Sunday, October 31, 2021

Gallery Photographer Gabriela Campos Receives 2 New Mexico Press Awards

October 31, 2021

Via The Santa Fe New Mexican

 The New Mexico Press Association recognized the best of New Mexico’s newspaper writing, photography and advertising at the Better Newspaper Contest Banquet on Saturday.

The Santa Fe New Mexican captured 24 first-place honors and 18 second-place finishes and was the winner of the General Excellence award Saturday night in the New Mexico Press Association’s Better Newspaper Contest.

The contest honors work in all aspects of a news platform, including website and advertising content. The New Mexican competes in the largest category, daily newspapers with a circulation above 11,000. Journalists from throughout the state received their awards at a banquet Saturday night at Santa Fe’s Eldorado Hotel.

“In one of the most difficult years ever faced by newspapers, I’m so proud of the work our staff produced,” said New Mexican Publisher Tom Cross. “The General Excellence award is the mark of effort, dedication and talent across our entire newsroom and with our advertising staff. We’re proud of every member of our team.”

Photo Series: First Place, Gabriela Campos

Online Photo Gallery: First Place, Gabriela Campos

Tuesday, October 19, 2021

A Nation of Neglect: 'Devour The Land' Special Exhibition


Via The Harvard Crimson

By Ebubechi J. Nwaubani, Contributing Writer

October 19, 2021

On Sept. 17, The Harvard Art Museum opened its doors to the new “Devour the Land” photography exhibition. The showing is divided into three rooms and travels through the ramifications of nuclear war, environmental poisoning, and urbanization in six parts titled: “Arming America” Part 1 and Part 2, “Slow Violence,” “Regeneration,” “Other Battlefields,” and “Resistance.”

According to curator Makeda Best, “Devour the Land” originates from General William Tecumseh Sherman’s description of a devastated and desolate land following the Union Army’s “scorched earth” policy during the Civil War. Images captured by photographer George Barnard, who accompanied General Sherman on this campaign, depicted “destruction with a certain beauty,” according to Best. This tragic beauty is a thread throughout the three rooms — and a sentiment shared by attendees.

“It’s quite deep, and unfortunately, sad, but there’s also a beauty,” said security guard Patricia A. Daly while standing in front of a series of photos by influential photographer Richard Misrach. In the center of a sun bleached landscape stands a yellow school bus ravaged by nuclear weapons and rot; the photograph is labeled “School Bus Target.”

Disparities within the artwork scenes were picked up by other onlookers as well. Visitor Michael E. Halwes said “The pieces that have really contrasted the war on terror aspects of the Gulf War were pretty compelling and then also the ones where you get a good juxtaposition of the industrial masking [of] the audience's view of the nature behind it.”

This contrast is most prominent in Frederica Armstrong’s photo series “In Plain Site.” Armstrong captures suburban areas of Silicon Valley in her series, areas which have an aura of the mundane: and parking lot, a street corner at sunset. Below each image is the corresponding EPA classification number that identifies it as a superfund site. “The National Priorities List creates lists of sites that are so toxic as to need a superfund [which is] a fusion of federal dollars to clean up and kind of get it under control,” says Best, waving finger quotations in the air around the words “clean up.” Below two images read “Site ready for use: No.”

In a glass box in the center of one of the rooms of the exhibit lies a card titled “Nuclear Mail” with the date August, 1982 in the top left corner. The card reads: “WASHINGTON, D.C. — U.S. Postal Service officials revealed plans to assure mail delivery in the event of nuclear war. … Should Washington D.C. be destroyed, the national postal service will be run from Memphis, Tenn. If Memphis is also devastated, San Bruno Calif. will take over.” Best touches on these effects, saying that “the military is the number one polluter in the country.” Best spoke to the exhaustion of resources done by the scorched earth policy. “We’re still doing that, we’re using up our land, but we’re only poisoning ourselves. We’re only destroying ourselves this time.”

The exhibit stands out from most atomic photography presentations in that it addresses the long term effects of this war on land. Best credits “Slow Violence and the Environmentalism of the Poor” by Rob Nixon as her inspiration for the third section of the exhibit “Slow Violence.” Best says the book makes “recognition of violence as attritional versus spectacular.” A series of photographs depict an area in Louisiana known as Cancer Alley, which has one of the largest concentrations of petrochemical plants and refineries in the nation. Most citizens of the area are descendants of slaves. Best addresses the question of geographical racism thoroughly throughout the exhibit. One frame depicts the bright lights of a penitentiary — whose prisoners are disproportionately black — against a pitch black sky. In response, Best says “Many prisons in the country are superfund sites, so what does that mean?”

This exhibition, as much great art does, asks the question: “What’s next?” Attendee Micheal E. Hawles admits that he feels pessimism about the future but says, “People have a responsibility to bear witness to what’s going on in the world around them. … There’s always the chance that someone is going to be exposed to new information and I think it's just about the constant drumming of building public sentiment against these sorts of practices that, ideally, get reflected in policy changes.”

Attendee Ashley M. Kelley was also emotionally impacted by the exhibit. “It's important to take note, [that] even though you aren’t able to see what’s around you, and if you’re privileged enough, know that this is still going on and health hazards have large effects on families and generations,” says Kelley.

It’s clear that the issue of nuclear warfare is not a linear one, but one with many starting points and stories that run parallel to each other throughout history. This exhibition stands as a testament to these parallel stories and, hopefully, points towards an end to such damaging practices.

Monroe Gallery photographers Nina Berman and Ashley Gilbertson are contributors to this exhibition.

Tuesday, October 12, 2021

Anna Boyiazis: Global Peace Photo Award Exhibition

 Via Willy-Brandt-Haus

© Anna Boyiazis color photograph of young women learning to swim in  Indian Ocean off of Muyuni, Zanzibar

© Anna Boyiazis, Global Peace Photo Award

Fr., 01. Oktober 2021 12:00 Uhr bis So., 24. Oktober 2021 18:00 Uhr


The Global Peace Photo Award recognizes and promotes photographers from all over the world whose images capture the human quest for a peaceful world and the search for the beautiful and good in our lives. The prize goes to those photographs that best express the idea that our future lies in peaceful coexistence. 

Ausstellung im Willy-Brandt-Haus | 1. Oktober - 24. Oktober 2021 | Öffnungszeiten: Dienstag - Sonntag 12:00 - 20:00 Uhr

Zutritt nur mit Zeitfensterticket, keine Tageskasse vor Ort.

Kostenlose Online-Tickets ab sofort HIER

Der Global Peace Photo Award würdigt und fördert Fotograf:innen aus aller Welt, deren Bilder das menschliche Streben nach einer friedlichen Welt und die Suche nach dem Schönen und Guten in unserem Leben festhalten. Der Preis geht an jene Fotografien, die am besten die Idee zum Ausdruck bringen, dass unsere Zukunft im friedlichen Miteinander liegt.  

Die 25-köpfige Jury des Global Peace Photo Award kürt seit 2013 die besten Friedensbilder. Den Vorsitz 2020 hatte der französische Fotograf Pascal Maitre, 2021 wurde die Jury vom UNESCO-Diplomaten Eric Falt geleitet. Das Peace Image of the Year 2020 heißt „Love Story“ und kommt aus der Hand des iranischen Fotografen Sasan Moayyedi: Nachdem der damals 15-jährige Salah Saeedpour 2001 in der iranisch-kurdischen Provinz Marivan nahe der Grenze zum Irak auf eine Landmine trat, verlor er mehrere Körperteile. Trotzdem trainierte er unerschöpflich und wurde schließlich mit zahlreichen Medaillen im Schwimmen ausgezeichnet. 2014 heiratete er die Liebe seines Lebens. 

Das Children Peace Image of the Year 2020 ist das Foto “Flight of the Soul” und wurde von der 14-jährigen Anastasiya Bolshakova aufgenommen. Die junge Russin hat eine Liebeserklärung an den Sommer fotografiert. An die Zeit, in der - wovon sie überzeugt ist - „alles lebt“ und „die Natur aus voller Brust atmet“.  

Die Gewinner:innen des Contests 2021 werden am 21. September gekürt.  

View Anna Boyiazis' Finding Freedom in the Water fine art print collection here.




Thursday, October 7, 2021

Visualizing the scale of loss to Covid-19


October 5, 2021

National Geographic reporter Stephen Wilkes describes his photographic attempt to capture the loss caused of life during the Covid-19 pandemic

Tuesday, October 5, 2021

‘It is becoming unbearable:’ Journalists say they have become ‘scapegoats’ at anti-vaccine protests

 Via Committee to Protect Journalists

October 4, 2021

Journalists covering demonstrations against COVID-19 countermeasures have been called “terrorists,” “pedophiles,” “murderers,” and “scumbags.” Protesters have harassed and assaulted members of the press, and told them that “the nooses are ready.”

Threats like these have become increasingly familiar for reporters in Europe and the United States, where the U.S. Press Freedom Tracker, a CPJ partner, has recorded threats and assaults against reporters in cities including Los Angeles and Portland, Oregon

Full report here - “Being a journalist has always meant a certain level of risk,” Ambrožič said, “but the level of anxiety and stress due to the threats have increased enormously and it is becoming unbearable. It is a very harsh world for journalists, right now.”

Monday, October 4, 2021

Artist Panel: Devour the Land: War and American Landscape Photography since 1970 with Ashley Gilbertson


Via Harvard Art Museums

Tuesday, October 5, 2021

4-5 PM Eastern

In this virtual panel discussion, curator Makeda Best will be in conversation with photographers Terry Evans, Ashley Gilbertson, and Will Wilson, each of whom has works in our latest special exhibition, Devour the Land: War and American Landscape Photography since 1970. The exhibition is on view at the Harvard Art Museums through January 16, 2022.

Devour the Land explores the unknown and often hidden consequences of militarism on habitats and well-being in the United States. Featuring approximately 160 photographs across 6 thematic groupings, the exhibition reveals the nationwide footprint of the U.S. military, the wide network of industries that support and supply its work, and the impacts of—and responses to—this activity.


Makeda Best, Richard L. Menschel Curator of Photography, Division of Modern and Contemporary Art, Harvard Art Museums
Terry Evans, Ashley Gilbertson, and Will Wilson, Photographers

This panel discussion will take place online via Zoom. The event is free and open to all, but registration is required. To register, please complete this online form.

Please read these instructions on how to join a meeting on Zoom. For general questions, email

Sunday, October 3, 2021

Devour the Land: An Introduction with Curator Makeda Best and commentary from photographers Nina Berman, Sharon Stewart, and Robert Del Tredici

Via Harvard Art Museums  

Curator Makeda Best, alongside commentary from photographers Nina Berman, Sharon Stewart, and Robert Del Tredici, provides a brief introduction to our new special exhibition, Devour the Land: War and American Landscape Photography since 1970. Featuring approximately 160 photographs from 60 artists, the exhibition invites you to explore the impacts of military activity on the American landscape—and how photography supports activism in response to these effects.

Make your reservation to visit the Harvard Art Museums today.

Saturday, October 2, 2021

Philip Cheung, Kris Graves, and Daniella Zalcman in conversation with National Geographic Executive Editor Debra Adams Simmons discuss their ongoing projects visualizing racist and discriminatory histories through a new lens.

 Via Photoville

Sunday October 3

4:00PM EST

Online Event

Register here

Who owns history? Whose monuments do we erect and whose do we erase? Whose stories are remembered? Join National Geographic photographers Philip Cheung, Kris Graves, and Daniella Zalcman, as well as National Geographic Executive Editor Debra Adams Simmons, as they discuss visualizing racist and discriminatory histories through a new lens.

Philip Cheung’s “The Central Pacific” is an ongoing documentary photography project exploring the history of Chinese migrant laborers employed at the Central Pacific Railroad between 1864-1869. He is continuing this work on assignment through a collaboration between National Geographic and For Freedoms.

Kris Graves’ story and exhibit, “Monuments”, examines passive relics of America’s racist past in the Confederacy, the dynamic changing of these landscapes, and who will be honored now.

Daniella Zalcman’s “Signs of Your Identity” project examines the forced assimilation education of Indigenous children in North America through multiple exposure portraits. She has continued that project through a grant by National Geographic Society and has documented the repatriation of recently-identified Indigenous child remains in the United States while on assignment for National Geographic.