A country full of contradictions. 250 years of the USA. Mark Peterson

 A country full of contradictions. 250 years of the USA. - laif

Via LAIF

March 28, 2026

Mark Peterson

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

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

We start with Mark Peterson, one of New York's most respected photojournalists. We asked him for his assessment of the state of American society and the future of photojournalism.

Mark, the United States is approaching its 250th anniversary – an event that is attracting worldwide attention. What does this milestone mean to you in terms of your work? Is there a photo that you think best represents the U.S., whether it's at this moment or at any other time?

A photo I took of a portrait of President Trump. It hung on a building; I photographed it through a fence. An American flag hung over Trump's face. Mark Peterson

How would you describe the current mood in the country?

I have reported extensively on the current Trump administration and also on the people on the streets who are protesting against the Trump administration and ICE in the United States. The current mood in the country is divided: half of the population thinks things are going in the right direction, while the other half believes they are going in the wrong direction.

In view of the flood of AI images, disinformation and fake news on the Internet: How do you currently see the role and importance of photojournalism and the media?

I think photojournalism and citizen journalism have had a big impact – especially in Minneapolis, where photos and cell phone videos have directly contradicted the official statements of Trump administration officials.

 Do you think that photographs can influence public sentiment and opinion, or is that too optimistic a view?

Yes, photos, videos and social media are still very influential and shape public opinion. In Minneapolis, ICE's images have changed the debate, and the government has withdrawn from Minneapolis.

Has your way of photographing changed because photos are now mostly published online and viewed on mobile phones?

No.

What is the biggest challenge photojournalists face in the future, and what would you like to see in your profession?

The biggest challenge is the lack of funding for long-term projects. And that newspapers and media houses close and cut jobs.

Full article here

Mark Peterson

Mark Peterson is a photographer based in New York City. He is the author of two books: »Acts Of Charity« (2004, published by powerHouse Books) and »Acts Of Charity« »Political Theatre« (2016, published by Steidl). In 2018, he was awarded the W. Eugene Smith Award for his work on "White Nationalism".

He is represented by Redux Pictures for editorial assignments and his work appears in magazines and newspapers such as the New York Times Magazine, the New Yorker, the New York Magazine, French Geo, Fortune and Time Magazine.

His work is in the collections of the National Portrait Gallery in Washington, D.C., the International Center of Photography, the George Eastman Museum, and the Fine Art Museum of Houston. Since 2014, Peterson has focused on the decay of U.S. democracy and the rise of nationalism, and will publish a book about this work at Powerhouse in the winter of 2027.

Monroe Gallery will exhibit a selection of Mark Peterson's photographs from Minneapolis at The Photography Show presented by AIPAD, April 22-26 in booth B10.

"I Photographed January 6. Trump’s Pardons Can’t Erase What I Saw." --Gallery Photographer Nate Gowdy

Via Columbia Journalism Review

February 4, 2025

Reflections from an independent photojournalist.

5:07:45 PM, January 6, 2021, US Capitol, Washington, DC

America loves to rebrand its sins as myth. In four years, MAGA loyalists have recast the January 6 insurrection as resurrection. (All photos by Nate Gowdy)

February 4, 2025

By Nate Gowdy

"This is why I document: America loves to rebrand its sins as myth. In four years, MAGA loyalists have rewritten January 6 from every angle. Rioters have been framed as leftists in disguise, police as “crisis actors,” the attack an FBI setup—or, more outrageously, citizens on a “normal tourist visit.” By 2025, revisionism is big business. Conservative media churns out books, podcasts, and stump speeches recasting insurrection as resurrection. But my images tell another story: they depict a nation in fracture, where well-meaning neighbors and dutiful relatives cling to their “Big Lie” with an unwavering sincerity that doesn’t just reject facts—it inoculates against them, leaving everyone vulnerable to propaganda and less capable of critical thought." 

Full article here:  I Photographed January 6. Trump’s Pardons Can’t Erase What I Saw. - Columbia Journalism Review

WITNESS: Nate Gowdy’s Lens on January 6, 2021

 Via Spectrum Fine Art

WITNESS: Nate Gowdy’s Lens on January 6th, 2021

 

On January 20, 2017, Nate Gowdy stood at the U.S. Capitol, camera in hand, as Donald J. Trump—with right hand raised and left atop the Lincoln Bible—took the oath of office, vowing to end “American carnage.” It was an ominous prelude to a presidency that would redefine American political expression.

 Four years later, on January 6, 2021, Gowdy returned to Washington, DC, prepared to document Trump’s “Save America” rally at the Ellipse. Instead, he witnessed surreal scenes unfold: militants marching, kneeling in prayer, posing for group photos, breaking for hotdogs, rampaging against the Capitol’s sworn protectors, and leading thousands to defile the Inauguration Day stage.

 This fine art exhibition, WITNESS: Nate Gowdy’s Lens on January 6th, 2021, examines that day as a theater of chaos and conviction. Gowdy's stark, unflinching images depict the U.S. Capitol, one of democracy’s most sacred symbols, as it becomes a haunting set piece in a dystopian tableau of domestic terror—an inside job.

 Twice assaulted for being deemed "fake news," Gowdy persisted in exposing the truth. Shot on assignment for Rolling Stone, his images transcend traditional photojournalism, revealing the kinetic energy and raw emotions of insurrection: vulnerability, rage, fear, and euphoria. These are not just photographs of an event but intimate portraits of the humanity—and inhumanity—that defined it.

 Through this collection, Gowdy challenges viewers to confront the complexities of identity, power, and the fragility of democratic ideals. WITNESS invites us to reflect on the contradictions of that day, presenting the Capitol not only as a battleground but as a mirror to the nation itself. What do these images reveal about us—and what do they demand we reckon with?

In association with Monroe Gallery of Photography

Artist Reception 

Thursday January 16 // 6 - 9 p.m.

The artist will be in attendance.

1411 34th Avenue

Seattle, WA 98122

206.420.5495

"The press is once again not at war, but at work"

 Via Columbia Journalism Review

November 6, 2024

"For now, a few important things seem clear for the press—things we’ve known conceptually for some time, but now hit with a shocking new clarity. The most important is that Trump’s impending second term poses a credible and unprecedented threat to press freedom as America has known it."

The Spencer Museum of Art Adds Iconic January 6 Photograph By Nina Berman To Its Collection

Via Monroe Gallery of Photography 

For Immediate Release

Wednesday, July 31, 2024

Contact: Sidney S. Monroe/Michelle A. Monroe
505.992.0800/E-mail info@monroegallery.com

The Spencer Museum of Art, operated by the University of Kansas in Lawrence, Kansas, has recently added a print from January 6, 2021 by Nina Berman to its Collection. New York City-based photojournalist, filmmaker, and professor, Nina Berman covered the January 6 Insurrection at the Capitol in Washington, DC. Her photographs of that day have been published internationally, including National Geographic, Vice News, and L'Illustre.

“Big Brother, Washington DC, 2021 stands as a reminder and a warning.” — Nina Berman

Nina Berman: "Big Brother" President Trump's image appears onscreen at a rally outside the White House. Before long, a mob of his supporters would march into the Capitol building, January 6, 2021

Located on the University of Kansas campus, the Spencer Museum of Art is a vibrant cultural center that sparks curiosity, inspires creativity, and creates connections among people through art.

With a diverse collection of more than 48,000 art objects and works of cultural significance, the Spencer is the only comprehensive art museum in the state of Kansas and serves more than 50,000 visitors annually. 

The Museum’s vision is to present its collection as a living archive that motivates object-centered research and teaching, creative work, and transformative public dialogue. The Spencer facilitates arts engagement and research through exhibitions, artist commissions and residencies, conferences, film screenings, musical and dramatic performances, artist- and scholar-led lectures, children’s art activities, and community arts and culture festivals.

Nina Berman’s fine art prints are represented by Monroe Gallery of Photography.

Save The Date - March 30, 2023: Nate Gowdy: The Insurrection in Photos

 

Via Town Hall Seattle

February 18, 2023

Nate Gowdy – Town Hall Seattle

Nate Gowdy had previously photographed 30 Donald Trump rallies. He thought he was fully prepared for what should have been the grand finale, but the events that unfolded on January 6th, 2021, were more than anyone could have expected. 

As the event transformed from protest to outright insurrection, Gowdy never stopped photographing. The result is his first monograph, Insurrection — a comprehensive yet intimate account of the events of that fateful day. The 150-page book moves readers through the day in timestamped, chronological order, bringing them a firsthand account of not just the attack on the U.S. Capitol, but what it was like to be a journalist on the front lines.

Juxtaposed are scenes of domestic terrorists kneeling and praying, posing for group photos, eating hotdogs, rampaging against the Capitol’s sworn protectors, and defiling the Inauguration Day stand, historically reserved for the stately pomp and circumstance of our representative government. On assignment for Rolling Stone, Gowdy was deemed “fake news” and assaulted twice for having professional cameras.

Gowdy joins us in the Wyncote NW Forum to share more about that historic day in January.

Nate Gowdy captures the complexities of American politics with striking clarity. Since chronicling Washington state’s fight for marriage equality in 2012, he has traveled the US to photograph pivotal events, figures, and movements across the political divide. His images have been featured in Rolling Stone, Mother Jones, PBS NewsHour, Thom Hartmann, CNN, and TIME, where his Bernie Sanders portrait graced the cover in 2016. As a co-founder of The American Superhero Project and co-author of Our Students, Their Stories, a book celebrating Seattle Public Schools’ LGBTQIA+ students, families, and staff, Gowdy is committed to elevating underrepresented voices. He serves as the official photographer for Seattle Pride, and his documentary fine art is represented at Monroe Gallery in Santa Fe.

Thursday, March 30, 2023, 7:30PM

The Wyncote NW Forum

1119 8th Ave (Entrance off Seneca St.)

Seattle, Washington 98101

Get tickets here

Photojournalist Nate Gowdy Releases Intense Images from the Jan 6 Riot

Via Peta Pixel

January 31, 2023

Nate Gowdy: 5:07:45 PM, January 6, 2021, US Capitol, Washington, DC

Two years on from the Jan. 6 riots, an attack on the U.S. Capitol by Trump supporters, a photojournalist has released his photos from that fateful day.

For his new book Insurrection, Nate Gowdy tells PetaPixel that he was mistaken by some members of the mob as their “fellow patriot,” others assaulted him for being part of the “fake news.”

“Brave photojournalists had to endure hell to navigate that day better than I did,” Gowdy says.

“Many risked endless aggressions to document the battlefront and gore from up close. Not me. Lacking the necessary gear and armor for a combat zone, I captured the wider view. Instead of zooming in with my feet, I often took a step back.”

Gowdy says he was attacked by a group of Proud Boys in the morning and a second time in the afternoon after the perimeter barricades to the Capitol grounds were breached.

“A few insurgents mistook me as a fellow ‘patriot,’ offering water for my burning eyes, confiding in me, and even lending a hand,” he explains.

“The rest of them monitored me with suspicious glares. Because I wasn’t repping my press badge, they couldn’t be 100 percent sure I wasn’t on their team. If I could do it over, I’d cover my N95 with an American flag bandana.

“All afternoon, I worked discreetly, often facing the opposite direction as my lens was pointed, shooting with outstretched arms or from the hip. I religiously avoided eye contact, lest these people take notice of the fear in my eyes. It helped that my lens was wide enough that I didn’t have to point directly at someone in order to include them in my frames.”

Gowdy traveled to D.C. from Seattle to cover what was supposed to be a political rally for Rolling Stone magazine, no different from the many assignments he had been on previously.

But he soon realized that this would be much different and because of the holiday season, Gowdy didn’t have all of his usual gear and was forced to borrow some from a colleague.

“I struggled to adapt to my friend’s custom presets. For the life of me, I couldn’t get used to his ‘back-button AF,’ which separated AF activation from the shutter release,” explains Gowdy

“In no position to troubleshoot, I reset the camera, which made matters worse by somehow removing the AF function altogether! I can laugh at it now, but in my ten years as a photographer, I had never once used manual focus. I’m here to tell you that at a violent insurrection, it’s a difficult thing to learn.”

Virtually all of the photos were taken on Gowdy’s Lecia Q’s fixed 28mm lens and a flash that his friend had lent him.

3:19:18 PM, January 6, 2021, Washington, DC

“Locked between thousands of rioters at the Inauguration Day stand, I was immobile for long periods. The camera’s focal length forced me to focus on and prioritize the subjects and scenes right before me,” he adds.

The Pictures Almost Never Existed

After escaping without serious injury, Gowdy then had the utter devastation of his Leica Q, hard drives, laptop, and all of his pictures being stolen from Washington’s Union Station as he was traveling back to Seattle.

“It was one of the lowest points of my career, and I would’ve given anything to recover these photographs,” he says.

Luckily, one of his friends spotted the camera listed on an online marketplace and Gowdy messaged the seller who claimed to have “found” his backpack that contained all of his stuff. The crook then demanded $2,000.

“Very fortunately, the thief agreed to return to the scene of the crime and to make an exchange the following day at Union Station with a friend of mine,” explains Gowdy.

“Amtrak Police went above and beyond to work with my friend to coordinate a safe and successful sting operation. Everything was returned in time for me to photograph Biden’s inauguration day.”

The 150-page hardcover edition of Insurrection by Nate Gowdy is available via his website.

“If you’re curious to read the only available book of photojournalism about what it was like to be in the middle of the mob on January 6, I encourage you to pick it up,” he adds.

BRINK: Photographs by David Butow on view in the Reva & David Logan Gallery for Documentary Photography

 

Via Berkeley School of Journalism

CANCELLED

BRINK 

Photographs by David Butow 

on view in the Reva & David Logan Gallery for Documentary Photography

UC Berkeley Graduate School of Journalism, North Gate Hall

A live conversation with photographer David Butow and Berkeley Journalism Prof. Ken Light, followed by Q&A with Berkeley Journalism students Kathryn Styer Martínez ('23) and Mathew Miranda ('22)

RSVP here

Live stream:

https://youtu.be/7uUVql_0Kmo

Friday, March 11, 2022 | 5:00-6:00 PM (PT)

Statement from David Butow:

A few weeks before the 2016 presidential election, I traveled to the swing states of the upper Midwest to try to get a sense of what was driving support for Donald Trump. I fully expected Hillary Clinton to win but Trump had tapped into something I didn't understand, and I was surprised that this self-centered, unscrupulous businessman who seemed to have no interest in government, was the Republican nominee. 

His stunning victory, and the sense that the country would go through a very strange period, compelled me to move from California to Washington, D.C. I'd spent decades as a photojournalist covering, in part, the results of public policy, but I'd never worked inside the halls of power in the nation's capital. This seemed like a good time to do it, and while I expected the incompetence, I underestimated the treachery. 

The first three years were an endless stream of scandals, highly-charged congressional hearings on Capitol Hill and declassé press events at the White House. I was curious what happened outside of the frame of television cameras and tried to make photographs that were different from typical pictures designed for the daily news cycle and quick hits on the web.

In 2020, everything changed. The drama and tension was acute, and visceral. Americans were dying of COVID-19 by the thousands, the administration was slow to respond and protests of the murder of George Floyd pressed up to the very gates of the White House. Late in the year, after Joe Biden's victory, the president and his hard-core supporters laid the groundwork for challenging the election. 

On the afternoon of January 6, 2021 I was standing on the west steps of the Capitol watching something so surreal, dramatic and terrible, for a few seconds, or maybe it was minutes, I lowered my camera and just tried to process what I was seeing through the foggy view of my gas mask. The next few weeks at the Capitol were unrecognizable, as young National Guard troops carrying loaded machine guns stood on patrol behind miles of razor wire, protecting U.S. democracy from its own citizens.

It was then that I knew I must organize the work I'd begun four years earlier into a narrative that would at least illuminate the arc of events that had brought the country to this point. We lived through history minute by minute, so much so that the gravitas of what transpired is apparent only when you step back and see how the whole saga unfolded. As revisionists seek to trivialize or downplay the events of 2016-21, it's critical to maintain a record of just how close the presidency of Donald Trump brought U.S. democracy to the brink of collapse. 

Four years ago, I thought this period would be an aberration. Regrettably, I no longer hold that view.