The works on view range from photographs of the Statue of Liberty and the vast American plains to images of protestors exercising their First Amendment rights, moments of conflict born from struggles for freedom and equality, and scenes of everyday life in both rural and urban communities throughout the years. Together, these photographs create an honest portrait of America, capturing both its beauty and its complexities while highlighting its constant evolution.
Among the exhibition's recurring symbols is the American flag. Historically, the flag has functioned as a symbol of the nation and its people, but its meanings have never been singular. For some, it represents hope, opportunity, and the promise of a better life. For others, it can signify dominance or fear. It has also long served as a symbol of collective unity, communicating the belief that the nation is stronger together than divided.
David Butow: A protester at Ferguson police headquarters two nights after the Grand Jury decision not to indict police officer Darren Wilson in the shooting death of Michael Brown, November 24, 2014 | Courtesy of artist and gallery ©.
From photographs of the flag being raised at Ground Zero following September 11 to images in which it appears during memorial services for fallen service members, the exhibition presents the flag across a variety of contexts. In doing so, AMERICA THE BEAUTIFUL encourages viewers to critically examine what the symbol communicates today and how its meaning continues to shift. The exhibition makes clear that the flag can simultaneously function as a symbol of freedom and a symbol of oppression, prompting viewers to consider what happens when a national symbol becomes contested and no longer universally embraced.
Musée Magazine is a dynamic, print and digital biennial, and interactive website dedicated to featuring works by emerging and established artists. Sometimes quirky, sometimes sensual, always unpredictable, Musée moves on the cutting edge as an unparalleled photo-based platform. Today, Musée finds itself at the vanguard of photography and film culture. We strive to empower promising artists as they navigate and launch future careers throughout the global photographic community, while commingling with industry influencers to provide relevant content for academics, students, and photography aficionados alike. Like a photographic library, Musée has a broad appeal, encompassing all genres from the photo-world’s beloved masters to the new, exciting, and unexpected.
August 6, 2026
Trish Brownlee is a U.S. citizen.
She is an Army veteran.
She is an artist and served as an arts teacher at Capitol Encore Academy, the charter school in downtown Fayetteville.
"She was the very first visual arts teacher," said Capitol Encore administrator Brian Adam Kline, who was an arts teacher when Brownlee was here, circa 2014. "And she pretty much founded how we do arts at Capitol."
Brownlee is also a photojournalist who has shot pictures for The Fayetteville Observer.
It was in her role as an independent photojournalist, reporting on an immigration enforcement action in New Jersey, that Brownlee ran afoul of officers with Immigration and Customs Enforcement.
August 3, 2026
Throughout U.S. history, horses have also played a role in Black and Indigenous political movements and land sovereignty projects.
In 2016 and 2017, the Standing Rock Sioux and their allies protested against the proposed Dakota Access Pipeline, which threatened their ancestral lands and water supplies. At the water protectors’ camp in North Dakota, horses were a common sight. Native protestors would patrol the camp on horseback to keep a lookout for law enforcement officers. At a standoff between protestors and security forces in November 2016, Democracy Now! journalist Amy Goodman interviewed a protestor who had brought their horses from Crow Creek, South Dakota. “We protected our water, and we did a good job at doing it,” the protestor told Goodman after the crowd refused to back down from pepper spray and attack dogs. In Ryan Vizzions’ iconic photo “Defend the Sacred,” a Standing Rock protestor on horseback faces a row of police officers and armored vehicles. While the rider is alone with their horse, this image is a far cry from the lone cowboy in the ICE recruitment ad. They face the police officers while knowing that entire communities are supporting them. Here, the horse and rider are not symbols of brash individualism or allegiance to a flag, but part of vast, multispecies networks that are fighting for the survival of current and future generations. The Standing Rock rider and their horse are part of a collective movement, an intergenerational struggle for the wellbeing of land, water, and people.
