Inside NPPA’s fight for the future of photojournalism

 Via Editor and Publisher

November 1, 2025

For decades, visual journalism has been at the heart of storytelling — shaping how audiences understand, connect with, and remember the world around them. Yet as newsroom budgets tighten, the visual side of journalism has become one of the first casualties. The National Press Photographers Association (NPPA) is trying to change that. --Click for full article

How two photojournalists are dealing with the trauma of documenting immigrant detentions at Federal Plaza

 Via AM New York

October 28, 2025

ICE in courts: How two photojournalists are dealing with the trauma of documenting immigrant detentions at Federal Plaza

Almost every day for five months, photojournalists David Dee Delgado and Carol Guzy have entered 26 Federal Plaza with cameras in hand, ready to capture what many are calling one of the most startling stories of this century: ICE detainments inside the immigration court.

Guzy, 69, and Delgado, 49, have walked the hallways of 26 Federal Plaza, working alongside amNewYork and other outlets to document masked federal agents arresting immigrants who attended legally mandated court hearings. With Delgado on assignment for Reuters, a photo agency, and Guzy performing a long-term photo project, both shutterbugs knew that the proliferation and escalation of President Trump’s immigration enforcement crackdown was going to be a vital story to tell. - click for full article

"Guzy, a multi-time Pulitzer Prize winner, has covered war zones, the toll of gun violence, and much more, yet says covering ICE arrests has affected her unlike anything else in her long career."

"I know down the line, I’m pretty sure this is gonna come out in some type of f**ked up way. I’m probably gonna need therapy, but, yeah, but at this moment, you know, I just go through the motions,” Delgado said."

"The loss to history from the purging of photo morgues is unquantifiable”

Via Columbia Journalism Review

October 28, 2025 

Who’s Going to Save Local Newspaper Archives?

Archivists worry in particular about photographs that have never been digitized

"Frank LoMonte, a University of Georgia law professor who has studied the loss of photo archives from local newspapers, estimates that only a small minority of papers have the financial resources and foresight to proactively safeguard their archives. LoMonte especially worries about unpublished photographs, because they provide an unfiltered perspective on what life was like—and offer a window into how editors at the time chose to portray major news events, and what they chose not to include. “The loss to history from the purging of photo morgues is unquantifiable,” he said. " - click for full article

Work In Progress Podcast Conversations With Creators Features Ed Kashi

 Via Work In Progress 

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.

WORK IN PROGRESS: Conversations with Creators | Podcast on Spotify

WORK IN PROGRESS: Conversations with Creators Podcast on Apple

View the exhibition Ed Kashi A Period In Time here

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)

 Via MOCA

Sanjay Suchak

The seated statue of Matthew Fontaine Maury from behind 

MONUMENTS

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: "The year’s most audacious and contentious new show brings out — after years of wrangling, and with heightened security — nearly a dozen Confederate memorials removed from view in the last decade."

NY Times: Kara Walker Deconstructs a Statue, and a Myth

As part of the group exhibition “Monuments,” the artist took a Stonewall Jackson bronze and transformed it into a radically new, unsettled thing.

The Guardian: Breathtaking, unsettling, healing: how US artist Kara Walker transformed a Confederate monument; The sweeping exhibition Monuments, which features 19 contemporary artists, opens in LA on 23 October

Sanjay Suchak

A worker stands with downed statue of Stonewall Jackson

Photojournalist Ed Kashi on his career-spanning exhibition at Monroe Gallery

 Via The Albuquerque Journal

October 19, 2025

Ed Kashi

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

By Logan Beitman

Even people who don’t know Ed Kashi’s name are often familiar with his photographs. Over the course of his nearly 50-year career, the award-winning photojournalist has created memorable long-form photo-essays for National Geographic, and his work has been published in Time, Newsweek and The New York Times. The World Photography Organisation has called him “one of the leading and most innovative photojournalists of our time.”

Kashi’s current, career-spanning exhibition at Monroe Gallery of Photography in Santa Fe, “Ed Kashi: A Period in Time,” is also the title of his most recent book. The exhibition runs through Nov. 16.

Known for documenting some of the world’s most challenging social and geopolitical issues, Kashi’s subjects have ranged from Protestants in Northern Ireland during the time of the Troubles to oil workers in the Niger Delta to America’s rapidly aging population.

Ed Kashi

A worker subcontracted by Shell Oil Company cleans up an oil spill from a well owned by Shell that had been left abandoned for over 25 years, 2004

“One of the many reasons that I feel so fortunate that I’ve been able to have a long career in this field is that I get to really go deep with issues and subjects that I come to truly care about and that I think that are important,” Kashi said.

One thing that sets Kashi apart from more events-driven news photographers is the length of time he spends with his subjects. He often embeds himself with the groups he’s documenting for months on end, returning year after year for decades-long projects.

“I often say I’m as much of an anthropologist as I am a journalist,” Kashi said. “While many of my projects have a journalistic edge, or they’re topical — like oil in Nigeria or Jewish settlers in the West Bank — I’m not a great news photographer, and frankly, I don’t like working in situations where there’s a lot of other media around. It always feels intrusive to me, and it makes me uncomfortable.

“I much prefer to work where my subjects, or collaborators, as I like to call them, are my own, and I’m able to develop a direct relationship,” he said.

One of Kashi’s longest-running photojournalism projects centered on the Kurdish diaspora. He began photographing the Kurds for National Geographic in 1991 — his first major project for the magazine — and kept returning to the subject for the next three decades.

“It was something I really cared about, and I was given this tremendous support that only National Geographic could give, where I went to eight countries — not only in the Middle East, but in the Kurdish diaspora in Germany and the U.K. — and I was really able to spend time to tell a very deep story about what was the largest ethnic group in the world without a nation of their own,” Kashi said. “The Kurds have the geopolitical misfortune of being in what is now Iran, Iraq, Turkey and Syria, mainly, so not the friendliest places for a minority group.”

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.”

Ed Kashi

A journey, made in 1999, to some of Peru's most outstanding natural and man-made sights. A cloudy view near Machu Picchu.

How we captured the photo of federal immigration agents pointing a crowd control weapon at a protester

 Via The Chicago Sun Times

October 18, 2025

"Our photographers will continue to document these stories and more as they unfold. We couldn’t be prouder of their work. Here are 18 more photos from the Sun-Times."

Ron Haviv Exhibition Featured At FOTOIST - International Photography Festival - Edition 3

Via Fotoist International Photography Festival

October 17, 2025 

Program – FOTOIST

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

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.

Anna Boyiazis Receives Highly Commended Recognition At 61st Wildlife Photographer Of The Year 2025

 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.

Jesse L. Douglas, Aide to King in Marches From Selma, Is Dead at 90

Via The New York Times

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.”

Steve Schapiro: The Rev. Jesse L. Douglas, second from right, joined an Alabama voting-rights march in 1965. With him were, from left, the Rev. Ralph D. Abernathy, James Forman, the Rev. Dr. Martin Luther King Jr. and John Lewis

"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."

Full obituary

Christie's Photographs Sale in New York Achieves World Auction Record Price For Gordon Parks American Gothic, Washington D.C., 1942

Via Christie's

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. 

Fragments in Time, a powerful two-person exhibition of work by renowned photojournalists Ashley Gilbertson and Franco Pagetti, opening this fall at Stanley. The exhibition is presented courtesy of Monroe Gallery of Photography.

 

Via Twenty Summers

Twenty Summers is proud to present Fragments in Time, a powerful two-person exhibition of work by renowned photojournalists Ashley Gilbertson and Franco Pagetti, opening this fall at Stanley. The exhibition is presented courtesy of Monroe Gallery of Photography.

First shown at Mad Rose Gallery in Millerton, NY, Fragments in Time brings together two distinct photographic voices in a tightly woven visual conversation that ranges in subject matter from the fashion world to the war torn lands, from refugee camps to New York during the pandemic. Though their assignments in conflict zones have taken them to different places—Iraq, Afghanistan, Syria, and beyond—Gilbertson’s and Pagetti’s work in this sphere overlaps in theme and sensibility, showing a deep concern for both soldiers’ and civilians’ experience of war, the emotional residue of violence, and the personal, often ambiguous role of the photographer as witness. War is not an event but a state that persists in bodies, landscapes, and memory.

At Stanley, these and other images—intimate, unflinching, and formally rigorous—are installed in close proximity, allowing the viewer to move between scenes of devastation, reflection, solitude, and survival.

Fragments in Time Opening Reception

Friday, October 10, 2025

7:00 PM  9:00 PM

Stanley

494 Commercial Street

Provincetown, MA, 02657

RSVP here

Fragments in Time | Ashley Gilbertson and Ben Brody in Conversation

Join us for an evening of conversation and reflection as photographers Ashley Gilbertson and Ben Brody explore the role of images in shaping memory, documenting conflict, and capturing fleeting moments in time. Presented as part of our new exhibition Fragments in Time, this event invites audiences into a dialogue on storytelling, truth, and the emotional weight of visual history.

RSVP here.

Saturday, October 11, 2025

6:00 PM  7:30 PM

Stanley

494 Commercial Street

Provincetown, MA, 02657

Cincinatti Art Museum: Recall. Reframe. Respond. The Art of Paul Scott With Images By Ryan Vizzions

 Via The Cincinatti Art Museum

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.

Posy Vase, No. 3, Broken Treaties & Leonard Peltier, 2025, Paul Scott (British, b. 1953), transfer print collage on pearlware posy vase with "Defend The Sacred" by Ryan Vizzions, 

 Courtesy of Paul Scott and Ferrin Contemporary, © 2025 Paul Scott

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.

Ed Kashi Discusses Three Of His Most Significant Photographs

 Via The Crit House

October 5, 2025

Ed Kashi is a renowned photojournalist, filmmaker, speaker and educator who has been making images and telling stories for 40 years. His restless creativity has continually placed him at the forefront of new approaches to visual storytelling. Dedicated to documenting the social and political issues that define our times, a sensitive eye and an intimate and compassionate relationship to his subjects are signatures of his intense and unsparing work. As a member of VII Photo, Kashi has been recognized for his complex imagery and its compelling rendering of the human condition.  "A Period In Time" is now on exhibit at Monroe Gallery of Photography

Lowrider images from 'New Mexican' photojournalist Gabriela Campos featured in Smithsonian exhibit

 Via The Santa Fe New Mexican

October 4, 2025

ALBUQUERQUE — Armed with a Sony camera, Gabriela Campos lowered herself to the sidewalk as the candy red ’59 Chevy Impala glided to a standstill on Central Avenue, embarking on a long run of hops and undulations with its hydraulic suspension pulling hard.

The cruise was on, and Campos was out chasing cars on Central again on a recent Sunday, shifting the lens for a shot in the day’s final light. Mesmerizing, chrome hypnotic and upholstery speckless, the vehicles rolled before the Kimo Theatre, cool and defiant street royalty, a Bel Air with an imitation fox tail swinging from the mirror in the urban desert wind.

Late last month was a major career moment for the New Mexican photographer, who has become known in recent years for her intimate photography of lowriders and the culture surrounding them. A collection of Campos’ lowrider work is now on display in Washington, D.C., at the Smithsonian National Museum of American History in an exhibit titled Corazón y vida: Lowriding Culture that opened Sept. 26 and will run through October of 2027.

That her images are featuring so prominently on a stage more or less unparalleled in photography and in the arts is a dream come true for Campos, who is Santa Fe born and raised.

The exhibit also carries the work of noted Chicano photographer Estevan Oriol and the actual bodies of two classic Chevy Impalas, “El Rey” and “Gypsy Rose.” The latter is often referred to as the most famous lowrider ever.

Campos is the lone New Mexican featured in the show.

Lowriders compete in a hopping competition during The Albuquerque Super Show in 2023.

Courtesy Gabriela Campos

Her photographs show people living their lives out loud with the portraits of their family members etched on their cars, much love for the scene in their hearts and Zia symbols and Virgin Mary tattoos abounding. They come into focus proud, resolute before the glittering skyline of no-nonsense Albuquerque.

“The joy for me comes from being on the corner of 7th and Central, surrounded by friends and chasing cars,” Campos said. “It’s about the people, the community, hearing the backstory of the cars, where they come from, how far they’ve come.”

Her five photographs in the exhibit include quintessential Norteño scenes. There is a cleansing elegance about the images, the cars dramatizing their surroundings anew. A red convertible cruises in the evening next to a chile stand with portraits of Jesus Christ just outside El Santuario de Chimayó. A silver whip with one wheel in the air wends its way past the Cathedral Basilica of Saint Francis of Assisi near the Santa Fe Plaza.

The project was years in the making. Curators for the show reached out to Campos about five years ago, wanting her photos to play a part.

“Walking into the show, I was sort of in disbelief that, after a five-year process, it was real,” said Campos, who recently returned from Washington, D.C. “... I’ve been shooting lowriders for years now, and it’s been such a journey.”

Campos graduated from Santa Fe High School and later attended the University of New Mexico. Campos has become a part of the street scene itself, a mainstay in the hopping pits and around the cruises. Riders pull up to a traffic light on Central, already posing on Campos’ approach.

For Campos, the people are as inspiring as the candy-colored vehicles they pilot. A focus for her has always been female lowriders, depicted in two of her photographs that will be in the Smithsonian’s permanent collection.

An Impala slowly makes its way past the Cathedral Basilica of St. Francis of Assisi following a Santa Fe lowrider day in 2023

Courtesy Gabriela Campos

“It’s really empowering to see women behind the wheel — working on upholstery, working on pinstriping,” Campos said.

When she sees a car she does not recognize, Campos smiles, shakes her head and marvels at it as she wonders where it has come from — a Belen Impala that does not get out much? It’s enough to make her night.

Her dream car? A ’59 Chevrolet El Camino.

American photojournalist urges Kurds to honor past while embracing future

 Photojournalist Ed Kashi will be at the Gallery tomorrow, Friday, Oct. 3 for a book signing and conversation with Don Carleton, Executive Director of the Briscoe Center For American History.

Conversation begins at 5:30, book signing follows

Seating is limited RSVP essential

Exhibition continues through November 16, 2025

Via RUDAW

October 2, 2025

Watch video here

ERBIL, Kurdistan Region - An American photojournalist who has documented Kurdish struggles for more than three decades urged Kurds to honor their history while also embracing their cultural identity and future role in the world.

“It’s important to hold on and remember the past, but it’s so important to move forward… not to forget the past, but not to dwell on it,” Ed Kashi told Rudaw earlier this week. 

Kashi said that he first arrived in what is now Kurdistan Region in 1991 during the refugee crisis that followed the Kurdish uprising against Saddam Hussein, which was then brutally suppressed and led to a massive refugee crisis as over a million Kurds fled to the mountains along the Turkish and Iranian borders, fearing renewed genocide. In response, a US-led Coalition launched Operation Provide Comfort to deliver aid and enforce a No-Fly Zone, which led to a de facto safe haven where Kurds began to establish their own autonomous administration in 1992.

“I was with [Kurdistan Democratic Party President Masoud] Barzani and [late Patriotic Union of Kurdistan leader Jalal] Talabani in the mountains,” he recalled. “They were trying to figure out what to do… reclaiming their authority for good and bad, establishing political structures, economic structures, [and] trying to figure out how to reclaim this land.”

“There is so many reasons now for Kurdish people, especially in Iraq… [where] you actually have a chance to move forward, you know, to teach new generations about your amazing, glorious history and past, and to talk about good things that are happening,” Kashi said

Reflecting on the aftermath of the Anfal campaign in 1988, which killed an estimated 50,000 to 100,000 Kurds and destroyed more than 4,000 villages, he said, “I had never seen anything like that before: all the destroyed villages, towns and communities.”

Kashi, who spoke to Rudaw on the sidelines of the inaugural Kurdish Studies Forum at the American University of Iraq, Sulaimani (AUIS) on Saturday, echoed an AUIS graduate Lana Salim, who last week, during an episode of Rudaw’s Legel Ranj program, said Kurds should not only look back on tragedy but also celebrate their cultural and artistic contributions. “It is time for us as Kurds… to remind ourselves of the cultural and artistic essence we have, [and] act based on the premise that we should be a player in the world,” she said.

His 1994 book When the Borders Bleed: Struggle of the Kurd, which he published with the late British journalist Christopher Hitchens, had lasting resonance. 

“A Kurd I met in Europe told me that book taught them about their history,” Kashi said. “One of the beautiful things about doing something for so long is when you meet people and realize your work had an impact on their lives.”

“I truly believe if we can change one mind, that is when change begins,” the photojournalist said. “If you can change one young person to maybe become a historian or a Kurdish scholar or a journalist to tell the stories of their own people, that is a beautiful thing.”

Friday, Oct. 3: Gallery Conversation and Book Signing With Ed Kashi

Ed Kashi: A journey, made in 1999, to some of Peru's most outstanding natural and man-made sights. 

A cloudy view near Machu Picchu.

A new exhibition celebrates Ed Kashi's most recent book, A Period in Time: Looking Back while Moving Forward: 1977–2022, a stunning and expansive retrospective of photographs spanning the world and his prolific career. One of the world's most celebrated photojournalists and filmmakers, Ed Kashi has dedicated the past 45 years to documenting the social and geopolitical issues that define our era.

Book signing and conversation with Ed Kashi and Don Carleton, Executive Director of the Briscoe Center For American History

Friday, October 3 5 p.m. to 7 p.m.

Conversation begins at 5:30, book signing follows

Seating is limited RSVP essential

Exhibition continues through November 16, 2025



"When I first fell in love with photography, I had a deep desire to tell stories that could have an impact on both individuals and the greater good. I wanted to produce stories that would contribute to positive change in the world. But what’s truly captivating about being a visual storyteller is the privilege to learn about the world and observe individuals who are doing inspiring acts or living through traumatic and trying times."— Ed Kashi

Lowrider exhibit at Smithsonian Museum will feature work from Gabriela Campos

 

A lowrider image by photographer Gabriela Campos, featured in the exhibition.

On Friday, Sept. 26, the Smithsonian National Museum of American History in Washington D.C. will open the exhibition Corazón y vida, honoring more than 80 years of lowriding culture.

Gallery photographer Gabriela Campos is a native Santa Fean and staff photojournalist for her hometown paper, The New Mexican, as well as top-tier publications around the world.  Campos will have some of her work featured in the exhibit, “Corazón y Vida: Lowriding Culture,” opening Sept. 26, 2025, in the National Museum of American History in Washington, D.C.

Spanning 80 years of history, “Corazón y Vida” showcases lowriding as a Mexican American and Chicano art form, rooted in community, identity and creativity.

Campos is a native Santa Fean who works for her hometown paper, The New Mexican, as well as top-tier publications around the world. Gabriela Campos has photographed pretty much everything: ride-alongs with the border patrol for The New Mexican, the removal of conquistador statues for The Guardian, Oaxaca teacher riots and Mayan healing rituals for Al Jazeera, and the first indigenous Comic Con for VICE. 

Five years ago, she did a profile on New Mexican lowriders for VICE, and fell in love with the people, their cars, the whole culture. She describes what obsesses her about what she calls “a project I’ll be doing the rest of my life:”

Campos rode in the New Mexico scene for years, getting to know the unabashedly proud drivers whose vehicles are a personal expression of life in the streetlight glare in New Mexican towns like Burque, Spaña and Chimayó. Her long familiarity with the culture enables her to capture the celebratory atmosphere and shared love of pageantry

KQED: Lowriders Cruise Onto the National Stage In Smithsonian Exhibition

Beyond Extraction: Nina Berman

 Via The SNF Rendez-Vous de l’Institut 

October 2, 2025

Beyond Extraction

Nina Berman

SNF RENDEZ-VOUS

7 p.m.

Reid Hall | 4, rue de Chevreuse, 75006 Paris

Free, registration required

Beyond Extraction: Climate Futures and a Photography of Ecology

Proof of registration, via a QR code on your phone or on paper, will be required to enter Reid Hall. Entry will be refused to those who are not registered.


Please note that access will not be permitted 15 minutes after the start of the event.


This event will be held in English.

To be notified of upcoming Institute for Ideas and Imagination events, we invite you to sign up for our monthly newsletter.

Nina Berman will present work on communities trapped amid extractive violence as a launching point for a larger discussion about trends in both journalism and photography and the importance of centering radical climate futures as a topic of inquiry.

Nina Berman is a documentary photographer, filmmaker, journalist, and professor at Columbia University’s Graduate School of Journalism. Her work looks at war, militarism, trauma, and environmental justice. She is a 2025 Guggenheim fellow, the author of three books, and is represented in numerous public collections including the Bibliothèque Nationale de France and the Smithsonian.

The Rendez-Vous de l’Institut Series is generously supported by the Stavros Niarchos Foundation.

What the Photoshop Panic Should Have Taught Us About AI

 Via The Nation

...In that span of time, we have seen a technological revolution: the rise of smartphones, social media platforms, self-driving cars, drones, VR headsets, 3D printers, hoverboards (but not the kind we all actually wanted), and more. But what, shockingly, hasn’t seemed to change, is our visual literacy. Just as in 2004, the prospective voting public in 2024 was still duped by a picture roaming around the Web. How come we didn’t learn our lesson?... - full article here

Here and Now: Art heals: Through The Jingle Dress Project, Navajo artist honors missing and murdered women

 Via WBUR

September 16, 2025

Eugene Tapahe: Strength In Unity, Tetons National Park, the native land of the Shoshone, Bannock, Gros Ventre, and Nez Perce People, 2021

Listen here

Navajo artist and photographer Eugene Tapahe had a dream during the COVID-19 pandemic of women dancing in Yellowstone National Park in jingle dresses, traditional pow wow regalia. From that dream, he started The Jingle Dress Project, photographs of his daughters and two of their friends in various settings, as a gesture of healing and a way to bring attention to the issue of missing and murdered Indigenous women.

The exhibit is at the Monroe Gallery in Sante Fe, New Mexico, through September 28. Host Peter O'Dowd speaks with Tapahe and his daughter Dion Tapahe, who appears in the photographs.

This is a limited-edition image from the Art Heals: The Jingle Dress Project photo series. This image was captured at the Salt Flats in Utah, native land of the Goshute people. (Courtesy of Eugene Tapahe)

Trump Orders National Park to Remove Famed Photograph of Formerly Enslaved Man

 Via ArtNews

September 16, 2025

The Scourged Back, 1863

Photo Smith Collection/Gado/Getty Images

Following a threatened crackdown on what he his administration called “corrosive ideology” in American museums, Donald Trump has ordered a national park to remove a famous photograph of a formerly enslaved man baring his scarred back.

The Washington Post, which first reported the news on Monday night, did not specify which park would be impacted by the removal of the photograph and cited anonymous sources. But the article said it was one of “multiple” parks impacted by the orders, which target “signs and exhibits related to slavery at multiple national parks,” per the article.

Taken in 1863, the photograph shows a man who may have been named Peter who escaped a plantation in Louisiana and was subsequently examined by doctors who discovered the web of scars on his back that resulted from repeated, brutal whipping. The image was reprinted widely at the time as proof of the horrors of enslavement that some Americans could not personally witness firsthand. Informally, the picture is known as The Scourged Back.

It remains a key image of its era. Artist Arthur Jafa, for example, has included versions of it in recent installations. The National Portrait Gallery, the National Museum of African American History and Culture, the National Gallery of Art, and many other museum own prints of it.

According to the Washington Post, Trump’s order called for the removal of information and signage at the Harpers Ferry National Historic Park in West Virginia. The President’s House Site in Philadelphia may also be impacted, staffers told the Post.

In March, in an executive order that targeted Smithsonian-run museums, Trump singled out Independence National Historical Park, whose displays, he claimed, put forward the notion that “America is purportedly racist.”

A Parks Service spokesperson confirmed to the Post that exhibits under the organization’s aegis were under review, saying, “Interpretive materials that disproportionately emphasize negative aspects of U.S. history or historical figures, without acknowledging broader context or national progress, can unintentionally distort understanding rather than enrich it.”

It is not the first time Trump’s administration has gone after displays related to enslavement. In August, Trump claimed that the Smithsonian’s museums emphasize “how bad Slavery was,” a further sign that they were “OUT OF CONTROL.”

Federal judge hands press groups wins in lawsuits against LAPD, DHS: "The First Amendment demands better”

Via USA Today

September 15, 2025 

A federal judge handed press and civil liberties groups wins in two separate cases against the Los Angeles Police Department and Department of Homeland Security Secretary Kristi Noem over the treatment of journalists covering immigration raid protests.

U.S. District Judge Hernan D. Vera's preliminary injunctions bar, among other actions, the police department from arresting journalists for failing to disperse or otherwise interfering with journalists' ability to cover Los Angeles protests. The Department of Homeland Security's officers are also barred from "dispersing, threatening or assaulting" journalists who haven't "committed a crime unrelated to failing to obey a dispersal order." --click to read full article

"There's an old line in policing: We can do this the easy way, or we can do this the hard way,” Adam Rose, press rights chair of the Los Angeles Press Club, said in a news release following the rulings. “Press organizations have been trying to help LAPD for years take the easy way, just asking them to train officers and discipline offenders. They wouldn't stop resisting. LAPD failed to police themselves. Now a judge is doing it for them."

Panel Discussion With Nina Berman: The Personal and Collaborative: Women Photographers on Relationship–Focused Modes of Representation

 Via Ballarat International Foto Biennale

September 9, 2025

Panel Discussion: The Personal and Collaborative: Women Photographers on Relationship–Focused Modes of Representation

Nina Berman and Raphaella Rosella in conversation with Fiona Morris and Gemma Turnbull

Online Event - Book here

Contemporary documentary photographers and photomedia artists seek to address issues of representation and testimony by utilising new storytelling approaches, including nonlinear narratives, repurposing archival footage and collaborative practices. There has been a move from photographers recording ‘the other’ to working with non-artist individuals to share their own lived experiences. This turn towards the personal and collaborative has been led by women, rejecting the selective history which has been represented by the dominantly white, male, heteronormative gaze of the documentary mode. The work still questions and highlights social issues, including gender, representation and displacement, but from personal perspectives.

This online panel exploring the ethics, benefits and challenges of a collaborative documentary approach will focus on two women photographers: American documentary photographer Nina Berman’s whose work An Autobiography of Miss Wish (2017) is the product of a 25–year exchange between her and friend and collaborator Kimberly Stevens and Australian artist Raphaela Rosella who has spent decades co-creating photo-based projects alongside significant women in her life––low socio-economic communities with limited access to adequate support and opportunities. It will be led by Dr Gemma Turnbull and Fiona Morris, both Australian photographers and academics.

Participants will be emailed a Zoom link prior to the panel.

Please note: parental guidance may be needed for participants under the age of 18.

About the Panel

Nina Berman is a documentary photographer, filmmaker, journalist and educator.  Her work explores American politics, militarism, environmental issues and post violence trauma.  She is the author of Purple Hearts – Back from Iraq, (Trolley, 2004) portraits and interviews with wounded American veterans, Homeland, (Trolley, 2008) an examination of the militarization of American life post September 11, and An autobiography of Miss Wish (Kehrer, 2017) a story told with a survivor of sexual violence which was shortlisted for both the Aperture and Arles book prizes. Her work has been exhibited at more than 100 international venues from the Whitney Museum Biennial to the concrete security walls at the Za’atari refugee camp. Public collections include the Smithsonian National Museum of American History, the Museum of Fine Arts, Houston, the Museum of the City of New York, the Harvard Art Museums and the Bibliothèque nationale de France among others. She has participated in workshops around the world for young photographers and writes frequently on photojournalism for the Columbia Journalism Review. She is a professor at Columbia University’s Graduate School of Journalism in New York City.

Fiona Morris is an Associate Lecturer in Visual Arts and Photography at the University of Wollongong where she is also a PhD candidate. Her photographic practice and research explore representation and personal narratives in the expanding field of documentary photography. With over 15 years of experience, Fiona has worked extensively across media and non-governmental organisations, including as a photographer for Fairfax Media, Getty Images, Greenpeace Australia, and Médecins Sans Frontières (MSF). Her work has been exhibited in galleries and festivals both nationally and internationally, with shows in the United States, France, Lithuania, and Hong Kong.

Raphaela (Rosie) Rosella is an Italian Australian artist from Nimbin – an over-policed, low socio-economic community in New South Wales. For over fifteen years, she has worked at the intersection of socially engaged art and documentary practice, co-creating lens-based works alongside her sisters, friends, and family – women directly impacted by the Prison Industrial Complex (PIC). Together, they have built a co-created archive spanning photography, moving image, audio, and the collection of ephemera and state-issued documents, to resist bureaucratic representations of their lived experiences. Beyond the gallery, their work plays a critical role in legal and personal spaces – appearing in family albums, memorials, custody disputes, and courtrooms. It has supported successful bail and parole applications and contributed to reduced custodial sentences. Rosella holds a PhD from RMIT’s School of Art (2025). From an abolition feminist standpoint, her research offers a relational framework for decarcerating archives within long-form and collaborative documentary photography projects.

Gemma Turnbull is an Australian artist, researcher, and educator whose work exposes and challenges the historical weaponisation of photography against marginalised communities. She positions collaborative practice as a reparative approach to documentary storytelling, focusing on amplifying images made by and with people typically excluded from mainstream art spaces.

George Eastman Museum acquires prints by Mark Peterson and Bing Guan

 September 8, 2025

The George Eastman Museum has acquired prints by Mark Peterson and Bing Guan for their permanent collection.

Mark Peterson: Waiting for election results at a Trump watch party at the Palm Beach Convention Center, November, 2024

Bing Guan: New York Police officers in riot gear enter Hamilton Hall at Columbia University, New York, April 30, 2024

Mark Peterson is a photographer based in New York City. His work has been published in the New York Times Magazine, New York Magazine, The New Yorker, Time, Fortune, National Geographic, Geo Magazine and other national and international publications. In 2018 he was awarded the W. Eugene Smith grant for his work on White Nationalism. This photograph was published in The New York Times and selected as one of the "photos that defined 2024."

Bing Guan 管秉宸  is a Chinese American  photographer and journalist. He is based between New York City and Southern California. He is currently an adjunct professor of photography at the Columbia Graduate School of Journalism. Bing is a regular contributor to Reuters, Bloomberg, and The New York Times. 

The George Eastman Museum is located in Rochester, New York, on the estate of George Eastman, the pioneer of popular photography and motion picture film. Founded in 1947 as an independent nonprofit institution, it is the world’s oldest photography museum and one of the oldest film archives. The museum holds unparalleled collections—encompassing several million objects—in the fields of photography, cinema, and photographic and cinematographic technology, and photographically illustrated books. The institution is also a longtime leader in film preservation and photographic conservation.

"Throughout its history, our institution has collected and exhibited photographs and films that address timely and timeless topics."

In an era dominated by misinformation and digital manipulation, photojournalism plays a vital role in restoring trust and authenticity in media. Verified images serve as undeniable evidence of events, countering false narratives and providing clarity in a world overwhelmed by conflicting information. This power makes photojournalism an indispensable tool in the fight against fake news.

Watch Refractions: A Conversation with Sidney S. Monroe and Michelle A. Monroe

 Via B&H Photo Refractions

September 4, 2025

About Stephen Mallon

Stephen Mallon is a photographer and filmmaker who specializes in the industrial-scale creations of mankind at unusual moments of their life cycles. 

Mallon’s work blurs the line between documentary and fine art, revealing the industrial landscape to be unnatural, desolate and functional yet simultaneously also human, surprising and inspiring. It has been featured in publications and by broadcasters including Smithsonian Magazine, The New York Times, National Geographic, NBC, The Wall Street Journal, The Daily Mail, MSNBC, PBS, GQ, CBS, the London Times and Vanity Fair. Mallon has exhibited in cities including Miami, Los Angeles, Philadelphia, St. Louis and New York, as well as in England and Italy. 

Stephen’s project following the MTA’a artificial reef project where over 2000 subway cars were placed in the Atlantic was shown at The New York Transit Museum’s Grand Central Terminal Gallery. Over 60,000 people experienced the exhibition and was featured by Gothamist, Artnet, Yahoo, Fox News, and numerous other outlets. 

As David Schonauer wrote in Pro Photo Daily, “Mallon’s word harkens back to the heroic industrial landscapes of Margaret Bourke-White and Charles Sheeler, who glorified American steel and found art in its industrial muscle and smoke during the Great Depression.” He has also been compared to photographers including Edward Burtynsky, Thomas Struth and Chris Jordan. 

Mallon served as a board member of the New York chapter of the American Society of Media Photographers from 2002 until 2020 and served as president from 2006 to 2009. He is represented by Front Room Gallery in New York.

Eugene Tapahe Art Heals: The Jingle Dress Project Exhibit Extended

 

Drawing thousands of attendees and counting, the important exhibition by artist Eugene Tapahe titled Art Heals: The Jingle Dress Project has been extended through September 28, 2025. 

Word of mouth and the recent article in Pasatiempo: Standing On Ceremony. has sparked tremendous enthusiasm, with many guests making repeated visits and an overwhelming number of requests to extend the exhibit for school groups and those who have not yet seen the exhibit.

The public response to the exhibition has been overwhelming, with viewers visibly moved by the powerful photographs that have raised awareness of many Native American issues, such as land acknowledgment, women’s rights, and, most importantly, the epidemic of Missing and Murdered Indigenous Women (MMIW). 

View the exhibit on-line here.

Read the article in Hot Mirror: "Eugene Tapahe's photographs from his Art Heals project commanded attention—not merely for their striking colors juxtaposed against nature's beauty, but for the profound story they tell."




 

Lowrider Culture in the United States Exhibit Features Photographs By Gabriela Campos

 Via Smithsonian

 La Raza Park, 1980, photo Lou DeMatteis/Española, New Mexico, 2017, photo Gabriela E. Campos/Newark, Cal., 2020, photo Amanda Lopez*

Corazón y vida : Lowriding Culture is appearing at The Smithsonian Museum of American History opening September 26, 2025

MUZEO Museum and Cultural Center , Anaheim, California - 9/13/2025 - 12/14/2025


Lowriding is a quintessential Latino/a tradition started by Mexican American communities in the 1940s to assert their space and empower their lives. This unique car-making tradition is infused with Latino/a soul, entrepreneurship, and ingenuity. A mix of innovation and tradition, lowriding is an affirmation of identity and values that have reached beyond the United States to influence popular culture worldwide.

Lowrider Culture in the United States / Cultura Lowrider en los Estados Unidos is a new exhibition from the Smithsonian that will highlight a diverse selection of vibrant photographs and prints depicting lowrider culture and iconography while documenting its styles in the United States.

This traveling exhibition is based on research from the Smithsonian and will include objects from lowriding art and trade. Audiences will encounter a multifaceted picture of the American experience by learning about the Latino/a community identity through the lens of lowriding and its rich stories of creativity, family, and tradition. Lowrider Culture will examine the history of the post-World War II Mexican American community and the cultural expressions of lowriding through technology, innovation, and style.

A lowrider image by photographer Gabriela Campos, featured in the exhibition

Holy Thursday Visit to Santuario De Chimayo, Chimayo, New Mexico, 2022

Photo by Gabriela Campos

Lowrider Culture in the United States / Cultura Lowrider en los Estados Unidos will launch in 2025 and tour through 2028. Venues and dates here.




ArtDaily: Lowrider exhibitions set to cruise into the Smithsonian

Lowrider exhibitions set to cruise into the Smithsonian

Lowrider Culture in the United States / Cultura Lowrider en los Estados Unidos