Puppies Behind Bars at Yale University With Ashley Gilbertson

The Story Behind Heidi: Yale Public Safety Service/Facility Dog

CONTACT:  Yale University Library
203-432-1072

TIME:
Wednesday, October 4, 2023 - 12:00pm to 2:00pm
LOCATION:
Sterling Memorial Library, Lecture Hall
120 High Street New Haven, CT 06511

OPEN TO:
Undergraduate, Faculty, Alumni, Yale Postdoctoral Trainees, Graduate And Professional, Spouses And Partners, Staff

DESCRIPTION:

Heidi brings comfort, joy, and smiles to so many Yale campus and throughout the state of Connecticut.

Hear about the rigorous training that Heidi and other service and facility dogs received from incarcerated individuals who raise service dogs for wounded war veterans and first responders, facility dogs police dept and explosive explosive- section canines for law enforcement.

Join Officer Rich Simons , handler for Heidi; Gloria Gilbert Soga , President & Founder, Puppies Behind Bars; and Ashley Gilbertson, Pulitzer Prize - finalist and acclaimed war photographer for a behind-the- bars peek into how facility dogs are trained.

You don’t want to miss the rare opportunity!

Hunt for the ‘Blood Diamond of Batteries’ Impedes Green Energy Push; with photographs and video by Ashley Gilbertson.

 

Via The New York Times

November 29, 2021

The New York Times continued coverage of the dangerous mining conditions that plague Congo, home to the world’s largest supply of cobalt, a key ingredient in electric cars, featuring photographs and video by Ashley Gilbertson.

Full story at this link.

To Do Wednesday: Ashley Gilbertson in conversation with VICE's Rocco Castoro

Via VII

Featuring Ashley Gilbertson
December 4, 2013
Brooklyn Brewery, 79 N. 11th Street
New York, NY
$25

For a discussion about war reporting, VII photographer Ashley Gilbertson will speak with VICE’s Rocco Castoro about his book Whiskey Tango Foxtrot, hosted by the Brooklyn Brewery.

Gilbertson’s book is a collection of images taken over the course of four years in Iraq. The book charts path of Iraq from the post-invasion excitement to the extreme violence that later occurred in the country.

The event will begin at 7:30 pm. Tickets are required to attend and include a free Brooklyn Brewery beer. All proceeds from the events in this series benefit RISC (Reporters Instructed in Saving Colleagues

More information here.

WAR/PHOTOGRAPHY: Images of Armed Conflict and Its Aftermath at Brooklyn Museum

Louie Palu (Canadian, b. 1968). U.S. Marine Gysgt. Carlos "OJ" Orjuela, age 31, Garmsir District, Helmand Province, Afghanistan, from Project: Home Front, 2008. Inkjet print, artist's proof, 21½ x 14¼ in. (54.6 x 36.2 cm). The Museum of Fine Arts, Houston, gift of Joan Morgenstern. © Photographer Louie Palu

Via The Brooklyn Museum

November 8, 2013–February 2, 2014

Robert E. Blum Gallery, 1st Floor

 

WAR/PHOTOGRAPHY: Images of Armed Conflict and Its Aftermath explores the experience of war with an unprecedented collection of 400 photographic prints, books, magazines, albums, and camera equipment, bringing together iconic and unknown images taken by members of the military, commercial portraitists, journalists, amateurs, artists, and numerous Pulitzer Prize–winning photographers.

Including the work of some 255 photographers from around the globe who have covered conflicts over the last 166 years, WAR/PHOTOGRAPHY examines the interrelationship between war and photography, reveals the evolution of the medium by which war is recorded and remembered, and explores the range of experience of armed conflict: recruitment, training, embarkation, daily routine, battle, death and destruction, homecoming, and remembrance. In addition to depicting the phases of war, WAR/PHOTOGRAPHY includes portraits of servicemen, military and political leaders, and civilians and refugees.

The objects on view include rare daguerreotypes and vintage photographs, such as Roger Fenton’s iconic The Valley of the Shadow of Death (1855) from the Crimean War and an early print of Joe Rosenthal’s Old Glory Goes Up on Mount Suribachi, Iwo Jima. More recent images include a 2008 photograph of the Battle Company of the 173rd Airborne Brigade in eastern Afghanistan by Tim Hetherington.

WAR/PHOTOGRAPHY: Images of Armed Conflict and Its Aftermath has been organized by the Museum of Fine Arts, Houston, curatorial team of Anne Wilkes Tucker, Will Michels, and Natalie Zelt. The Brooklyn presentation is organized by Tricia Laughlin Bloom, Associate Curator of Exhibitions, Brooklyn Museum.

Generous support for the exhibition in Brooklyn has been provided by the Robert Mapplethorpe Foundation and the Martha A. and Robert S. Rubin Exhibition Fund.


  
Perspectives Talk: Ashley Gilbertson

Friday, November 8, 2013 at 2 p.m.
Elizabeth A. Sackler Center for Feminist Art, 4th Floor

Brooklyn Museum
200 Eastern Parkway
Brooklyn, New York 11238-6052   
Get detailed directions

 

 

 

Hours

Wednesday: 11 a.m.–6 p.m.
Thursday: 11 a.m.–10 p.m.
Friday–Sunday: 11 a.m.–6 p.

A Photographer's War With PTSD

Marines run for cover after white phosphorus was accidentally fired at them by another company in Falluja, Iraq on November 9, 2004. [Ashley Gilbertson / VII]

Recomended read, via The Atlantic:

"As Ashley Gilbertson crept up the dark staircase of a minaret in Fallujah, he hovered closely behind advance troops of the United States Marines. Stepping around and over the rubble created by an earlier shelling of the mosque, Gilbertson could hardly see the two soldiers in lead.

Moments before starting their climb, Gilbertson argued to be the first person in the room. He wanted to take first shot at the insurgent who used this holy perch to prey on advancing U.S. forces. However, Lance Corporal William Miller and his partner, Lance Corporal Christian Dominguez, would not back down, and they took the lead that November afternoon. As Gilbertson took to the stairs, his partner Dexter Filkins mounted the steps behind him.

Guns at the ready, the convoy had just crested the first flight of crumbling stairs when gunfire erupted. Gilbertson was pushed backwards, tumbling down the steps. His face felt wet.

It was the blood of Lance Corporal Miller.

As the scene became chaotic, Gilbertson's immediate reaction was to shoot back.

He didn't.

He couldn't.

And it wouldn't matter.

The only weapon Gilbertson carries is a camera.

Full article here.