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.

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.

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.

Tracy Barbutes Photographs Yosemite Protest Rally For The SF Standard

Via The San Francisco Standard

August 25, 2025

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

Related: Throughout history, flags have elevated the emotional impact of images.

Remembering Hurricane 20 Years Later: Photographs By Stephen Wilkes

Stephen Wilkes: In Katrina's Wake: TV in sand

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.

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.

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

 Via Photography Zilla

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.

Click for full article

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. 

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.

 Via Press Freedom Tracker

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.

September 4 On Refractions: A Conversation with Sidney Monroe and Michelle Monroe

 Via B & H Photo

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.

Where to watch/listen

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.

Andrew Harper: "Art in Santa Fe - a few favorite discoveries from my last trip"

 Via Andrew Harper

"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.

Monroe Gallery of Photography

“Ancestral Strength, Teton National Park, Wyoming, Cayuse, Umatilla, Newe Sogobia and Tséstho’e, 2023,” by Eugene Tapahe

Specializing in 20th- and 21st-century photography, this downtown gallery showcases images “embedded in our collective consciousness,” and a visit is eye-opening and deeply moving. The owners, a husband-and-wife team with deep knowledge of the medium, have personal relationships with world-renowned photojournalists. Their gallery documents the highs and lows of our shared history through powerful snapshots in time. In a single visit, you might see how Tony Vaccaro captured the brutality of the battlefield and the beauty of fashion, how Charles Moore and Grey Villet snapped unsettling scenes from the Civil Rights Movement, and other notable photographers caught intimate moments with celebrities, athletes and heads of state. Taken together, the collection provides a chance to reflect on where we’ve been and where we may be going. Co-owner Sidney Monroe indicated that emotional reactions are commonplace here: “It is as it should be,” he deadpanned.

Monroe Gallery

112 Don Gaspar Avenue. Tel. (505) 992-0800

The Palazzo Magnani Foundation in Reggio Emilia presents the exhibition Margaret Bourke-White: The work 1930-1960

 Via Finestra sull'Arte

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

New Book and Upcoming Exhibition: A Period in Time by Ed Kashi

Via Photo.com

July 25, 2025

Looking Back while Moving Forward, 1977–2022

Related Exhibition and Launch Event:
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.

© Ed Kashi

© Ed Kashi

In his Introduction, Kashi reflects, ''Photography is a kind of diplomatic passport to worlds unseen, unveiling issues that need illumination, documenting history in the making, and capturing the human experience and the many awe-inspiring places in our fragile world. I’ve witnessed too many powerful moments to recount them all. This book is a testimony to some of the most important stories I was motivated to pursue and dedicate myself to. My life has been shaped by these stories, the people I had the privilege to observe and learn from, and the places and narratives that have shaped who I’ve become.''

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.

© Ed Kashi

© Ed Kashi

A distinguishing element to this book is what is learned about the artist behind the photographs. Kashi offers us an intimate view into the personal effects and impressions of being in the field. He also shares deep insights into the relationship with his wife Julie Winokur, through Dispatches or emails, he exchanged with her while away on assignment. These dispatches are interspersed throughout the book providing a personal voice that reveals authentic, raw glimpses into the situations he witnessed and challenges he experienced.

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

© Ed Kashi

About the Artist:
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

© 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

© Ed Kashi

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

© Ed Kashi

About the Distributor:
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

© Ed Kashi

Related Exhibition and Launch Event:
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

CBS Evening News Feature On Stanley Forman's Pulitzer Prize-winning photo of a fatal fire escape collapse

 Via CBS Evening News

July 22, 2025

How a photo of a deadly Boston fire sparked change

In 1975, Stanley Forman took a  Pulitzer Prize-winning photo during a Boston apartment fire. That photo would spur the city to enact new regulations to keep fire escapes safe. Mark Strassmann has the story.

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

Via Pemumbra Foundation

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

Nina Berman is a documentary photographer, filmmaker, journalist and educator.  Her work explores American politics, militarization, environmental issues and post violence trauma.  She is the author of Purple Hearts – Back from Iraq, (Trolley, 2004) portraits and interviews with wounded American veterans, Homeland, (Trolley, 2008) an examination of the militarization of American life post September 11, and An autobiography of Miss Wish (Kehrer, 2017) a story told with a survivor of sexual violence which was shortlisted for both the Aperture and Arles book prizes. Additional fellowships, awards and grants include: the Gugggenheim Fellowship in Photography, the New York Foundation for the Arts, the World Press Photo Foundation, Pictures of the Year International, the Open Society Foundation, the Center for Documentary Studies at Duke University, the MIT Knight Science Journalism Fellowship and the Aftermath Project. 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 in Jordan. 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 is a professor at Columbia Journalism School where she directs the photojournalism/documentary photography program.

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. 

In the Hallowed Place Where There’s Only Darkness: Photography by Nina Berman, Essay by Ellen Schrecker

 Via VQR

July 10, 2025

Columbia University by Nina Berman

"For more than fifty years, I have been studying and writing about political repression and higher education, with a special emphasis on McCarthyism, long considered by historians to be the most serious assault on academic freedom since the emergence of the modern university. But, as Nina Berman’s photographs of Columbia University show, what has been happening to the American academy these days is incommensurably worse. Berman, who teaches in the journalism school at Columbia, has spent decades documenting protests and the like, and naturally did so again in 2024, when pro-Palestinian demonstrations unfolded on the campus where she teaches. In the year since, she has continued to photograph with an almost diaristic discipline, and has amassed a visual narrative of Columbia’s painful transformation. In these haunting images of a locked-down campus bristling with surveillance cameras and security guards, we see autocracy revealed in the form of a restive yet silent space under control. Because Columbia’s leaders have capitulated to the Trump administration, a once-proud citadel of higher learning and independent thought is losing its credibility." --click for full article 

Related: Podcast - Nina Berman: A Lens on Consequence

Podcast - Nina Berman: A Lens on Consequence

Via Foto

 Foto 026 - Nina Berman by Michael Howard

 

 In this episode, Michael talks with Nina Berman, a documentary photographer, filmmaker, and professor whose work interrogates the relationship between power, militarization, and the American experience. Over a career spanning three decades, Nina has consistently focused her lens on systems of violence and their aftermath, from war zones to police training grounds to the staged patriotism of political spectacle.

A Guggenheim Fellow, two-time World Press Photo winner, and professor at Columbia Journalism School, Nina is also the author of three major books: Purple Hearts – Back from Iraq, Homeland, and An Autobiography of Miss Wish. Her photographs have been exhibited in venues such as the Whitney Museum, the Brooklyn Museum, and the Museum of Fine Arts, Houston.

In this conversation, she discusses how her work has evolved from portraits of wounded veterans to broader investigations into how militarized thinking permeates everyday American life. She reflects on the ethics of long-term documentary work, the emotional cost of sustained witnessing, and why photography remains a vital civic act.

This is a powerful episode with one of the most uncompromising voices in American documentary photography — a conversation about courage, clarity, and using your camera to look directly at the systems that define our time.

Vicki Goldberg Dies at 88, an influential photography critic, she wrote essays, newspaper columns and books, including a notable biography of the photojournalist Margaret Bourke-White.

 Via The New York Times

June 18, 2025

Vicki Goldberg, an influential photography critic and the author of a lauded 1986 biography of Margaret Bourke-White, the pioneering and colorful Life magazine photographer, died on May 29 in Manhattan. She was 88.

Bourke-White was America’s first female photographer to be accredited to cover World War II, a swashbuckling personage who worked for Fortune and then Life magazines. She shot Nazi rallies, and, in agonizing images, the liberation of Buchenwald. She flew in a Flying Fortress bomber to get shots of a raid on Tunis. She photographed a smug-looking Stalin. Away from the war, she perched on a gargoyle atop the Chrysler Building in Manhattan to photograph its twin and made perhaps what is the most famous portrait of Gandhi, sitting cross-legged with his spinning wheel.

War Reporting in a Time of Chaos | Phil Klay, Ashley Gilbertson, Victor Blue, & Danielle Paquette in Conversation

 Via 20summers.org

Sunday, May 25, 2025

5:00 PM - 6:30 PM

Hawthorne Barn

29 Miller Hill Road, Provincetown, MA

RSVP Here

In a panel discussion moderated by National Book Award–winning author and Marine veteran Phil Klay, distinguished conflict journalists and photographers Victor J. Blue, Ashley Gilbertson, and Danielle Paquette will discuss their work in conflict zones on several continents over the past couple of decades. How has their work changed? How has it changed them? And as we move into a chaotic time both in the news industry and in foreign relations, where old assumptions about the international order are quickly being upended, what are unique challenges of covering wars now? And what insights can long-time war correspondents offer as we look out into an uncertain future? 

Phil Klay is an author, a veteran of the U.S. Marine Corps, and a professor at Fairfield University. His short story collection Redeployment won the 2014 National Book Award for Fiction, and his novel Missionaries was listed by former President Barack Obama as one of the best books of 2020. He also regularly writes essays on politics, culture, and American military policy for publications such as the New York Times, the New Yorker, the Atlantic, and the Washington Post.

Ashley Gilbertson is an Australian photographer and writer living in New York City recognized for his critical eye and unique approach to social issues. He is a frequent contributor to major media outlets and a collaborator with the United Nations. For over twenty years, Gilbertson’s work focused on refugees and conflict, an interest that in 2002, led him to Iraq. His work from that country was awarded the Robert Capa Gold Medal, and in 2007, Gilbertson’s first book, Whiskey Tango Foxtrot, was released, going on to become a best seller. Today, Gilbertson documents global migration in Africa and Europe, and works on climate, social and health issues in the United States and Asia. He writes regular opinion and news stories for outlets including The New York Times, The Washington Post, ProPublica, and UNICEF. In 2014, a multimedia story on the militarization of the South China Sea earned him an Emmy nomination.

Victor J. Blue is a New York based photojournalist whose work is most often concerned with the legacy of armed conflict, human rights and the protection of civilian populations, and unequal outcomes resulting from policy and politics. He has worked in Central America since 2002, concentrating on social conflict in Guatemala, and since 2009 has photographed the Counterinsurgency war in Afghanistan. He has completed assignments in Syria, Mexico, El Salvador, Honduras, Iraq, and India, and has documented news stories and social issues across the United States. He worked as a staff photographer at The Record in Stockton CA, and holds a Masters Degree in Visual Communication from Ohio University. He practices a deeply reported, character driven documentary photography that tries to both inform viewers intellectually and move them emotionally, and communicate something universal from the particular circumstances of individual lives and struggles. 

Danielle Paquette is a national correspondent for The Washington Post. She previously served as West Africa bureau chief and has reported from more than 20 countries on four continents. Paquette joined The Post in 2014, starting as a roving economics reporter. A native of Indiana, she has also worked for the Tampa Bay Times and the Los Angeles Times. She resides in the nation’s capital with her husband and dog.

Joe McNally receives Professional Photographer Achievement Award at IPC Hall of Fame and Professional Photographer Achievement Awards on May 14th

 Via International Photographic Council (IPC)

May 18, 2025

The International Photographic Council (IPC) is a non-profit organization committed to promoting the power of photography as a universal means of communication. IPC is a Civil Society Organization formally associated with the United Nations Department of Global Communications. Through our global community of photographers, educators, and industry experts, we strive to foster intercultural understanding and collaboration through visual storytelling.

View a selection of Joe McNally's photographs here.