Sunday, October 5, 2025

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






Saturday, October 4, 2025

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.

color photograph of a lowrider car "hopping", its front end raised high to the sky

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.


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

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.

Thursday, October 2, 2025

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


October 2, 2025


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, September 26, 2025

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






black and white photograph of a person with an umbrella admiring a cloudy view near Machu Picchu.
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



Thursday, September 25, 2025

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

Wednesday, September 24, 2025

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

color photograph of four effigies on an abandoned fladbed in the forest




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.

Sunday, September 21, 2025

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




Tuesday, September 16, 2025

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

 Via WBUR

September 16, 2025


black and white photograph of 4 Native American women in Jingle Dresses with red scarves and face masks standing in tall grass with snow-capped Teton mountains in backgrounf


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.

color photograph of 3 Native American women in brightly colored Jingle Dresses with red face masks with blue sky in backgroundon the Salt Flats in Utah

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


photograph of a formerly enslaved man baring his scarred back

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.”

Monday, September 15, 2025

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."




Tuesday, September 9, 2025

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.

Monday, September 8, 2025

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.

Thursday, September 4, 2025

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.

Tuesday, September 2, 2025

Eugene Tapahe Art Heals: The Jingle Dress Project Exhibit Extended

 

photograph of artist Eugene Tapahe discussing one of his photographs to a crowd of visitors to the exhibition "Art Heals: The Jingle Dress Project" at Monroe Gallery in Santa Fe




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."




 

Friday, August 29, 2025

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

 Via Smithsonian

montage of photographs showing lowrider culture in banner ad for Smithsonian Low Rider exhibit
 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.

photo of lowrider tilted on right side in front of the Cathedral in Santa Fe, NM

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






a red low rider cars is parked by the Santuario De Chimayo in Chimayo, New Mexico, on Holy Thursday, 2022


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







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

Tuesday, August 26, 2025

Tracy Barbutes Photographs Yosemite Protest Rally For The SF Standard

Via The San Francisco Standard
August 25, 2025

color photograph of people signing the same trans pride flag that fired Park Ranger Joslin and others helped hang on El Cap earlier this year

At the rally on Sunday, people sign the same trans pride flag that Joslin and others helped hang on El Cap earlier this year. | Source:Tracy Barbutes for The Standard


Protesters rally in Yosemite for ranger fired over hanging trans pride flag
The Yosemite community has been reeling since Shannon "SJ" Joslin’s firing. --Click to read full article

"...then an upside-down U.S. flag in February to protest the NPS budget cuts. None of the people who hung those flags faced consequences. That upside-down flag garnered international attention and showed the power of El Capitan as a symbol"


An upside-down American flag hangs from El Capitan near Yosemite National Park’s Horsetail Falls to protest the thousands of federal job cuts made by President Donald Trump’s administration, February 22, 2025
©Tracy Barbutes


Monday, August 25, 2025

Remembering Hurricane 20 Years Later: Photographs By Stephen Wilkes


a tv is seen partially embeed in the sane on a beach after Hurrican Katrina, Mississippi


Katrina formed on August 23, 2005. It entered the Gulf of Mexico on August 26 and rapidly intensified to a Category 5 hurricane before weakening to a Category 3 at its landfall on August 29 near Buras-Triumph, Louisiana.

Katrina was one of the most devastating hurricanes in the history of the United States. It is the deadliest hurricane to strike the United States since the Palm Beach-Lake Okeechobee hurricane of September 1928. It produced catastrophic damage - estimated at $75 billion in the New Orleans area and along the Mississippi coast - and is the costliest U. S. hurricane on record. Stephen Wilkes photographed the aftermath of Hurricane Katrina. Have we forgotten Katrina's lessons?


View the exhibition online here.

Thursday, August 21, 2025

The Alabaster Grave: Book Signing and Artist Talk With Cengiz Yar August 23

Graphic text announcing The Alabaster Grave: Book Signing and Artist Talk With Cengiz Yar August 23

 We are delighted to welcome Cengiz Yar for a book signing and talk this Saturday, August 23 at 5 PM - free!

This Alabaster Grave is Cengiz Yar’s first monograph exploring the overwhelming destruction and pain faced by the Iraqi city of Mosul, within the context of its history and unique, now largely ruined, architecture. The book questions the cost of the fight against ISIS and global war on terror as told through the lives and city that bore the brunt of its destructive force.

Cengiz is a documentary photographer and editor based in El Paso, Texas who has worked in visual journalism for over a decade, from reporting in the field to building groundbreaking online packages. He is currently a visuals editor at ProPublica, where he edits, photographs, and art-directs stories across the site.



open book with two photographs from The Alabaster Grave book


Tuesday, August 19, 2025

Tracy Barbutes' Transgender Pride Flag Photograph Leads NY Times Article

 Via The New York Times

August 18, 2025


color photograph of a transgender pride play draped in front of El Capitan in Yosemite National Park in May, 2025

A transgender pride flag was unfurled by Shannon Joslin and other demonstrators on El Capitan in Yosemite National Park, Calif., in May.Credit...Tracy Barbutes, via Reuters

Yosemite Biologist Who Hung Trans Pride Flag From El Capitan Is Fired

The National Park Service terminated Shannon Joslin over the May 20 demonstration, which it said took place in a prohibited area and lacked the required permits. -Click for full article




On February 22, 2025 – almost exactly 80 years to the day after Joe Rosenthal’s Iwo Jima Photograph - Tracy Barbutes photographed an inverted American flag — historically used as a sign of distress — off the side of El Capitan, a towering rock formation in Yosemite National Park, hung to protest the Trump administration’s cuts to the National Park Service.


color photograph of giant American flag hung upside down in protest at El Capitan in Yosemite National Park in February, 2025




Monday, August 18, 2025

A Period in Time by Ed Kashi: A Legacy of Photography Shaping How We See the World

 Via Photography Zilla

August 16, 2025

screenshot of Ed Kashi "A Period in time" book cover with black and white photograph of person jumping over  a bonfire


"A Period in Time by Ed Kashi” arrives less as a conventional retrospective and more as a living dossier: over 200 photographs spanning 1977–2022, paired with essays and field dispatches that place the photographer’s eye directly within history. Published by the Dolph Briscoe Center for American History, the book consolidates a career-long commitment to bearing witness — a clear reminder that archives and books can do more than preserve images; they can teach, provoke, and inspire future photo storytellers.

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Save the Date: October 3, 2025 Ed Kashi A Period in Time Gallery talk and book signing 5-7 pm at Monroe Gallery of Photography. Exhibit continues through November 16, 2025.