Tuesday, August 26, 2025
Tracy Barbutes Photographs Yosemite Protest Rally For The SF Standard
Monday, August 25, 2025
Remembering Hurricane 20 Years Later: Photographs By Stephen Wilkes
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?
Thursday, August 21, 2025
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.
Tuesday, August 19, 2025
Tracy Barbutes' Transgender Pride Flag Photograph Leads NY Times Article
August 18, 2025
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
Monday, August 18, 2025
A Period in Time by Ed Kashi: A Legacy of Photography Shaping How We See the World
August 16, 2025
"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.
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.
Sunday, August 17, 2025
Art Heals
August 17, 2025
"...that’s exactly why I documented the project: the educational purpose behind it is important. It needs to be shared; it’s healing for everyone." Eugene Tapahe
"Art heals.
There it is. You can quit reading.
Instead, find Carolyn’s column on Page 7 of our hefty, glossy-covered 92-page Pasa magazine that came out Friday — the one with Native photographer Eugene Tapahe’s (DinĂ©) stunning visual on the cover, courtesy of the Monroe Gallery of Photography."
--Bill Church is executive editor at The Santa Fe New Mexican.
Read the Pasatiempo Magazine article here.
Friday, August 15, 2025
Eugene Tapahe: Standing On Ceremony
By Brian Sanford
August 15, 2025
When Eugene Tapahe (Diné) photographed his daughters and two of their friends posing while wearing Ojibwe jingle dresses at Bonneville Salt Flats in Utah, the purpose was to provide healing during a tumultuous time, not to create art.
It was June 2020, and the world was reeling from the new realities of the pandemic’s social distancing, widespread masking, and living with the pre-vaccine terror that a friendly interpersonal encounter could be deadly. An aunt of Tapahe’s died from COVID-19; amid that emotional trauma, he dreamed he was sitting in a grass field at Yellowstone National Park, gazing at a herd of bison on the horizon. He detected a distinctive sound, then realized it was coming from jingle dress dancers who’d begun dancing with the bison. A sensation rose within Tapahe that most people don’t associate with 2020: hope.
The healing Ojibwe jingle dress dance is thought to have originated during the 1918 influenza pandemic, so its powers resonated especially strong during a remarkably similar calamity about a century later. What began with a 150-mile drive from the Tapahe family’s Provo, Utah, home to the salt flats grew into a nationwide healing journey to national parks and even New York City. Some of the results of that ongoing voyage are featured in Art Heals: The Jingle Dress Project, an exhibition at Monroe Gallery of Photography coinciding with Santa Fe Indian Market, where Tapahe is also bringing his work.
Tapahe traveled with his wife, Sharon; twentysomething daughters Erin and Dion; and the daughters’ friends Sunni and JoAnni Begay. The latter four posed in the vibrantly colored dresses while wearing matching red face masks, their arms raised in unity, at Monument Valley for Solidarity, Sisterhood; on a rock with their backs to the Pacific Ocean on the Oregon coast in Warrior Women; and at the base of the Lincoln Memorial in Washington, D.C., for Forever Enshrined. Some of the images are black-and-white, while others feature only three of the women.
Tapahe, a native of Window Rock, Arizona, who holds a Master of Fine Art degree in studio art from Brigham Young University in Provo, recently chatted with Pasatiempo about the spookiness of traversing what amounted to a ghost nation in 2020, combating cultural ignorance, and the pandemic’s effects on both his psyche and his bottom line. His answers have been edited for length and clarity.
Do you always have such vivid, memorable dreams?
Many artists do sketches or preliminary work, but I conceptualize a lot of my works before I start doing art. I think it was a unique situation in that, even when I woke from the dream, it was still resonating with me. It really touched me and affected me to the point where I gave it life by sharing it with my wife and my daughters. The idea [at first] wasn’t to take it to the world; I just wanted to do one dance in a sacred place, to make the dream true.
But when we went out to the Bonneville Salt Flats — which is close to us — and the girls danced, that changed our whole perspective. We were the only people on the land, and there wasn’t a dry eye the whole time. The girls said they knew they weren’t dancing alone; they could feel the spirits of the ancestors of that land dancing with them spiritually. When the dance was over, Dion said, “Dad, we’ve got to take this to the land. We can’t just do it one time.” I said, “In my dream, I was at Yellowstone National Park, so let’s go to national and state parks.” Because those lands were colonized first — taken from the Native people — if we heal those lands and ancestors, they will come and help us heal during COVID.
You mention healing, and people suffered in numerous ways during the pandemic. How were you affected?
My family and I couldn’t go home to help our people and family, so it was difficult to see from afar the pain and death. Because of this, we felt it was important to go on this healing journey so that we could bring healing and unity through art.
Had you already visited all of the places featured in Art Heals: The Jingle Dress Project?
At some points, it was the first time we’d ever been there. In many places, it was really tough because we didn’t spend weeks there; I knew as a landscape photographer that early mornings and late evenings were the best times to take photos and for the girls to perform the jingle dress dance, since the natural light would be better. During the days, we traveled and the girls did their homework, because at the time everything was online.
This project began in 2020; what years does it cover?
It started in June 2020 and continues to this day. We are being invited to universities and colleges to speak and serve on panels. This has given us a great platform to [bring attention to] not just the project, but also to address Native issues, such as missing and murdered Indigenous women, Native rights, Native lands, and land acknowledgement.
How did Sunni and JoAnni get involved?
They’re good friends with Erin and Dion. We’re all Navajo, and during COVID, the Navajo Nation shut down and closed their borders, so we couldn’t go home to help or be with our family members. They were already in quarantine here in Utah with our family, and that’s how we managed to do what we did.
The world had largely shut down.
We kept to ourselves; all restaurant dining areas were closed, so we either packed our own food or ordered takeout. We only entered public spaces to get gas and use the restrooms, but we remained very cautious because none of us wanted to get sick. At that time, there were no vaccinations available. When we visited Yosemite National Park, the six of us and two rangers were the only people there. It was a deeply spiritual moment — yet also surreal and eerie. It was late June, and the rangers told us that normally, they wouldn’t have any available camping spots, and the park would usually be filled with thousands of visitors.
How did you get into the park?
At Yosemite National Park, the rangers happened to be Natives [Miwok] from that land, and they already knew who we were. So, when we reached the guard gate, they understood that our purpose was spiritual and healing, and they allowed us to enter. The girls danced at the Indian village, and afterward, the rangers wanted to give them a gift. They shared their popsicles, which were so refreshing on that hot day in June.
Did you have issues accessing other locations?
The only place we thought we might have trouble was Yosemite National Park, because there are only a couple of entrances, but we were fortunate that the rangers there knew what we were doing and understood our purpose. Most of the other parks didn’t have anyone at the entrances because of COVID.
One of your images features the since-closed Nicholas Galanin exhibition Never Forget, consisting of 45-foot letters spelling out “Indian Land” in Palm Springs, California, which was featured in Galanin’s SITE Santa Fe exhibition Interference Patterns. Did Galanin (Tlingit-Unangax) know about your visit?
The organization, Desert X, has a biennial art installation in Palm Springs. We wanted to go there to dance and do a photo session. I reached out to them to let them know we would be coming. They responded on the day of our trip and said they were working on getting Nicholas to fly out the next day to meet us. They also managed to get Congressman Raul Ruiz from Palm Springs to come, and we had an impromptu get-together with Galanin. The ceremony opened with a local Native community performance featuring a traditional Cahuilla bird song by John Preckwinkle III. It was a spiritual moment.
How much do the dresses weigh?
Between 8 and 12 pounds.
You encountered ignorance about Native people during your travels. That likely wouldn’t happen in New Mexico; where did it occur?
Mostly in urban areas; it occurred a few times on the East Coast. When we talked at universities, some people said, “I didn’t know that Native Americans still existed,” or, “Do you still live in teepees?” That’s still out there. It’s still common.
That sounds infuriating. How did you respond?
Our project is both healing and educational. When I was younger, I would have gotten angry, but now I realize they’re not saying it out of racism. Especially on the East Coast, that’s all they learned. In high school, the textbooks focused on Plains Indians, and they learned that Native Americans all lived in teepees, rode horses, lost battles, and were eventually wiped out.
It sounds like this show would be even more educational if it were featured in other areas of the U.S. Do you know if it will become a traveling exhibition?
I really don’t, but that’s exactly why I documented the project: the educational purpose behind it is important. It needs to be shared; it’s healing for everyone.
What are you showing at Indian Market this year?
A few images from [Art Heals: The Jingle Dress Project] will be in my booth, as well as landscapes and a lot of wildlife photography.
You’ve mentioned that the number 4 is considered sacred in Navajo culture. How did it manifest in this project?
We have four girls who represent the four worlds; in Navajo culture, we believe we’re in the fourth world. In the Four Worlds photo, there are four peaks on the Teton National Park mountains. During our photo session, the girls were facing me, and my daughter Dion set up the shot and poses. It turned out that they were almost in the same spots as the peaks on the mountains behind them. When we were ready to start printing the photos, that’s when we all saw it. It’s incredible how this project brought so much healing to us and to those who can see the images now. Art truly heals.
details
The Jingle Dress Project
Through September 14
Monroe Gallery of Photography
112 Don Gaspar Avenue
505-992-0800; monroegallery.com
Wednesday, August 13, 2025
Independent photojournalist Nate Gowdy was assaulted and detained by police while documenting a protest against immigration raids in downtown Los Angeles, California, on August 8, 2025.
August 13, 2025
Independent photojournalist Nate Gowdy was assaulted and detained by police while documenting a protest against immigration raids in downtown Los Angeles, California, on August 8, 2025.
Protests in LA began in early June in response to federal raids of workplaces and areas in and around the city where immigrant day laborers gather, amid the Trump administration’s larger immigration crackdown. Raids at Home Depots in early August took place seemingly in defiance of a July 11 court order temporarily prohibiting federal agents from using discriminatory profiling.
On Aug. 8, two days after an immigration raid in the parking lot of a Home Depot in LA’s Westlake neighborhood, protesters gathered at the store and marched to the Metropolitan Detention Center downtown. The demonstrators and the journalists covering them encountered a violent response from Los Angeles Police Department officers, violating a court order protecting the press from arrest, assault or other interference.
Gowdy, who was visiting from Seattle, Washington, said he had been photographing the Aug. 8 protest with his partner, fellow journalist Carrie Schreck. The two began documenting the demonstration as protesters started to march. The protest remained peaceful, Gowdy said, until the LAPD arrived.
“They basically lined up and without any provocation, in order to move people, started just swinging their batons indiscriminately,” he told the U.S. Press Freedom Tracker.
Gowdy watched as one journalist, Nick Stern, waving his press badge to officers, was struck in the face with a police baton. Gowdy himself was thrown to the ground by several officers, scraping his elbow and damaging the metal connectors on the strap holding his spare camera lenses.
“They were so aggressive and wild-eyed and violent,” he said of the LAPD.
After police declared the protest an unlawful assembly, officers pushed demonstrators farther from the detention center. Gowdy and Schreck had stopped photographing and were leaving the area when they were suddenly kettled, or herded by police, along with a handful of journalists and demonstrators, just three blocks from Schreck’s apartment.
Some had press credentials, but Gowdy said officers ignored them.
“They said they didn’t care, and that everyone should have to line up against the wall,” Gowdy recalled.
The journalists’ hands were placed in zip-tie restraints. While some were released, Gowdy and Schreck remained detained for not having physical press badges. Despite carrying camera gear and being vouched for by their colleagues, the officers questioned their legitimacy and denied their requests to speak with a public information officer.
Gowdy offered to show digital credentials and suggested a quick online search to verify his work with major news outlets, but was told he’d be cited for failure to disperse. He and Schreck were taken to a nearby police station and eventually released after more than two hours in custody.
Gowdy said such traumatic encounters can discourage journalists from covering protests.
“In this case, the law was on our side,” he said. “But they didn’t seem to know the law, or they willfully disregarded it in order to intimidate and harass us.”
Gowdy said he doesn’t wear a press badge when he covers protests in Seattle, after it made him a police target. Covering the Jan. 6 Capitol insurrection, he saw how press credentials can also attract threats from demonstrators. Still, he said this incident convinced him to carry one just in case.
The LAPD did not respond to a Tracker request for comment about the detained journalists. In a statement posted to the social platform X, the department’s Central Division wrote that an unlawful assembly was declared “due to the aggressive nature of a few demonstrators.”
“The protest went into the late night hours with people refusing to disperse,” it continued. “Central Division will continue to support 1st Amendment rights of all people. However, if violence or criminal activity occurs, laws will be enforced.”
The U.S. Press Freedom Tracker catalogues press freedom violations in the United States. Email tips to tips@pressfreedomtracker.us.
Monday, August 11, 2025
“If journalists are not willing to report on the ongoing attacks against the free press, who will?”
Via Freedom Of The Press Foundation
August 11, 2025
A ‘massive failure’ in Kansas: Two years since the Marion County Record raid
The police raid of the Marion County Record’s newsroom on Aug. 11, 2023, shocked the country but proved to be just one of a series of alarming attacks on local journalism that year. It was also a preview of how lawless and incompetent governments can use strained constructions of the law as pretext to retaliate against journalists they dislike, as we now see not only in small-town America but at the federal level. As the death of Record co-owner Joan Meyer the next day tragically proved, by the time justice takes its course — if it ever does — the damage has often already been done.
We asked investigative journalist Jessica McMaster to reflect on her award-winning coverage of the raid for KSHB-TV in Kansas City, Missouri. The interview is below. You can also read about or watch our discussion with Record publisher Eric Meyer earlier this year. --full article here
Friday, August 8, 2025
Art Heals: The Jingle Dress Project, an exhibition coinciding with Santa Fe Indian Market
August 8, 2025
Dress Dream
The inspiration for Art Heals: The Jingle Dress Project, an exhibition coinciding with Santa Fe Indian Market that’s showing at Monroe Gallery of Photography, can be traced to a dream that artist Eugene Tapahe (DinĂ©) experienced during the pandemic.
The dream featured the Ojibwe jingle dress dance, an Indigenous dance with roots in healing and spiritual practices — which resonated with Tapahe during a time of widespread illness and social upheaval. Tapahe since has traveled thousands of miles photographing or taking videos of family members and friends performing the dance, documenting a striking combination of brightly colored dance garb and sweeping natural backdrops at national parks and monuments.
A reception is 5-7 p.m. Thursday, August 14, and at 5:30 p.m. Tapahe will discuss the work and preview a documentary he’s developing. Originally from Window Rock, Arizona, he has won awards including best of show in 2018 at the Cherokee Indian Market in Tulsa, Oklahoma. — B.S.
Note: Tapahe talk will be available on Zoom, register here.
Tuesday, August 5, 2025
September 4 On Refractions: A Conversation with Sidney Monroe and Michelle Monroe
SAVE THE DATE
Thursday Sep 4, 2025 3:00pm - 4:00pm ET
Speakers: Sidney S. Monroe and Michelle A. Monroe - Stephen Mallon
Event Type: Photography
On this episode of Refractions, Stephen is joined by Monroe Gallery of Photography owners, Sidney S. Monroe and Michelle A. Monroe.
Refractions are live videocasts hosted by award-winning photographer and filmmaker Stephen Mallon. Conversations will be with a select group of guests discussing creativity, imagery, business, fine art, and light! Curators discuss working with new and established artists. Photographers talking about their careers. Festival directors sharing what challenges face them. Directors will talk about all aspects of filmmaking. Photo editors will discuss the changing world of editorial and what they need from today’s assignment shooters. The mostly one-on-one conversations will have a diverse group of image makers and the people that work with them.
Monday, August 4, 2025
Andrew Harper: "Art in Santa Fe - a few favorite discoveries from my last trip"
"The idea I had for this newsletter back in 1979 – to share information about peaceful and unspoiled sanctuaries with a limited and compatible group of sophisticated travelers – remains at the core of its identity today. There is no concealing my disdain for crowds, noise, rudeness, fast food, packaged destinations, characterless hotels and copycat resorts.”
August, 2025
While Santa Fe may not be the site of the country’s first art colony (that’s in New York) or the third-largest art market (highly disputed), a fact-challenged tour guide we overheard was right about one thing: The city has a long and rich history as an artist community. Synonymous with Georgia O’Keeffe, Santa Fe became an art-world darling in the 1980s and ’90s, helped along by artist transplants like Judy Chicago, Bruce Nauman and Susan Rothenberg. Visitors today can browse exhibitions in nine museums and more than 250 galleries. These are a few favorite discoveries from my last trip.
Thursday, July 31, 2025
Save The Date: August 14, Eugene Tapahe Artist Talk During Indian Market Weekend In Santa Fe
Wednesday, July 30, 2025
Santa Fe: The Southwest City That Turned Itself Into an Essential Art Outpost
July 28, 2025
Santa Fe is a place that can literally leave you breathless.
Reeling from a long flight and unacclimated to the altitude, I thought about this as I staggered up the 9,125-foot summit of Atalaya Mountain, with skittering lizards, wildflowers and 360-degree views of the city and its majestic environs.
I was steeling myself for the marathon of Site Santa Fe’s “Once Within a Time,” a citywide exhibition of work by 71 regional, national and international artists that turned out to be revelatory even for those of us with red chile in our veins, who have visited this city for decades.
Site Santa Fe opened in 1995 in a former warehouse turned nonprofit gallery in the city’s art-filled Railyard District, but it stretches to museums and unconventional venues nearby, including a much-beloved novelty store and a boutique-y cannabis dispensary. The cast and locales were chosen by the veteran curator Cecilia Alemani, artistic director of the 59th Venice Biennale and director and curator of public art for the High Line in New York.
Storytelling is at its core, with an only-in-New-Mexico cast of characters inspiring artists’ creations. They included boldface literary names like Willa Cather and D.H. Lawrence, who spent quality time in Taos, to more obscure historical “figures of interest” like Francis Schlatter, an Alsatian cobbler turned mystical healer, and Doña Tules, the “Queen of Sin” who ran a notorious gambling den off the city’s Plaza. (Fictional narratives are also thrown in for good measure.) Full article here
Tuesday, July 29, 2025
The Palazzo Magnani Foundation in Reggio Emilia presents the exhibition Margaret Bourke-White: The work 1930-1960
July 27, 2025
From October 25, 2025 to February 8, 2026, the frescoed halls of the Chiostri di San Pietro in Reggio Emilia will host Margaret Bourke-White. The Work 1930-1960, a retrospective exhibition dedicated to Margaret Bourke-White (New York, 1904 - Stamford, 1971), one of the most significant figures in twentieth-century photography. The initiative is promoted by the Fondazione Palazzo Magnani in collaboration with CAMERA - Italian Center for Photography, and curated by Monica Poggi. The exhibition presents 150 images spanning three decades of the author’s activity, including industrial reportage, war scenarios, social transformations and geopolitical conflicts. Born in New York in 1904 and passed away in 1971, Bourke-White was able to build an international career distinguished by her ability to deal with extreme contexts, both in terms of logistical difficulties and political implications, establishing herself as a direct witness to the events that marked the century. The exhibition is divided into six sections, following a chronological and thematic criterion, including industrial reportage, conflict and major social transformations. Click to read full article
Related article: Margaret Bourke-White. The work 1930-1960
Monday, July 28, 2025
New Book and Upcoming Exhibition: A Period in Time by Ed Kashi
July 25, 2025
Looking Back while Moving Forward, 1977–2022
Monroe Gallery of Photography
“A Period In Time”
On View: October 3 – 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
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. His newest book, A Period in Time: Looking Back while Moving Forward: 1977–2022, is a stunning and expansive retrospective of photographs spanning the world and his prolific career. Over 200 images collected in this book reflect his commitment to bear witness. Essays and contextual writings combine with the photographs to provide a personal, in-depth look at significant historical events.
No single book could possibly capture and sum up the entirety of a career as rich in scope and breadth as Kashi's, and that is not what this book sets out to accomplish. Rather, this moving retrospective highlights the essence of Kashi's belief about the unique power of photography to see, record, and share both the overt and the subtle details of the human experience. His work covers dramatic global events, while also accentuating the less visible background moments that often go unnoticed.


The book includes both color and black and white images and is divided into sections by timeline and project. The book opens in 1977 where Kashi's career in photography began. After almost a decade of magazine assignments, he undertook his first long-term documentary project in 1988 exploring the Protestant community in Northern Ireland. This photographic work would lead to his illustrious tenure with National Geographic.
From 1991-2005 Kashi documented the struggles and perseverance of the Kurdish people, the largest ethnic group in the world without a nation. From the impacts of World War I to the Gulf War to the genocide of Saddam Hussein, Kashi writes, For anyone who encounters the Kurds, it is impossible to remain silent. These photographs are a tribute to the strength and dignity of the Kurdish people.
The book also includes sections with images from Berlin, Ukraine, Cairo, Vietnam, Syria, Lebanon, Pakistan, Iraq, the Niger Delta, India, and Nicaragua, among others. A section on the Middle East spans 1991-2008 and connects to his heritage. His parents were born in Baghdad, Iraq, and immigrated to the United States in 1940. Kashi shares, ''My work and travels in the Middle East finally opened my eyes and heart to my familial origins, not the assimilated reality of a first-generation American.'' Kashi has photographed in 12 of the 22 countries in this region.
Kashi has also worked domestically, notably on an eight-year project with his wife chronicling what it means to age in America. This body of work challenges assumptions, while also looking honestly and compassionately at the inherent hardships of growing old.


The book is being published by the Briscoe Center for American History at the University of Texas at Austin, also the home of Kashi’s expansive archive. Don Carleton, the center's executive director, wrote the book's Preface, which highlights the importance of such a collection: “An archive of photographic images can have the potential of being not merely a stagnant repository, but a dynamic way for images from the past to bear witness. Such an archive provides us with opportunities to look deeper at the world around us—as it has been, as it is now, and how it might be in the future.
As Carleton notes, the information preserved on film and in the accompanying words and ephemera not only serves as evidence, but also as context for understanding history, people, and events. One of the primary missions of the Briscoe Center is to collect the work of outstanding photojournalists and documentary photographers because their images can be rich sources of visual historical evidence that can be read and interpreted in the same way as textual documents. If critically analyzed and evaluated, that characteristic can allow them to serve as important sources for research and teaching.
This retrospective book is a slice of Kashi's extensive archive, but the thoughtfulness in which the images and writings were compiled, results in a powerful overview. In Kashi’s own words, his archive is a growing, thriving, and continually evolving organism that has become a living library with profound value.Kashi’s work celebrates the strength, courage and resilience in the people he has witnessed. This book also acknowledges the toll this work has taken on him.
The book concludes with a reflective essay entitled 'Home,' where Kashi divulges a sense of isolation that comes from constantly traveling. He describes a life lived in between either home or a far-flung corner of the globe. Home, in the trusted definition of the word, is an anchor, a compass point, and for Kashi, that place is wherever his wife and kids are.


Ed Kashi is a renowned photojournalist, filmmaker, speaker and educator who has been making images and telling stories for over 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. Kashi’s innovative approach to photography and filmmaking has produced a number of influential short films and earned recognition by the POYi Awards as 2015’s Multimedia Photographer of the Year. Kashi’s embrace of technology has led to creative social media projects for clients including National Geographic, The New Yorker, and MSNBC. From implementing a unique approach to photography and filmmaking in his 2006 Iraqi Kurdistan Flipbook, to paradigm shifting coverage of Hurricane Sandy for TIME in 2012, Kashi continues to create compelling imagery and engage with the world in new ways. Along with numerous awards from World Press Photo, POYi, CommArts and American Photography, Kashi’s images have been published and exhibited worldwide. His editorial assignments and personal projects have generated fourteen books. In 2002, Kashi in partnership with his wife, writer + filmmaker Julie Winokur, founded Talking Eyes Media. The non-profit company has produced numerous award-winning short films, exhibits, books, and multimedia pieces that explore significant social issues. Kashi is represented by Monroe Gallery, located in Santa Fe, New Mexico.
All about Ed Kashi

About the Contributor:
Dr. Don Carleton is the founding executive director of the Dolph Briscoe Center for American History and the J. R. Parten Chair in the Archives of American History at The University of Texas at Austin. A specialist in American political and news media history, he is the author of 14 books, including Red Scare; Conversations with Cronkite; Struggle for Justice: Four Decades of Civil Rights Photography; and The Governor and the Colonel: A Dual Biography of William P. Hobby and Oveta Culp Hobby. He is also the executive producer of two PBS documentaries: When I Rise (2010) and Cactus Jack: Lone Star on Capitol Hill (2016). Prior to the creation of the Briscoe Center, he served as founding director of the Houston Metropolitan Research Center (HMRC), an urban history archive. A native of Dallas, Texas, Carleton earned his doctorate in United States at the University of Houston. don-carleton

About the Publisher:
As one of the leading history research centers in the nation, the Briscoe Center for American History collects, preserves, and makes available archival evidence that encompasses key themes in US history. The center fosters public exploration of history through research services, exhibits, books, public programs and digital humanities projects inspired by archival holdings. From its inception, the center has collected photography that provides evidence of the people, places, and events of American history. Recognizing the importance of photography for historical research and interpretation, in the early 1990s the center began extensive efforts to collect the archives of major American photojournalists. Those efforts soon expanded to include documentary and commercial photography, resulting in a collection that now contains more than 10 million images and spans from 1849 to the present. briscoecenter.org

The University of Texas Press is a book and journal publisher—a focal point where the life experiences, insights, and specialized knowledge of writers converge to be disseminated in both print and digital formats. Established in 1950, UT Press has published more than 4,000 books over seven decades.
utpress.utexas.edu

Monroe Gallery of Photography
“A Period In Time”
On View: October 3 – November 16, 2025
Opening with Ed Kashi: October 3, 5-7pm
Ed Kashi in conversation with Don Carleton at 5:30pm
More Information about the Exhibition
Thursday, July 24, 2025
Ashley Gilbertson On The Courage Effect Podcast
Via Suzanne Weller The Courage Effect Podcast
July 24, 2025
An unflinching conversation with award-winning photojournalist and writer Ashley Gilbertson, who has spent over two decades documenting conflict, migration, and pivotal moments that shape our world. From the battlefields of Iraq and Afghanistan to the halls of the US Capitol on January 6th, Ashley brings us face-to-face with uncomfortable truths through his lens.
In this deeply personal conversation, Ashley shares the magic that drew him to photography at 13, the weight of witnessing history, and why he believes documenting difficult stories is more crucial than ever. We explore his groundbreaking work, his evolution as a storyteller, and what it means to find courage in the darkest places.
Content Warning: This episode discusses war, conflict, domestic terrorism, and loss. Listener discretion is advised.
"The harder the work is, the better the work will be. When you get really deep into it and you want to stop, that is exactly the moment that you have to try twice as hard." -Ashley GilbertsonTuesday, July 22, 2025
CBS Evening News Feature On Stanley Forman's Pulitzer Prize-winning photo of a fatal fire escape collapse
July 22, 2025
How a photo of a deadly Boston fire sparked change
Online lecture July 23: Nina Berman on work made in 1987 when she traveled with a group of American Vietnam War veterans on their return trip to Vietnam
July 21, 2025
Penumbra is excited to host a series of online public lectures in July 2025, where artists will share insight into the projects being digitized through this program.
On Wednesday, July 23, Nina Berman will discuss work made in 1987 when as a young photographer and journalist she traveled with a group of American Vietnam War veterans on their return trip to Vietnam. The experience had a significant impact on her and influenced her later work more generally on the costs of war and American warmaking.July 23, 7-8PM | RSVP here
Monday, July 21, 2025
Tour The Exhibit "Fragments In Time" With Ashley Gilbertson July 26
MAD ROSE GALLERY, in collaboration with Monroe Gallery of Photography, is honored to present the work of distinguished photographers Ashley Gilbertson (Australia) and Franco Pagetti (Italy). Their photographs trace the subtle topography of human experience— where stillness carries weight and absence speaks. From snow-laden vineyards to fractured interiors, each image is an act of bearing witness: restrained, exacting and quietly profound. Here, the visible and the invisible are held in tension— not explained, merely observed.
FRAGMENTS IN TIME: Ashley Gilbertson & Franco Pagetti, July 4 - August 30.
Brunch and tour Saturday, July 26. Space is limited, RSVP and info: natalie@madrosegallery.com.
Ashley Gilbertson is an Australian photographer and writer living in New York City, recognized for his critical eye and unique approach to social issues. Gilbertson is a regular contributor to The New York Times, The Washington Post, ProPublica and UNICEF. Gilbertson’s photography is in museum permanent collections across the world, including The Smithsonian, Centre Georges Pompidou, National Gallery of Victoria, Harvard Art Museum, The Museum of Fine Art in Houston, and The National September 11 Memorial Museum in New York.
Franco Pagetti has spent years working in conflict zones, though he has never considered himself a war photographer. His enduring focus lies with the people, traces that history leave on faces, gestures and places. With a background in science and a past in fashion, his eye blends rigor with instinct. His photographs have appeared in TIME, The New York Times, Newsweek and in campaigns for brands such as Dolce & Gabbana, San Pellegrino, Nespresso and Armani. Whether in Baghdad or backstage, Pagetti doesn’t chase events, he observes what they leave behind. A contributor to The VII Foundation. When not on the road, he lives in Milan, Italy.