PROJECTIONS 9/11 - 25 YEARS COMMEMORATION

 Via Projections

SAVE THE DATE: PROJECTIONS

9/11 - 25 YEARS COMMEMORATION

BEFORE HISTORY WAS WRITTEN, IT WAS PHOTOGRAPHED


September 6–11, 2026
Live Worldwide via Zoom • 7:00 p.m. EST

Twenty-five years after September 11, 2001, PROJECTIONS brings together 35+ photographers, editors, and visual journalists whose images documented the attacks and shaped how the world understood them.

Across six nights, photographers who covered the World Trade Center, the Pentagon, Shanksville, and the White House will share firsthand accounts of that extraordinary day and its aftermath.

Now the witnesses return to tell the stories behind the images that became history.

Among the confirmed presenters:

• Joel Meyerowitz • Peter Turnley • David Hume Kennerly • Steve McCurry • David Friend • MaryAnne Golon • Ruth Fremson • Jennifer S. Altman • Thomas Dallal • David Handschuh • Jim Lowney • Ron Haviv • Mark Edward Harris • Stan Honda • Mario Tama • Jose Jimenez-Tirado • Pete Souza • Rabbi Irwin Kula • Jeff Swensen • Robert Clark • Matthew McDermott • Gary Suson • Todd Maisel • Gulnara Samoilva • Lori Grinker • Thomas Franklin • Jason Florio • Lyle Owerko • Eric Draper • Spencer Platt • Shannon Stapleton • Phil Penman • Lauren Walsh • Susan Watts • Todd Maisel

The programs will be recorded and permanently archived by PROJECTIONS as an educational resource for future generations.

SAVE YOUR PLACE

Join us…

September 6–11, 2026

7:00 p.m. EST each evening

Live Worldwide via Zoom

Related Exhibit: 9/11 - In Remembrance

Stanley Forman and his Pulitzer Winning Photographs

 1976, Part 14: Stanley Forman … - The Georgia Politics Podcast - Apple Podcasts

Via Georgia Politics Podcast

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.

New Tapahe Exhibit Features Stunning Standing Rock Composite Photograph

 

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."

Eugene Tapahe: ART HEALS The Jingle Dress Project and Standing Rock Movement

August 13 - November 1, 2026

An extraordinary picture collection spanning 100 works will be on view at museums across the United States.

Via PetaPixel

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.

Monroe Gallery of Photograph contributed photographs to the collection, including the featured image of Martin Luther King Jr. in Selma, Alabama, 1965 by Steve Schapiro

Steve Schapiro (American, 1934– 2022) Martin Luther King Jr., Selma, Alabama, 1965 Gelatin silver print, 18 7/8 x 12 3/4 in. Portland Museum of Art, Maine. Promised Gift from the Judy Glickman Lauder Collection, 10.2010.8 © Steve Schapiro. Courtesy Monroe Gallery, Sante Fe, NM

“Photography connects us to history while reminding us that we are a part of its ongoing story. It has the power to tell authentic, compassionate stories about what it means to be human." --Judy  Glickman Lauder.

Presence: The Photography Collection of Judy Glickman Lauder will travel to the Southampton Arts Center (July 25–September 27), Sarasota Art Museum (October 18, 2026–April 4, 2027), the Gibbes Museum of Art in Charleston (May 28–August 29, 2027), and the Lowe Art Museum at the University of Miami (September 30, 2027–February 26, 2028).

Full article here.

Not that long ago, the press could root out corruption, topple presidents, and end wars. Now, even the biggest scoops have little impact.

 Via Craig Unger

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.

Full article here

America The Beautiful Review in Musée Magazine: "the exhibition examines representations of the country while complicating what it means to be American"

 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.

Ryan Vizzions: Protesters face off with police and the National Guard on February 1, 2017, near Cannon Ball, North Dakota. | Courtesy of artist and gallery ©.

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.

Ryan Vizzions: January 7th, 2026 - After the murder of Renee Good by a masked federal agent, a vigil was held in her honor. Upward of 10,000 Minnesotans showed up to pay their respects at the location she was killed | Courtesy of artist and gallery ©.

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.

Margaret Bourke-White/ ©Life Picture Collection

Statue of Liberty, New York Harbor, 1952 | Courtesy of artist and gallery 

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.

Nina Berman F**k the KKK, New Jersey, 1990 | Courtesy of the artist and gallery ©.

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. 

The detention of photojournalist Trish Brownlee, formerly of Capital Encore Academy in Fayetteville, raises questions about press freedom, transparency and accountability questions for ICE.

 Via The Fayetteville Observer

August 6, 2026

The detention of photojournalist Trish Brownlee, formerly of Capital Encore Academy in Fayetteville, raises questions about press freedom, transparency and accountability questions for ICE.

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.

The men with ICE — the lead agency in the Trump Administration's broad and indiscriminate mass deportation and detention efforts — did not care that she was doing her job. They found a reason to arrest her and detain her. She remained in detention 47 days before she was released from the Warren County Correctional Center in Belvedere, New Jersey, on July 27, according to U.S. Press Freedom Tracker, which documents press freedom violations in the U.S. --continue to full article

Beyond the Cowboy: Human-horse Solidarity Across Time

 

Via NPQ

August 3, 2026

“Defend the Sacred.” Standing Rock, Cannon Ball, North Dakota, 2016. Ryan Vizzions.

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.

Full article here

National park ranger quits, tours visitor centers to fight censorship

 Via SFGATE

July 31, 2026

Earlier this month, Melissa Dalley began striking up conversations with strangers about history. At the  Craig Thomas Discovery and Visitor Center in Grand Teton National Park, she called their attention to where a sign detailing a massacre of Native Americans once stood, and told them it was quietly removed this winter. Then she passed out flyers containing the missing information.

If Dalley seemed like a park ranger, it's because she used to be. But these days, she instead travels around to parks like Yellowstone, Grand Teton and Glacier as a visitor on a mission: She's committed to fighting censorship across the National Park Service by talking about what the Donald Trump administration has omitted.  -full article here

Preserving National Park stories before they’re lost

Our 433+ national parks are public land for all people and should reflect the fullness and complexity of the American experience – not a narrowed, partisan, or distorted version of it.

Eugene Tapahe: ART HEALS The Jingle Dress Project and Standing Rock Movement

 SPECIAL INDIAN MARKET EXHIBIT

Eugene Tapahe: ART HEALS

The Jingle Dress Project and Standing Rock Movement

Monroe Gallery of Photography is honored to announce a new exhibit and special reception on Thursday, August 13 from 5-7 pm during the renowned Santa Fe Indian Market weekend, the world’s largest and most prestigious Indigenous art market, now in its 104rd year.

Diné (Navajo) artist Eugene Tapahe will present an artist talk on the 10th anniversary of the Standing Rock movement for the opening of his new exhibition featuring photographs from the 2016 Standing Rock movement and his photography series titled Art Heals: The Jingle Dress Project. The exhibition continues through November 1, 2026. 

The unity and resilience of native ceremony, traditional storytelling, and the healing power of the jingle dress have connected these two historical events. Tapahe will share his insights and the dream which brought healing through his art.

Jingle Dress Dance, Standing Rock Camp (Highway 1806), ND, Native land of the Dakȟóta and Lakȟótiyapi people, 2016

Tapahe documented the strength, unity, inspiration, resilience, and hope of the Indigenous-led movement that began in April 2016 to block the construction of the Dakota Access Pipeline on the Standing Rock reservation in North Dakota He remembers the grace and courage of Jingle Dress dancers healing the trauma inflicted on the water protectors from  police and private security forces by water cannons, LRAD sound cannons, rubber bullets, pepper spray, mace, tear gas canisters and bean bag blasts. 

When asked “Why did you go to the Oceti Sakawin camp?”, Tapahe says “It was my responsibly to be there, to help our people, our ancestors, our water, and our land. It felt as if our ancestors were physically standing with us in unity around the sacred fire – singing and dancing with us. The spiritual awakening will be with me always as I continue my creative journey to photograph and document the beauty of Mother Earth and our people.”

Years later, Art Heals: The Jingle Dress Project originated from a dream Tapahe had during the COVID-19 pandemic, inspiring him to unite the land and people through the healing power of the Ojibwe jingle dress dance. 

Nizhoni (Beautiful), Monument Valley, Arizona, 2020

Since then, Tapahe has traveled thousands of miles documenting family members and friends dancing the healing honor dance in National Parks and Monuments, honoring the places where their ancestors once lived. Tapahe describes the images as “incredibly powerful and spiritual. Looking at them, I still can't believe I took these photographs. I believe this project is larger than myself, and I hope that when people view them, they feel the same way – that we are all blessed to be in the presence of such beauty.” 

The images 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).  

During the project, Tapahe discovered one overarching metaphor. “I put my hand on one of the jingles and I shook it. That one jingle didn’t make any sound,” he said. “But together, they have the power to heal. As human beings, if we are able to unite ourselves and our prayers and make a beautiful sound as the jingle dress does, we could be powerful.” 

View the exhibition here

“Historians are appalled...The Smithsonian has been known for trying to present a consensus version of history.”

 Via The New York Times

July 24, 2026

Trump Orders Warnings Placed at ‘Inaccurate’ Smithsonian History Museum

President Trump on Friday ordered warning signs and exhibits installed outside the Smithsonian’s National Museum of American History to alert the public that the museum does not, in his view, accurately reflect American history.

The order went so far as to suggest that the signage inform potential museum visitors of locations where American history is better presented. The administration did not explain where the public would be redirected.

Representative Melanie Stansbury, Democrat of New Mexico, was among those who objected to Mr. Trump’s effort.

“This executive order is a clear political overreach, driven by an ideological agenda to rewrite American history. Our Smithsonian institutions do not belong to the president, but the American people, and so does our national story.”

But Dr. Redman, the historian, said that many observers have been dismayed by the aggressiveness of the White House efforts to take control of the Smithsonian and its 21 museums.

“Historians are appalled,” Dr. Redman said. “The Smithsonian has been known for trying to present a consensus version of history.”

Full article

Visit The Smithsonian Website

NINA BERMAN “HOW TO PHOTOGRAPH CENSORSHIP? DOCUMENTING THE U.S. AUTHORITARIAN PROJECT”

 Via The Fotografie Forum Frankfurt (FFF) 

In her lecture Nina Berman will speak about her life and work in the United States and reflect on how to continue a documentary practice under increasingly authoritarian conditions.

As a professor at Columbia University, where pro-Palestine demonstrations sparked an international movement and were followed by government and institutional crackdowns, Berman has been both a witness to, and directly affected by, the imposition of a punitive censorship regime that is still in formation.

Within this context, she asks how one can photograph the erosion of free speech and academic freedom, especially when censorship can be self-imposed as a means of self-preservation, or enforced through opaque bureaucratic mechanisms that remain largely invisible to the public.

As a tentative response to these questions, Berman will present The Complaint, an ongoing project based on experiences at Columbia University which includes Nina’s photographs, original texts and institutional documents that seek to historicize and narrate one crucial aspect of the current American authoritarian project – the destruction of free speech.

Friday, July 24, 2026, 6 pm

Location: Fotografie Forum Frankfurt

The lecture will be held in English.

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. Additional fellowships, awards and grants include: the Guggenheim Fellowship in Photography, the New York Foundation for the Arts, the World Press Photo Foundation, the Open Society Foundation, the Center for Documentary Studies at Duke University, the MIT Knight Science Journalism Fellowship and the Aftermath Project. She started her photographic career in 1988 as an independent photographer working on assignment for the world’s major magazines including Time, Newsweek, Life, the New York Times Magazine, New York Magazine, German Geo, and the Sunday Times Magazine. She covered a range of issues, from women under siege during war in Bosnia and Afghanistan, to domestic issues of criminal justice, reproductive rights, and political process. Her photography and film work has been exhibited at more than 100 international venues and is in several noted public collections including the Smithsonian and the  Bibliothèque nationale de France. She has participated in and given workshops around the world for young photographers and was a member of NOOR images from 2009–2021. She is currently a professor at Columbia University and lives in her hometown of New York City.

Nina's photography is featured in the current exhibition "America The Beautiful" through August 9, 2026

Shooting War - Shall we close our eyes?

 Via The Globe and Mail

As the war in Ukraine unfolds in real time, The Globe and Mail presents Shooting War, a documentary featuring nine of the world’s top conflict photographers reflecting on careers spent on the front lines, and the physical and psychological scars they live with now.

Conflict photojournalists capture the brutality of war and its devastating impact. By putting themselves on the front lines they face incredible danger as well as risking their emotional and psychological health. In “Shooting War,” nine internationally renowned photojournalists talk about the most memorable stories they covered, how they have come to terms with what they’ve witnessed and how the concept of moral injury can apply to journalists.

The nine photojournalists interviewed in the film are Ron Haviv, Carol Guzy, Goran Tomasevic, Corinne Dufka, David Guttenfelder, Santiago Lyon, Joao Silva, Laurence Geai and Tim Page, with more than 200 photos and archival news clips to illustrate the news they have covered.

More about the film. 

Ron Haviv: Photojournalism: Witness + Vision

 Via AIPAD

July16, 2026

During The 2026 Photography Show Presented by AIPAD, Photographers Giles Clarke, Ron Haviv and Shelby Lee Adams joined moderator Rick Smolan for a conversation on the evolving role of photojournalism and documentary practice today. Reflecting on the power and responsibility of the image, the panel considered how personal vision, ethics and context shape the stories photographers tell—and how those stories resonate in an age of constant visual exchange.

David Butow: 250 Years USA. A Country in Contradiction

 Via laif

David Butow

January 6, 2021, Washington, DC. Supporters of President Trump battle law enforcement on the West steps of The Capitol during the attack on the day of Joe Biden’s election certification by Congress.

2026 brings two dates that are hard to ignore: 250 years USA. And Donald Trump turns 80 – in the middle of his second term.

What do these anniversaries mean? What do they say about the state of this country? We asked selected photographers from our partner agency Redux.

In the second part of our series, photojournalist David Butow talks about his work and his perspective on the USA.

David, is there a photo you have taken that you feel best represents the United States — either at this moment or at another point in time?

You can’t sum up a country of 350 million people in one photograph, but I’ll choose one that speaks to our politics right now. On January 6, 2021, I was at the U.S. Capitol when a mob of thousands of Trump supporters broke through police lines and into the Capitol to try to disrupt the certification of Joe Biden as the next president. It was Americans fighting against each other over one of the most important things the government does.

And this fight was set up by the sitting president who had engaged in lies to rile up his supporters and help him stay in power. That was the first time that had happened in 250 years. I think, and hope, it will be most significant event in U.S. history that I’ll ever see. Trump left the White House couple of weeks later with his tail behind his legs but of course now he’s president again. This dynamic speaks to widespread distrust in our government and other institutions.

Given the flood of synthetic images, disinformation, and fake news across the internet, how do you view the role and importance of photojournalism and the media?

"The media" is now such a broad term. It can mean big organizations like the New York Times and CNN, or it can be one person with a YouTube channel and millions of followers. I heard a commentator say recently that when it comes to information, much of the public is both cynical and gullible at the same time. That’s a bad combination!

People not only believe stuff that’s fake, they will not believe things that are real. The hope I have is that there will always be some news organizations that will have high standards for truth, for rooting out fakery in images and information and that those standards will be known to their audience who will subscribe and support them.

In other words, that there will always be a place to turn when you need some reality. I fear that traditional, solid media outlets will continue to be a smaller and smaller portion of how people get their information. That’s already happening. However, I am buoyed by the fact that thirty years after easy desktop computer Photoshop-style image manipulation, the wire services and most big, good newspapers and magazines have maintained fairly tight ethnical standards when it comes to the making and content of images.

What do you think Americans can be proud of?

Despite all the problems facing the U.S., there are still things about this country that work very well. While there is a lot of tribal and closed-minded thinking, those ideas often get outsized attention in the current media environment. In reality, I think most Americans are quite progressive when it comes to things like gay rights, ethnic diversity, and religious freedoms. We have the Americans with Disabilities Act which helps to make public spaces easier for people in wheelchairs.

I’ll give you couple of other recent examples. There was a small group of Buddhist monks that recently did a "walk for peace" through the deep South, a Trumpy part of the country known as the »Bible Belt.« Thousands of people came out to cheer them on and they had the support of the local governments and police.

Today, I’m seeing news coverage of long lines at airports because of budget disagreements within the Federal Government. Despite our differences and political conflicts, people are calm and not getting into fights. Most Americans are pretty chill and tolerant. Also, when it comes to technological and scientific advancement, obviously, that’s one of our strengths.

What is "typically American" about you?

[…] My mother’s side of the family came to America from England in the 1700’s before there even was a U.S.A. They were Protestant Christians. My father’s parents were immigrants from Russia and Latvia in the early 20th century and they were fleeing persecutions against Jews and were part of the massive wave of immigration at that time as the U.S. was modernizing rapidly and there was economic opportunity and religious freedom. I was born in New York City, grew up in Texas and now live in California. So I feel very lucky to have all this diversity in my background and experience. -full article here

Thank you for your time, David.

David Butow's photographs are featured in the exhibition "America The Beautiful" through August 9, 2026 

Alfred Eisenstaedt is the focus of a dual exhibition in Abano Terme and Venice

 Via Finestre sull'Arte

July 13, 2026

Alfred Eisenstaedt, Ballerinas standing on a windowsill at George Balanchine’s School of American Ballet (New York City, 1937) © Alfred Eisenstaedt / The LIFE Picture Collection 

"An exhibition dedicated to one of the great figures of 20th-century photography brings together two cultural institutions in the Veneto region through a complementary exhibition that traces the life and work of Alfred Eisenstaedt (Tczew, 1898 – Oak Bluffs, 1995). Through September 20, 2026, the Villa Bassi Rathgeb Museum in Abano Terme is hosting the exhibition *Alfred Eisenstaedt: Photography Was in the Air*, while the story continues through November 22 at the Naval History Museum in Venice with a second exhibition dedicated to the photographer’s years in Europe.

The initiative, curated by Monica Poggi and produced by CAMERA – Italian Center for Photography, is organized by the Municipality of Abano Terme and D’Uva, the operator of MUNAV – the Naval History Museum of Venice. The project was conceived with the aim of fostering dialogue between institutions and the local community through the work of an artist who made a decisive contribution to defining the language of contemporary photojournalism. The exhibition’s title draws on Eisenstaedt’s own reflections on post-World War I Germany and evokes the atmosphere of transformation, cultural openness, and creative energy that shaped his formative years—an atmosphere the organizers aim to bring to life through this dual exhibition itinerary.

Considered one of the most important photographers of the 20th century, Alfred Eisenstaedt is best known for being one of the leading visual contributors to Life magazine and the creator of one of the most famous images in the history of photography, the famous “V-J Day in Times Square,” the photograph taken on August 14, 1945, during the celebrations marking the end of World War II, which captures a sailor kissing a nurse in the heart of New York."

  ---Full article with photos here

Times Journalists Subpoenaed as Trump Escalates Pressure on Media

 Via The New York Times

July 11, 2026

Times Journalists Subpoenaed as Trump Escalates Pressure on Media

The Justice Department is seeking to compel testimony from reporters who wrote about the new Air Force One. The Times called the move a “brazen act.”

“The appearance of federal law enforcement agents on the doorstep of news reporters should shock the conscience of any American who believes in the Constitution and the press freedom it protects,” said David McCraw, The Times’s top newsroom lawyer, in a statement on Friday evening. ---click for full article

Santa Fe named favorite American city by 'Travel + Leisure' readers for second straight year

 Via The Santa Fe New Mexican

July 7, 2026

Travel + Leisure readers have selected Santa Fe as their favorite American city for the second year in a row.

The announcement was made Tuesday morning on NBC-TV's Today show.

Santa Fe Mayor Michael Garcia issued a statement crediting nearly everyone for their part in keeping Santa Fe on top.

“The recognition belongs to our residents, our artists, our small businesses, our hospitality workers and everyone who helps make The City Different such a special place,” he said.

On July 2, 2026 Monroe Gallery hosted a Gallery talk with independent photojournalist Ryan Vizzions.

In September of 2016, Ryan Vizzions traveled from Atlanta, Georgia to stand in solidarity with the Standing Rock NoDAPL movement. Bringing his camera with him, but not intending to be a media source, Vizzions soon found himself using social media to reach over half a billion people with his photographic documentation of events unfolding over the months. With viral reach of one photograph in particular, "Defend The Sacred", Vizzions’ photography helped bring awareness around the world to the movement.

In late 2020, in the midst of the Covid-19 Pandemic, Vizzions embarked on a long term, multi-year project traveling and photographing across the United States to create a photography book documenting all 50 states. 

In January, 2026 Vizzions documented "Operation Metro Surge" by ICE in Minneapolis involving roughly 3,000 federal agents, leading to the deaths of Renee Good and Alex Jeffrey Pretti. His photograph of a masked ICE agent appeared as a full-page spread in the Sunday Opinion page of the February 1, 2026 issue of The New York Times. He has contributed considerable time to photographing and archiving the street memorial of Renee Good.

July 4: America The Beautiful

 

Neil Leifer: Statue of Liberty, New York Harbor, July 3, 1986

For July 4, have breakfast at Pancakes on the Plaza and visit the exhibition America The Beautiful.

America The Beautiful is an exhibition of compelling and provocative photographs illustrating America, American life, and the American people as the United States prepares to celebrate its 250th birthday amid the erosion of civil rights, human rights, and democratic norms. Open 10-4 on July 4, admission is free.

Pancakes on the Plaza brings friends, families, and neighbors together for a morning of fantastic food, incredible entertainment, and patriotic fun in the heart of downtown Santa Fe. 

Best of all? Your breakfast makes a difference! Every ticket purchased directly supports local youth. As part of our two-year support cycle, proceeds from this year's event will fund life-changing grants for The Sky Center, Gerard's House, Communities in Schools, and the Santa Fe Symphony.

Tickets

Ella Watson, American Gothic, Washington, D.C. by Gordon Parks

Via Bowdoin College Museum of Art

June 26, 2026

In his famous photograph Ella Watson, American Gothic, Washington, D.C. (1942), Gordon Parks (1912 –2006) positioned Ella Watson, who worked as a janitor in government offices, in front of an American flag with a broom and mop in her hands. In her pose and title, she echoes Grant Wood’s 1930 painting American Gothic, an iconic image of rural American resilience, while also providing a critique of the country’s inequities.

Parks created this image while on a year-long fellowship with the Farm Security Administration (FSA) in Washington, D.C, a New Deal program originally designed to help farmers recover from Depression-era agricultural disasters. In the 1930s, the FSA began hiring photographers to record the conditions of those who lived in rural or small-town environments and illustrate the necessity of federal assistance. In addition to Parks, famous photographers like Ben Shahn, Dorothea Lange, Walker Evans, and Arthur Rothstein worked for the FSA (and their works can be found in the BCMA’s collection).

Having spent his youth in progressive Northern cities like Minneapolis and Chicago, Parks was unprepared for the challenges he faced upon his arrival in the then-racially segregated city of Washington, D.C. Parks recalled that in a single day he was “refused service at restaurants, barred from a theater, and dismissed by a department store clerk.” He later said, “I had experienced a kind of bigotry and discrimination here that I never expected to experience.”

In response, Parks decided to focus on documenting Black life in the capitol, and turned his attention to Ella Watson, who worked as a charwoman, or cleaning woman, in the FSA building. After learning about her family and her struggles, Parks decided to make Watson the subject of his first extended picture story, and for four months Watson gave the photographer access to her home and community. The resulting photographs—which show Watson not only her work as a custodian, but also at home with her family, and serving as a deaconess at her church—were a breakthrough in Parks’ career. Through Watson, Parks gained an intimate, humanist perspective on Black American life beyond the historical gleam of white Washington, D.C., one that captured both struggles and moments of joy.

Parks saw in Watson a potent critique of the country’s inequalities as well as an illustration of American fortitude. In creating the photograph, the artist said: “I felt that I must photograph this woman in a way that would make me feel or make the public feel about what Washington, D.C., was in 1942. So I put her before the American flag with a broom in one hand and a mop in another. And I said, ‘American Gothic’—that’s how I felt at the moment.” The photograph reveals Parks’ experience of coming to terms with the segregated city he once embraced as “the seat of democracy,” with all its promises and perils.

Notably, When Parks showed American Gothic to Roy Stryker, the head of the Historical Division of the FSA and Parks’ boss, he was warned that its publication could cost them their jobs. As the FSA was a government agency, the provocative image was considered too controversial. Despite being taken in 1942, the photo remained unpublished until 1948, when Parks became the first Black staff photographer at LIFE magazine.

Today, Gordon Parks’ Ella Watson, American Gothic, Washington, D.C. is one of the most iconic photographs in the history of American art and documentary photography writ large. It is currently on view in USA @ 250 at the Bowdoin College Museum of Art.

Anne Strachan Cross
Andrew W. Mellon Postdoctoral Curatorial Fellow

Also on exhibit in America The Beautiful through August 9, 2026

The Stunning Photojournalism That Made Mother Jones; includes feature by Nina Berman

 Via Mother Jones

June 25, 2026

“For decades, Mother Jones has seen photography as an essential component of its reporting,” says longtime contributing photographer Ken Light. “Photographers and their work have had and been an important voice within the magazine to reveal the truth.” The magazine’s photography has served as an uncompromising mirror to the world, evolving from the gritty black-and-white traditions of humanist documentary into an expansive, multiplatform chronicle of our time.

Across five distinct eras, this retrospective highlights a small fraction of great work from that 50-year journey. While the magazine’s editors could never have known at the time what a decade would bring, trends about each time period emerged when recently going through back issues. --Full article here

Nina Berman, “Returning From Iraq, the Damage Done,” March 2004

As the first waves of soldiers returned from Afghanistan and Iraq, frequent contributor Berman turned her camera on the complicated ways in which these veterans processed being back home. One of her subjects, 22-year-old Luis Calderon, was a former Army tank operator who was destroying a mural of Saddam Hussein when part of the wall crashed down, breaking his neck and paralyzing him. (Redux)

New Georgia O'Keeffe Documentary

 

Via WNYC

Photo by Tony Vaccaro: American painter Georgia O'Keeffe is standing outside her art studio holing her pelvis series color painting.

150th Anniversary of the Battle of the Little Bighorn

Ryan Vizzions:  Sitting Bull Healing ride, from Poplar, MT to Fort Buford, ND, 2026

Via Native News Online

On June 25, 26, and 27, 2026, the National Park Service, in partnership with Tribal Nations, descendants, historians, elected officials, authors, military representatives, and cultural organizations, will commemorate the 150th anniversary of the Battle of the Little Bighorn. The observance will provide opportunities for reflection, education, and cultural exchange.

The Battle of the Little Bighorn, fought on June 25–26, 1876, in what is now southeastern Montana, was a major conflict between the combined forces of the Lakota Sioux, Northern Cheyenne, and Arapaho tribes and the 7th U.S. Cavalry under Lieutenant Colonel George Armstrong Custer. The battle took place during rising tensions over U.S. efforts to force Native nations onto reservations following the discovery of gold in the Black Hills, a region sacred to the Lakota.

Custer divided his regiment and launched an attack on a large encampment of Native families and warriors along the Little Bighorn River, but his forces were overwhelmed and defeated in what became one of the most well-known Indigenous military victories in North American history. The engagement resulted in the deaths of Custer and many of his men, and it remains a defining and heavily studied moment in U.S. and Native American history, symbolizing both Indigenous resistance and the escalating conflict over land, sovereignty, and U.S. expansion.

Event Details

Ryan Vizzions:  Sitting Bull healing ride, Montana, 2026

Related:

Gallery Photography Ryan Vizzions is covering the over 300 mile Sitting Bull Healing ride, from Poplar, MT to Fort Buford, ND for the 150th anniversary of Little Bighorn. Vizzions will present an Artist talk on Thursday, July 2 "From Standing Rock To Minneapolis" in association with the current exhibition "America The Beautiful". 

RSVP/Register here

Gray Zones: Unmaking the Myth of a Polarized Nation Features Photography By Nina Berman and Ron Haviv

 Via Puffin Foundation

Gray Zones: Unmaking the Myth of a Polarized Nation

Our summer exhibit was inspired by the semiquincentennial of the United States, which feels less and less united with every passing day. And yet the reality is that all of us, whether we are urban or rural, queer or straight, born in the USA or elsewhere, share similar struggles, loves, hardships, and joys. The dominant narrative is invested in dividing us, in order to concentrate wealth and power in the hands of the few while keeping the rest of us on the margins. This exhibition – an extraordinary collection of work by highly accomplished photographers – challenges viewers to reconsider what are traditionally thought of as lines of division. It is an invitation to see ourselves in each other, regardless of race class, or other differences. It is a reminder that solidarity is not only possible but necessary if we are to continue as a nation.

The show will open on Saturday, June 20th. Puffin Brooklyn will be open that day from 12 pm to 5 pm. At 1 pm, several of the photographers, along with curator and participant Danny Wilcox Frazier, will discuss their works and the themes of the show. Light refreshments will be served, no rsvp needed. Please join us!

Opening June 20th, 2026

12 pm to 5 pm

With special panel discussion at 1 pm, featuring several photographers in the show along with curator and participant Danny Wilcox Frazier

An exhibition of work by eminent photographers that contradicts the narrative of extreme and intractable division in the USA

Featuring: Nina Berman, Sheila Pree Bright, Danny Wilcox Frazier, Jordan Gale, Ron Haviv, Tyrel Iron Eyes, Brooklynn Kascel, Erin Kirkland, Zun Lee, John Lowenstein, Carlos Javier Ortiz.

Curated by Danny Wilcox Frazier

Puffin Foundation

227 5th Ave. Brooklyn Between President and Carroll.

Photographs by Nina Berman and Ron Haviv are included in the current exhibition America The Beautiful, through August 9, 2026.

Flag Day, June 14, 2026

 June 14, Flag Day, 2026

Flag Day is a holiday celebrated on June 14 in the United States. It commemorates the adoption of the flag of the United States on June 14, 1777 by resolution of the Second Continental Congress.

"Many prints in America the Beautiful feature various depictions of the American flag, many showing it as a symbol of identity, joy, and hope but also of oppression and violence...the interpretation of the flag depends on who's holding it.”

America The Beautiful is on exhibit through August 9, 2026.

Gabriela Campos: A camera, trust and time: Honoring the legacy of borderlands photojournalist Nick Oza

 Via Calo news

Over the next year, Gabriela Campos will document the role of women within the lowrider and artistic culture of the Southwest after becoming the first recipient of the Nick Oza Visual Fellowship

Gabriela Campos has the wide smile and curious gaze of photographers who know how to see people, not just look at them. In the way she approaches and listens, there is something of photojournalist Nick Oza — that ability to move with people and turn fleeting moments into images charged with time, emotion and humanity.

That same sensitivity is what has now made her the first recipient of the “Nick Oza Visual Fellowship,” created by Altavoz Lab in honor of the two-time Pulitzer Prize-winning Arizona photographer.

“It feels incredible,” says Valeria Fernández, founder and director of Altavoz Lab, an organization dedicated to guiding, training and supporting local journalists. “I think that with Gabriela’s selection, the project is going to take on a new life and begin to become the legacy of each of the photojournalists who participate.”

For Valeria, it is no longer only Nick’s fellowship. It becomes Gabriela Campos’ community fellowship, “and of whoever follows in her footsteps, and we want it to last for many years into the future.”

Click for full article

New Exhibit At Griffin Museum Includes Ashley Gilbertson and Mark Peterson

Via The Griffin Museum of Photography

Vision(ary) is the Griffin Museum of Photography’s annual summer public art exhibition dedicated to the art of visual storytelling. This public art installation features individual exhibitions with distinct photographic styles, including banners hung on light standards and art installations around the Griffin Museum.

From the Civil Rights Movement to contemporary struggles for racial equity, gender justice, environmental protection, labor rights, immigration reform, and democratic accountability, protest has shaped the American narrative.

Photography has been central to this history—documenting resistance, amplifying voices, and creating images that define collective memory.

In the light of America’s 250th anniversary, this year’s edition, Raising Our Voices, presents photographic projects that focus on advocacy, social justice, and activism within the United States—past or present.

Vision(ary) is supported by the Winchester Cultural District, Winchester Cultural Council, John & Mary Murphy Foundation, En Ka Society, Winchester Rotary, Winchester Savings Bank, Griffin Museum Directors Circle, and other cultural and private partners. The exhibition concept and Photo Cube structures are designed by our long time producing partner, Photoville.

Ashley Gilbertson

Ashley Gilbertson

An Occupy Wall Street demonstrator is arrested on Broadway and Wall Street on November 17, 2011

On September 14, 2008, financial markets around the world plummeted, heralding the beginning of the current economic crisis, the most severe since the Great Depression of the 1930s. Bear Sterns and Lehmann Bros. went bankrupt overnight, and trillions of dollars were invested by the federal government in bail-outs and loans. The nucleus for the crash was Wall Street, where high risk complex bonds turned into toxic assets and unregulated trading imploded.

Three blocks from the Stock Exchange and almost exactly three years later, the Occupy Wall Street protest movement began.

For two months hundreds of people occupied a small wind swept plaza known as Zuccotti Park, where tents, a kitchen, a library, and a twenty-four hour drum circle were quickly set up. Occupiers represented hundreds of different causes, though their overarching frustrations lay with economic inequality and corporate greed. Their slogan “We are the 99%” referred to the enormous income gap between the wealthiest 1% and the rest of the population.

These pictures depict Wall Street during the crash in 2008 and the Occupy movement of 2011. --Ashley Gilbertson

Mark Peterson

“The Memory Hole is a look at America from November 5, 2024 when President Trump was elected to a second term, till the present, how it has changed America.  I am photographing this time for others to see knowing that in the future these images will be dismissed as fake news . As in The Memory Hole in George Orwell’s book 1984, the truth will be burned: ‘There was a memory hole in the opposite wall. O’Brien lifted the grating. Unseen, the frail slip of paper was whirling away on the current of warm air; it was vanishing in a flash of flame. O’Brien turned away from the wall. ‘Ashes,’ he said. ‘Not even identifiable ashes. Dust. It does not exist. It never existed.'” --Mark Peterson

Ashley Gilbertson and Mark Peterson have photographs included in the current exhibition "America The Beautiful", on view at Monroe Gallery through August 9, 2026.

Gallery Talk - RYAN VIZZIONS: From Standing Rock To Minneapolis

  

                                       

Ryan Vizzions: Faces of Fascism, Minneapolis, January, 2026

On July 4, 2026, our nation will commemorate and celebrate the 250th anniversary of the signing of the Declaration of Independence amid the erosion of civil rights, human rights, and democratic norms. Monroe Gallery presents a special Artist Talk in conjunction with the current exhibition "America The Beautiful".

In September of 2016, Ryan Vizzions traveled from Atlanta, Georgia to stand in solidarity with the Standing Rock NoDAPL movement. Bringing his camera with him, but not intending to be a media source, Vizzions soon found himself using social media to reach over half a billion people with his documentation of events unfolding over the months and helped bring awareness around the world to the movement.

In late 2020 Vizzions embarked on a long term, multi-year project traveling and photographing across the United States to create a photography book documenting all 50 states. Vizzions documented "Operation Metro Surge" in January, 2026 by ICE in Minneapolis involving roughly 3,000 federal agents, leading to the deaths of Renee Good and Alex Jeffrey Pretti. His phootograph of a masked ICE agent appeared as a full-page spread in the February 1 edition of The New York Times Opinion section.

Vizzions has contributed considerable time to photographing and archiving the street memorial of Renee Good.



Thursday, July 2, 2026

Starting promptly at 5:30 pm. Seating is limited and live on Zoom

RSVP essential to info@monroegallery.com or 505 992 0800

Zoom registration here

Schapiro’s stunning images of jazz greats in New York – from Dizzy Gillespie to Elvin Jones – make up a new book featuring a foreword by late saxophone icon Sonny Rollins

 June 3, 2026

Dizzy Gillespie, Apollo theatre, New York, 1962.  Photograph by Steve Schapiro

The Guardian: ‘It’ll never be like that again’: Sonny Rollins and Steve Schapiro on jazz’s golden age – in pictures

Vanity Fair: The Late Sax Master Sonny Rollins on Steve Schapiro’s Forgotten Photos of Jazz Giants

WBGO: Steve Schapiro’s Jazz: History hiding in plain sight for 60 years

Sonny Rollins, Apollo Theater, New York, 1962. Photograph by Steve Schapiro

Please contact the Gallery for fine art print details.

SEIZED transforms a headline-grabbing event into a deeply human story that is urgent, unsettling, and impossible to ignore

 Via DC/Dox'26

May 31, 2026

A gripping, stranger-than-fiction investigative thriller, SEIZED plunges audiences inside the troubling police raid on the Marion County Record. What begins as a shocking small-town incident quickly spirals into a national story, exposing how corruption, politics, and decades-long tensions turned a quiet Kansas community into a battleground over the First and Fourth Amendments. The film unfolds in real time through police body-cam and surveillance footage, revealing the chaos of the raid, the bombshells that followed, and the devastating personal toll on the newsroom, including the tragic death of its 98-year-old co-owner.

Director Sharon Liese allows the story to unfold with nuance, surprise, eccentric characters, and moments of humor. By letting each voice speak for itself, she crafts a rare documentary in which sympathies shift moment to moment, revealing how truth, ego, and fear collide in real time. Blending the juicy intrigue of a classic muckraking narrative with a clear-eyed exploration of power, politics, and the fragility of a free press, SEIZED transforms a headline-grabbing event into a deeply human story that is urgent, unsettling, and impossible to ignore.

Saturday, June 13

1:30 PM - 3:15 PM

Woolly Mammoth Theatre Company

641 D St NW, Washington, DC 20004

More info

Broken fingers and busted cameras: Photojournalists say ICE targeted them during wild clash outside Delaney Hall

Via amNY

May 29. 2026

Mark Peterson: ICE officer confronts protesters, Delaney Hall, NJ, May 26 2026

"The First Amendment freedom of the press was not enough to shield photojournalists from assault by ICE agents outside Delaney Hall late on Thursday night.

Photojournalists in federal agents’ sights

As the night grew later, several photojournalists alleged they were purposely targeted and attacked by some of the agents.

Reuters photojournalist Ryan Murphy told amNewYork that he was beaten with a baton over the last several nights, and on Thursday, they aimed for his camera. He believes the blow they struck broke a finger.

“I had just photographed a guy on the ground getting bear-sprayed in the face, turned around to another protester getting shoved or something, and I was just hit by a baton in the finger next to my flash, and yeah, my hand just went numb. My flash flew on the ground,” Murphy recalled. “There is a big gash on my middle finger. It was bleeding pretty badly, I think it’s broken.”

Murphy ultimately left the scene and transported himself to a local hospital for treatment.

Another photographer alleged she was purposefully shoved to the ground. Madison Swart, a frequent contributor to The New York Times, said she was documenting the clash when an agent struck her with a baton, knocking her to the ground.

“I was moving back as they were asking us to and I got shoved with a baton, and I fell because it was very forceful. And then another agent did help me up, but it wasn’t the same one that pushed me,” Swart said. “I was just a little in shock, just because I’ve never fallen while shooting before, and so I, I’m kind of like still trying to process in my head how I could have reacted maybe a little bit better, but at the same time, when someone who is like twice my body size pushes me, I don’t know if there’s much more I can really do.”

Another photographer could be seen huddling in the fetal position as agents trampled over her, while another prominent photographer, who asked not to be named, had the top of his camera smashed."

Full article with photographs here.