New Exhibition: WWII - Eighty Years and Free Film Screening

 

Monroe Gallery of Photography is honored to present a special exhibition commemorating the 80th anniversary of the end of World War II, the largest and most violent military conflict in human history. “WWII – Eighty Years” opens on Friday, April 18, with a special free screening of the HBO Documentary Film “Underfire: The Untold Story of PFC Tony Vaccaro” on Saturday, April 19 at 5 pm. Seating is limited, RSVP required. The exhibition continues through June 22, 2025.

This anniversary reminds us of war’s cost and the courage to believe in humanity, even in the darkest times.

At the age of 21, Tony Vaccaro was drafted into WWII and was a combat infantryman in the 83rd Infantry Division on a boat heading toward Omaha Beach, six days after the first landings at Normandy. The acclaimed HBO Films documentary “Under Fire: The Untold Story of Private First Class Tony Vaccaro” tells the story of how Tony Vaccaro survived the war, fighting the enemy while also documenting his experience at great risk, developing his photos in combat helmets at night and hanging the negatives from tree branches. The film also encompasses a wide range of contemporary issues regarding combat photography such as the ethical challenges of witnessing and recording conflict, the ways in which combat photography helps to define how wars are perceived by the public, and the sheer difficulty of staying alive while taking photos in a war zone.

   

 Preview the exhibition here.

RSVP for the film screening here.

Podcast: Documenting war crimes with Ron Haviv

 Via iMEDd

March 12, 2025

Listen here.

Photography Exhibition: “A Brief Guide to Investigating War Crimes”

Documenting war and war crimes is a special segment of photojournalism. Tim McShea, a student at Johns Hopkins University, discusses with Emmy nominated and award-winning photojournalist Ron Haviv the stories behind some of his iconic photos (see here) during iMEdD’s International Journalism Forum for the Forum’s pop-up newsroom. Ron Haviv is a co-founder of VII Photo Agency & The VII Foundation.  

A selection of Ron Haviv's photographs will be part of the Monroe Gallery presentation at The Photography Show presented by AIPAD in booth C8, Park Avenue Armory, NYC, April 23 - 27, 2025.

A new show at the Rijksmuseum tries to make sense of the US with ‘American Photography’; includes Nina Berman's "Marine Wedding"

 

March 1, 2025

Via The Financial Times

"Nina Berman’s “Marine Wedding” chronicles the marriage in 2006 of mutilated Iraq War veteran Tyler Ziegel, a plastic dome replacing his broken skull, and his childhood sweetheart Renee Kline. The bride appears grief-stricken, the couple divorced within a year and Ziegel died at 30 from an overdose.

The first such major survey in a European museum, American Photography, drawn from the Rijksmuseum’s eclectic collection plus well-targeted loans, is timely, launched as Europe struggles to understand Trumpian America. Installed thematically — “Face to Face”, “At Home”, “On the Road”, “Selling Points”, “Death and Disaster” — it records how the camera has eyed the country in reportage, advertisements, protest posters, family and amateur snapshots, photo-booth strips, memorabilia." --Full article here

Photo exhibition "A brief guide to investigating war crimes"

 

Via Stereosis

Photo exhibition "A brief guide to investigating war crimes"

The non-profit journalism organization iMEdD (incubator for Media Education and Development) presents the photo exhibition "A Brief Guide to Investigating War Crimes", curated by award-winning photojournalist and director of the VII Foundation, Ron Haviv and the Global Investigative Journalism Network (GIJN).

The exhibition features photographs from the GIJN Guide for journalists on war crimes investigation, with the participation of VII photographers, offering a compelling visual narrative on conflicts, war crimes and their consequences. Through these images, the exhibition highlights the importance of investigative journalism, human rights research and legal documentation in reporting the truth. 

The exhibition will be hosted at Stereosis, Thessaloniki, from 7 to 20 March 2025. 

The opening will take place on Friday, March 7 at 20:00 and admission will be free. 

In the context of the exhibition, the educational pillar of iMEdD, Ideas Zone, organizes two parallel events:

Drawing on his experience in more than 25 conflicts, including his work in the Balkans used to convict war criminals in The Hague, Haviv will share knowledge on war crimes documentation, best practices for ethical reporting, and the role of visual evidence in legal liability. Participants will gain practical skills and a deeper understanding of the responsibility involved in recording history through the lens.

Date and time: Saturday 8 March 2025, 11:00-13:00 (Duration: 120')

Lecture by Ron Haviv | "Testimony 1989-2024"

A dynamic retrospective of conflicts from Central America and the Balkans to the Arab Spring and Ukraine. Through short films and personal reflections, Haviv explores the role of the photographer, the consequences of war and the responsibility of being a martyr.

Date & Time: Sunday 9 March 2025, 11:00-13:00 (Duration: 120')

Admission is free. Due to limited seats, the workshop will be on a first-come, first-served basis and the lecture will be on a first-come, first-served basis.

A Field for Ghosts: American Photography at Rijksmuseum

Via FAD Magazine

February 10, 2025 

"A step through the gallery doors reveals the first of many rooms that archive, dissect, and tinker with the values and experiences of American culture. The themes are immediately apparent. Domestic strife, racial politics, the suppression of queer identities, sexuality, ecology, and individuality; each of these ideas finds its example, its case. Whether considering the dual personalities in Robert Mapplethorpe’s self-portraits, the interweaving of indigenous art practices with modern photography in Sarah Sense’s work Hinushi 18, or the few surviving artefacts of the country’s abandoned towns in Bryan Schutmaat’s landscapes, the overall impression resounds. America is a nation at war with itself. Conflict, reflected in the photography, regarded as an essential component of the modern experience of life in the USA.

The results of these battles are morbid and cruel. One photograph, from Nina Berman’s collection Marine Wedding, depicts the marriage of a disfigured soldier sent to fight in one of the American governments many international warzones. Described simply by the accompanying placard, the viewer is informed that the marriage broke up, and that soldier had died from alcohol and morphine overdose since. Likewise, the piercing work of Nan Goldin chronicles her experiences with domestic violence and the AIDS crisis as it ravaged New York. In Cookie and Vittorio’s wedding, New York City 1986, Cookie Mueller, featured in another depiction of a wedding, walks the aisle with her soon-to-be husband, though anyone who knows the story will understand how tragic this became after the fact, as they both died shortly afterward."

--Full article here

American Photography, 7th February to 9th June 2025, Rijksmuseum

The line between activism and journalism breaks

 Via Neiman Labs

By Hafsa Maqsood

December 10, 2025

“When journalists around the world are being killed for practicing their freedom of press, journalists have no choice but to become activists.”

There is a growing frustration in the pit of the global journalism industry’s stomach. A frustration that comes from witnessing an entire year of devastating war in the Middle East, massive bloodshed, and ongoing conflicts across the globe where nothing seems to be working. A sickening frustration fed by the reeking hypocrisy of trying to “holding truth to power” in a post-truth world simultaneously bowing to power.

This frustration was born long ago in the stomachs of marginalized members of various diasporas, like myself, coming from histories of ancestral displacement and ravaging colonialism, and it is in part what has motivated them to join media and journalism industries only to be met with walls of supposed objectivity. An “impartiality” that leads to donning a hollow mask of white neutrality discordant with their lived realities.

That frustration will come to a breaking point in 2025 and translate into tearing down the line between activism and journalism that has already been breached, particularly since the 2020 rise of the Black Lives Matter movement.

When democracies are in peril, when international laws meant to hold humanity accountable are being disregarded, when people charged with criminal offenses are leading governments, when journalists around the world are being killed for practicing their freedom of press, journalists have no choice but to become activists.

In 2025, journalists will no longer be told that coming in to work with a “Free Palestine” sticker on their laptops or water bottles is controversial and against guidelines while a “Stand With Ukraine” sticker is praised. Massive refugee and humanitarian displacements that occurred in 2024 will also impact news audiences. As journalists respond to audience demands, this shift will encourage a journalistic focus on human interest and global perspective stories that amplify refugee and diaspora narratives. Diaspora communities will play a crucial role in shaping these narratives through activism and storytelling that will bloom in the 2025 media and journalism industry.

When giving a lecture on media framing at the University of British Columbia in 2022, I held a roundtable attended by many members of Palestinian diaspora in Canada. Every one of them expressed turning away from legacy media in favor of citizen journalism and treating activists as sources for news. What if journalists with training and established platforms could tap into these audiences who are rejecting them in favor of unofficial news sources? What does this rejection mean for the decline of legacy media and journalistic ethics of “truth-telling?”

The answers to these questions, I predict, will come to fruition in 2025. We, as an industry, will have to reevaluate the meaning of “journalistic independence” if we want that sickening pit of frustration to heal. And the demands of a growing diaspora born out of conflict, war, and displacement will be one exceedingly difficult to ignore.

Hafsa Maqsood is a journalist and Ph.D. candidate at the University of Calgary.

Review of new film about Lee Miller references Tony Vaccaro

 Via truthdig

September 29, 2024

A Photographer’s Legacy, Airbrushed

"It’s surprising that it took this long to give Lee Miller the Hollywood treatment. A former model and eventual frontline World War II photographer, with an eye that rivaled Robert Capa and Tony Vaccaro, she lived a haunted life following the publication of her revelatory Vogue magazine spread depicting the liberation of Dachau. “Lee” arrives in theaters this week as a reminder of both Miller’s work and the need to memorialize the details of genocide. Sadly, the movie does little more than gesture at both."

--full article

Oklahoma State University Museum of Art Exhibit “How We Rebuild” Includes Gallery Photographer Nina Berman

 Via Oklahoma State University Museum of Art

September 23, 2024

The Oklahoma State University Museum of Art presents “How We Rebuild,” opening Sept. 24, 2024. This selection of photographs examines the aftermath of conflict, focusing on what it takes to recover the heartbeat of humanity.

The exhibition draws from 12 years of work created by grant winners and finalists from The Aftermath Project, a nonprofit organization committed to telling the other half of war stories after the conflicts have ended — what it takes for individuals to rebuild destroyed lives and homes, to restore civil societies, and to address the lingering wounds of war while struggling to create new avenues for peace.

Documentary photographer Sara Terry founded The Aftermath Project to impart the importance of “aftermath photography,” yearning for a society that doesn’t forget the people and places that conflict photography covers.

“The end of war does not mean peace. It is simply the end of death and destruction. Every story of war includes a chapter that almost always goes untold — the story of the aftermath, which day by day becomes a prologue of the future,” Terry said.

The photos selected for “How We Rebuild” center and reflect on the human stories and memories that define us. The assembly of images features moments of hope, agency and resilience.

“These photographs serve as a powerful reminder that rebuilding isn’t just physical — it’s emotional and communal, requiring empathy, patience, and shared understanding,” said Liz Roth, OSU Museum of Art interim director.

This exhibition invites audiences to engage with the visual narratives and reflect on the role of the photographs in helping communities heal. “How We Rebuild” is organized by ExhibitsUSA, a program of Mid-America Arts Alliance.

Artists included in the exhibition are Rodrigo Abd, Juan Arredond, Fatemeh Behboudi, Nina Berman, Pep Bonet, Andrea Bruce, Monika Bulaj, Kathryn Cook, Jeremy Dennis, Gwenn Dubourthoumieu, Michelle Frankfurter, Alessandro Gandolfi, Glenna Gordon, Ron Haviv, Jessica Hines, Olga Ingurazova, Andrew Lichtenstein, Luca Locatelli, Davide Monteleone, Saiful Huq Omi, Javad Parsa, Adam Patterson, Joseph Sywenkyj, Sara Terry and Donald Weber.

“How We Rebuild” is on view Sept. 24 through Dec. 20 at the OSU Museum of Art. Learn more at the website.

For more information about The Aftermath Project, visit theaftermathproject.org.

"The Flag Is A Force That Gives Us Meaning"

 Via Field of View

Original article posted on July 12, 2024

"Throughout history, flags have elevated the emotional impact of images, attracting photographers — and photo editors — like moths to a flame."   click to read full article

The article analyzes several photographs, including these by Gallery photographers:

Stanley Forman

The Soiling of Old Glory" Anti-Busing Protest, Boston, 1976

David Butow

January 6, 2021, Washington, DC. Supporters of President Trump battle law enforcement on the West steps of The Capitol during the attack on the day of Joe Biden’s election certification by Congress.

Joe Rosenthal/AP

Marines of the 28th Regiment of the 5th Division Raise the American Flag Atop Mt. Suribachi, Iwo Jima, 1945

"Going down the rabbit hole of photos that are elevated, and in many defined, by flags...."

 

D-Day + 80: remembering Tony Vaccaro

 

Tony Vaccaro: Normandy, June, 1944

As a U.S. Army private, Tony Vaccaro's boat sailed for Normandy on D-Day+12 in June 1944, before landing, June 18. 

Just before leaving for France, while all the other soldiers were busy checking their gear, Tony secretly wrapped his Argus C3 camera in layers of plastic to keep it from the water and to hide it from his commanding officer. He photographed the Normandy coast through a buttonhole in his outer jacket.

Drafted into the war at the age of 21, he was denied access to the Signal Corps, but Tony was determined to photograph the war and had his portable 35mm Argus C-3 with him from the start. For the next 272 days, Tony fought on the front lines of the war, documenting his personal witness to the horrors of war.

The pictures – many of them raw, graphic, disturbing – follow his advance, and that of his unit, the 83rd Infantry Division, from the beaches to Berlin.

They represent one of the most complete collections of images of World War II, as seen through the eyes of someone who fought during the conflict. 

Read "D-Day through a lens: ‘First the rifle, then photographs’" on CNN

In 1994, the 50th anniversary of the D-Day landings, Tony was awarded the French Legion of Honor, among many other awards and recognitions. The documentary film Underfire: The Untold Story of Pfc. Tony Vaccaro Underfire: The Untold Story of Pfc. Tony Vaccaro premiered at the Boston Film Festival in 2016 and was distributed by HBO.  The film led to a career renaissance for Tony Vaccaro.

Tony Vaccaro, left, at a ceremony marking the 70th anniversary of D Day, June 7, 2014

Via US Department of State/Wikipedia

Tony Vaccaro passed away peacefully on December 28, 2022, eight days after celebrating his 100th birthday.

A new exhibition, "TONY VACCARO: The Pursuit of Beauty" opens at Monroe Gallery of Photography on July 5, 2024, and will be on view through September 15, 2024.

War Photography: Movie vs Reality

Via The Real Frame: War Photography on Screen - The Real Frame

May 21, 2024 by David Butow David Butow –

As if the political tension in the United States couldn’t get any higher, this spring a new movie depicting a full-scale, near-future civil war in the country is filling theaters and drawing good reviews. The film, “Civil War”, directed by Englishman Alex Garland, (“The Beach”, “Ex Machina”), imagines that the country is ruled by a quasi-dictator serving his third term as president. The opposing side is comprised of a well-organized and equipped army of rebels (called the “Western Alliance”), that is on the move to Washington, D.C. to remove him from power.

The main point of the movie is, I think, to force audiences to confront the possibility, however remote, that something like this could actually happen. The U.S., despite illusions of “exceptionalism,” is fundamentally no different from any other empire that can break down and/or break apart. This is big stuff, but the POV of this terrible scenario is told through the narrow experiences of a group of four journalists, principally two still photographers played by Kirsten Dunst and Cailee Spaeny.

It’s rare that photojournalists are the main protagonists in a film, they’re usually quirky side characters like Dennis Hopper’s idiosyncratic portrayal of a half-crazed Vietnam War photographer in “Apocalypse Now.” But putting them in the center of the plot requires detail of their working habits, and more importantly, into the emotional and ethical challenges they face as they make their way through one violent situation after another. The whole raison d’être of them being there is questioned. Are they after the thrill or some greater good? What is the role of journalistic observers in conflict? I can’t say those questions are deeply examined but they are certainly put up on the metaphorical blackboard (or video projector if you prefer).

If you haven’t seen the film but might go, be aware there is a lot of violence depicted, sometimes rather realistically and without the heavy music and other mood overlays we’re used to in Hollywood movies. I found this starkness jarring, but effective. Another thing I thought the film did rather well was show how quickly things can happen, often when you’re not expecting them, and also how chaos and semi-normalcy can exist in proximities much closer than you might expect.

Conversely, I thought there were some things about the journalists the filmmakers definitely got wrong, but how many movies have I seen where the main characters are lawyers, doctors, cops or soldiers? I imagine that people in those professions, who are used to being depicted on screen, don’t usually overanalyze every misleading detail. But the photojournalistic community, never shy about taking itself seriously, and with a rare spotlight on its profession, has had a lot to say about “Civil War.”

The best commentary I’ve seen is in the video here. It features a thoughtful interview with photojournalists Lynsey Addario, Peter van Agmatel, Ron Haviv and John Moore. These four have about as much experience covering conflicts as any photographers working today, and they are all highly intelligent and deeply reflective about those experiences. In addition, the photographer Mohamed El Masri, speaking with the assistance of a translator, describes the specific danger and challenges with covering the war in Gaza.

They’ll tell you what they thought of the movie, but more important, how they think about the role of the press, and what it is really like to witness, record and communicate terrible acts of violence.

New Project "The Missiles On Our Land" investigates the human and environmental risks of a new Air Force Nuclear Missile program

 

Nina Berman: 

"This is a project I’ve been working on the last year with colleagues at Princeton and Columbia about the US nuclear arsenal and our plans to spend nearly 2$ trillion building more weapons. It will be published as a package (video, podcast, print pieces) on Scientific American and on our website missilesonourland.org on Nov 14. Like most things that concern the US military, there has been almost no public engagement around these policies and so I hope you find it informative."

View the full project here

The Soldier in the Snow: A dark journey down the rabbit hole of war photos, blanketed in snow.

 

Via Patrick Witty, Field of View

Tony Vacarro

White Death, Pvt. Henry Irving Tannebaum Ottre, Belgium 1945

Private First Class Tony Vaccaro, carrying an M-1 rifle and an Argus C3 brick camera, photographed this scene January 11, 1945, during the Battle of the Bulge. At first glance, it looks like a painting - spartan and stark, the composition as cold as the day.

“I saw the soldier that was lying down so peacefully, so beautiful as if an artist had drawn it.” Vaccaro recollected in the excellent 2016 documentary Underfire: The Untold Story of Pfc. Tony Vaccaro. “Death, that is beautiful. It’s a contradiction. You want the ugliest aspect of mankind, death, to be beautiful. Otherwise it can not be a monument.”

Vaccaro died in 2022 at the age of 100. The photo, titled “White Death, Requiem for a Dead Soldier,” was published alongside Vaccaro’s obit in The New York Times.

Full article here

War-scarred land: Nina Berman and Ashley Gilbertson featured in award-winning book depicting collateral damage of U.S. military at home

Via The Harvard Gazette

In her recent book and accompanying exhibition, “Devour the Land” — honored at the 2022 PhotoBook Awards — curator Makeda Best considers how photographers have responded to the U.S. military’s impact on the environment since the 1970s.

Below, the Richard L. Menschel Curator of Photography at the Harvard Art Museums walks us through a few of the images she selected. (Full post here)

A Housing Development Bordering the Starmet Superfund Site, Concord, Mass., USA” (July 3, 2016) by Nina Berman, American (b. New York, N.Y. 1960). © Nina Berman; image courtesy of Nina Berman

Just outside Walden Pond, a toxic dump

Nina Berman’s photograph was made in nearby Concord. Made at sites across the country, Berman’s series “Acknowledgment of Danger” takes its title from a waiver visitors must sign before entering the toxic grounds of a former military facility. In Concord, she photographed a new housing development in early morning light. Concord is known for its connections to the Revolutionary War and to the U.S. environmental movement. (The pictured site is six miles from Walden Pond, made famous by Henry David Thoreau’s 19th-century nature writing.) Here, Berman draws out this site’s link to modern warfare: Starmet Corp. (formerly Nuclear Metals Inc.) manufactured products from depleted uranium, primarily for armor-piercing ammunition, among other things. The company discharged toxic waste into an unlined holding basin for nearly 30 years, contaminating the soil and groundwater. In 2001, the facility was placed on the National Priorities List, an EPA registry of the nation’s most hazardous sites.

 “A Resident Talks to Workers in the Hunter’s Point Neighborhood of San Francisco, Calif., on May 5, 2017.” From the series “Bombs in Our Backyard” by Ashley Gilbertson, Australian (b. Melbourne 1978). © Ashley Gilbertson/VII; image courtesy of the artist

Story of environmental racism

It was important to me that the exhibition speak to the fact that communities of color are disproportionately impacted by this pollution and toxicity. Ashley Gilbertson made this photograph in a neighborhood in my hometown of San Francisco, called Hunter’s Point. The neighborhood was largely built on a former naval base, today a Superfund site. Growing up, I knew kids who lived here — heard them talk about their eczema and asthma. In 2017-18, Gilbertson, a contributor to the catalog, acclaimed for his photographs of conflict in the Middle East, turned his attention to the U.S., documenting pollution caused by the military for the investigative journalism nonprofit ProPublica. Gilbertson collaborated with journalist Abrahm Lustgarten (another contributor to the catalog) to produce a series of in-depth reports on the pollution from former chemical weapons test sites and the harmful ways the military has chosen to dispose of chemicals and munitions. In his larger series, Gilbertson shows how people and toxins intersect — from illness to activism to labor and daily life in a poisonous environment.

 

*

Imagine a world without photojournalism exhibit Opens, Marks Monroe Gallery's 20th anniversary in Santa Fe

 Via Art Daily

July 2, 2022

David Butow, March 15, 2022. Two of the millions of refugees fleeing the war in Ukraine, this woman and her son leave for Poland and a completely unpredictable future. © David Butow. Courtesy Monroe Gallery of Photography.

SANTA FE, NM.- Monroe Gallery of Photography opened a major exhibition celebrating the Gallery’s 20th anniversary in Santa Fe. “Imagine a World Without Photojournalism” is a multi-photojournalist presentation of news events of the 20th and 21st Centuries. The exhibition will continue through September 18, 2022.

A special program with gallery photojournalists Nina Berman and David Butow will be held on Friday, July 22 at 5:30 PM, RSVP required, please contact the Gallery for information.

Imagine a world without photojournalism

Across America and throughout the world, photojournalists working to bring the world vital news have come under attack, often from authorities, governments, and groups using violence and repression as a form of censorship. Combined with deliberate misinformation creating public skepticism, the photojournalist’s mission of creating visual moments essential to understanding societal and political change may be threatened.

For 20 years, Monroe Gallery of Photography has presented exhibitions championing the critical work of photojournalists.

Photojournalism’s work and mission—one that can be put simply as documenting a news event through the medium of photographic images, has arguably become the most essential and enduring news messaging tool, and one that has gained only further traction and relevance in the 21st century.

On the occasion of Monroe Gallery of Photography’s 20th anniversary in Santa Fe, the gallery presents an exhibition of photojournalists that they have exhibited throughout the years which span almost 100 years of history.

Photographs in the exhibition cover 20th- and 21st- century societal and political change, from the battles of World War II to the Civil Rights struggles of the 1960s, from the frenzy of Presidential campaigns to the January 6 Insurrection on the United States Capitol. The exhibit includes a photograph from the 2019 Charlotte, North Carolina Gay Pride parade that the Gaston County manager ordered removed from a Gaston County museum exhibit on June 15, 2022.

Photographs in this exhibition are universally relevant; they reflect the past, the present, and the changing times. These unforgettable images are imbedded in our collective consciousness; they form a sort of shared visual heritage for the human race, a treasury of significant memories. Many of the photographs featured in this exhibition not only moved the public at the time of their publication, and continue to have an impact today, but set social and political changes in motion, transforming the way we live and think.

NINA BERMAN

Nina Berman is a documentary photographer, filmmaker, author and educator. Her wide-ranging work looks at American politics, militarism, post violence trauma and resistance. Her photographs and videos have been exhibited at more than 100 venues from the security walls of the Za'atari refugee camp to the Whitney Museum of American Art. She is the author of Purple Hearts – Back from Iraq, (2004) portraits and interviews with wounded American veterans, Homeland, (2008) an examination of the militarization of American life post September 11, and, An autobiography of Miss Wish (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 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. She is a Professor at Columbia University Graduate School of Journalism where she directs the photography program. She lives in her hometown of New York City.

DAVID BUTOW

David Butow is a freelance photojournalist whose projects and assignments have taken him to over two dozen countries including Afghanistan, Burma, Iraq, Peru, Yemen and Zimbabwe. His new book, BRINK, chronicles politics in the United States from the 2016 presidential election through the chaos of the Trump presidency, the turmoil of 2020 and concludes with the insurrection and its aftermath at the U.S, Capitol in January 2021.

Born in New York and raised in Dallas, he has a degree in Government from the University of Texas at Austin. After college he moved to Los Angeles and worked in newspapers before beginning a freelance career for magazines in the 1990's. From the mid-90's through the late-2000's he worked as a contract photographer for US News and World Report magazine covering social issues and news events such as post- 9/11 in New York, the Palestinian/Israeli Intifada, the 2003 U.S. invasion of Iraq, the 2019 Hong Kong protests, the funeral of Nelson Mandela, and the death of Pope John Paul II at the Vatican.

Most recently, his photographs from Ukraine and Ulvalde, Texas have been published in Politico, Time, and The New York Times

David's photographs have been shown in numerous exhibitions including the Asia Society NY, the United Nations NY and Visa Pour l'Image in Perpignan, France. They have also appeared in books and magazines worldwide.

Reflections of the L.A. uprising: Revisiting the photographs with David Butow

 Via The Los Angeles Times

April 26, 2022

Welcome to Los Angeles in the last few days of April 1992.

"David Butow witnessed many historical events through the lens of his camera as a freelance photojournalist, including the 1992 uprisings in L.A., the 2003 invasion of Iraq, and the 2019 protests in Hong Kong. Most recently, he was in Ukraine shooting photographs of the war."

David Butow recalls taking photos of burning rubble just a couple blocks from his L.A. apartment in 1992.  (View these historical images overlaid on present-day 360º video in this immersive piece, and hear from the photographers themselves. Scan the QR codes using Snapchat on your smartphone to walk through an augmented reality doorway to examine the space around you.)

Nina Berman Photographs "Fleeing the War, a Ukrainian Comes to Brooklyn" for the New Yorker

 Via The New Yorker

March 31, 2022

Fleeing the War, a Ukrainian Comes to Brooklyn

As a wave of refugees begins to land in the U.S., one woman follows an unlikely path to safety.

Photographs by Nina Berman

David Butow: From Ukraine

 Via Design Arts Daily

March 31, 2022

"March 15, 2022. Two of the millions of refugees fleeing the war in Ukraine, this woman and her son leave for Poland and a completely unpredictable future. Lviv is one of the funnel points for people trying to get out of the country. I just finished several days photographing these refugees, tracing their steps to the border and beyond.

The escape from Ukraine has become increasingly desperate. More than 2.6 million people have fled the country as Russian troops move closer to major metro areas, shelling civilian infrastructure at random and forcing people to find last-minute transportation to take them to safety.

Train stations are constantly crowded. Aid groups are meeting civilians with food, water and donated clothes. Polish families are taking in Ukrainian refugees, offering up their homes as temporary shelters. The U.S. so far has donated over $100M to help Ukrainians by providing safe drinking water, sanitation and hygiene supplies as well as surgical kit"s. --David Butow

Photographer David Butow, a longtime subscriber and contributor to DART, arrived in Ukraine the second week of March to cover the effects of war on ordinary people who were caught in the indiscriminate shelling of cities like Lviv and Chernevo. He covered the growing humanitarian crisis amid the escalating attacks, with people seeking shelter in makeshift camps in Poland, Moldova and Romania. David departed earlier this week through Poland; following are some of his photos and reportage for @politico (click for full article)

David Butow in Ukraine for POLITICO

 

In January, we were honored to host photojournalist David Butow for an exhibition and discussion about his new book "Brink".

He is now covering the massive humanitarian crisis inside Ukraine and along its borders. POLITICO recently featured his photographs in the essay "On the ground in Ukraine, in photos: Millions flee their homes amid intensifying Russian attacks." Click to view.

" “Devour the Land” is one of the most depressing exhibitions I’ve seen. But my first thought coming out of it was: I want to see more shows like this"

 Via The Washington Post

October 26, 2020

The show is called “Devour the Land: War and American Landscape Photography since 1970.” It’s at Harvard Art Museums, it was put together by curator Makeda Best, and it’s about how photographers have fought to expose the hidden effects of the U.S. military and its associated industries on America’s environment and the health of its population. More broadly, it’s about inequality and justice.

" Should museums mount exhibitions with a moral agenda? Absolutely. If they do it well....I’ve just seen a major exhibition that I think delivers on exactly the kind of thing they had in mind.

And, guess what? It’s brilliant. "

Gallery photographers Nina Berman and Ashley Gilbertson are included in this exhibition.