Monroe Gallery of Photography specializes in 20th- and 21st-century photojournalism and humanist imagery—images that are embedded in our collective consciousness and which form a shared visual heritage for human society. They set social and political changes in motion, transforming the way we live and think—in a shared medium that is a singular intersectionality of art and journalism.
— Sidney and Michelle Monroe
Steve Schapiro: Andy Warhol, Cow Wallpaper, Leo Castelli Gallery, New York, 1966
PUBLIC IMAGE AS ART
By Logan Royce Beitman
Show at Monroe Gallery shows how pre-social media artists immortalized themselves through photography
SANTA FE — I bet you can picture Pablo Picasso — bald head, striped boating shirt — but not fellow cubists Georges Braques or Juan Gris. You can probably identify pop artist Andy Warhol’s signature silver wig and black turtleneck, but what did Roy Lichtenstein and James Rosenquist look like? When it comes to the surrealists, more people recognize Salvador Dalí, who was kicked out of the movement, than André Breton, who founded it.
What did Picasso, Warhol and Dalí have in common? Besides being artists, they were celebrities — household names whose fame extended far beyond the artworld. Their media-ready personas and larger-than-life antics played into stereotypes of what people expected artists to look and act like. Picasso — part of the original European avant-garde — fancied himself a Bohemian bullfighter against mainstream society. Warhol was a Bohemian, too, with his ever-present coterie of disaffected “superstars,” but, in contrast to Picasso’s tempestuousness, Warhol was the quintessence of cool, speaking only in irony-soaked monosyllables. Dalí, for his part, played “the crazy artist,” saying outrageous things like, “I don’t do drugs; I am drugs,” and bringing a live anteater onto “The Dick Cavett Show.”
“Artists Behind the Art” at Monroe Gallery presents photographic portraits of artists — these and others. Some shots are posed, some are candid and some, purporting to show the artists at work, lie somewhere in between, with the artists enacting their signature gestures for the camera. Seeing so many photographs of artists in one room got me thinking about how photography contributed to the mythologization of many 20th century artists.
In the 19th century, even after the invention of photography, few artists turned the camera on themselves or cultivated media-ready personas. Artists like Gustave Courbet and Edgar Degas used photography mainly as a preparatory aid for their paintings, a way of capturing reality more quickly and accurately than ketching. The 21st century saw the democratization of celebrity through the internet and social media, and now anyone with a smartphone can turn themselves into a brand.
But between the 19th century, when photography was new, and the 21st, when it is everywhere, photo portraitists of the 20th century helped artists turn their faces into icons and their lives into legends.
Steve Schapiro photographed the surrealist painter Rene Magritte for LIFE magazine in 1965 at a time when the magazine reached nearly a quarter of the U.S. population.
Steve Schapiro: Rene Magritte at MOMA., 1965
The setting is Magritte’s retrospective at the Museum of Modern Art in New York City. Magritte and Schapiro collaborated on the shoot, brainstorming creative poses that would erase the distinction between artist and art. In one, Magritte, wearing his signature bowler hat, stands in front of “Golconda,” a painting that shows scores of men in identical hats levitating heavenward.
By cropping out the painting’s frame, shooting from a slight upward angle and using a fairly shallow depth of field that keeps the painter’s face in focus while fuzzing-out the brushstrokes, Schapiro makes it appear as though Magritte has stepped through a looking glass into the image-world of the painting.
Men around him are floating away, and he may lift off, too, at any second. In another photograph from the series, Magritte rests on a museum bench, using his bowler hat as a pillow, and “dreams” the painting behind him. Schapiro’s photographs of Magritte interacting with the paintings blur the line between reality and fiction even better than the paintings do.
The following year, Schapiro photographed Warhol in front of his “Cow Wallpaper” at the Leo Castelli Gallery. Giant pink cow heads covered the walls of the gallery’s main room, while the artist’s helium-filled “Silver Clouds” floated aimlessly in an adjoining room. The exhibition, which Warhol announced in interviews as his “farewell to painting,” paved the way for the Instagrammable, Meow Wolfstyle immersive art experiences of today. In the photo, Warhol crosses his arms and holds his left hand to his face in an oddly stylized gesture, his middle finger pressing his lip into a slight smirk. This is the image of a deadpan artist-provocateur, whose ironic self-presentation was inseparable from his art.
The left edge of the painting nearly touches that of the photograph, and the precision of the alignment reflects O’Keeffe’s perfectionism. Visitors wishing to see that particular painting in the flesh, by the way, can walk just a few blocks to the Georgia O’Keeffe Museum, where it currently hangs in the “Tewa Nangeh” exhibition. In another of Vaccaro’s photographs, O’Keeffe, riding in the backseat of a car, holds a piece of Swiss cheese to her eye. The oblong hole in the cheese mirrors the hole in the painted pelvis bone.
But if the first image makes the artist look serious, the second undercuts the O’Keeffe myth, showing her to be self-effacing and silly. But which image is more accurate?
Martha Holmes’ 1949 photographs of Jackson Pollock depict the artist dribbling paint across an unstretched canvas on his studio floor while a cigarette dangles from his lips. These widely reproduced photographs of Pollock, along with Hans Namuth’s from 1950, helped inspire the art critic Harold Rosenberg to rechristen the abstract expressionist movement “action painting” in his influential 1952 essay, “The American Action Painters,” reframing the painters’ processes, not as compositional strategies, but as dance-like physical improvisations.
Martha Holmes/Life Picture Collection
Jackson Pollock painting in his studio, Springs, New York, 1949
Ernst Haas’ photographs of Helen Frankenthaler pouring buckets of paint onto her canvases are not as well known as Holmes’ photographs of Pollock, but they should be. The one in this show has a vertical orientation, which emphasizes the weight of the falling paint and its relationship to the artist’s body, and to gravity.
Ernst Haas: Helen Frankenthaler, NY, 1969
Many young artists around the world, seeing photographs like these of Frankenthaler and Pollock, came to consider the performative quality of “action painting” more important than the finished work. The result was a proliferation of performance art in the 1960s and ’70s: Gutai, Fluxus, happenings, body art, process art, the Viennese Actionists and so on.
Lucien Clergue’s portrait of Salvador Dalí from 1969 — a straight headshot — is one of the least theatrical images of Dalí I’ve ever seen. Dalí frequently collaborated with the Latvianborn photographer Philippe Halsman on outrageous artist portraits, including “Dalí Atomicus” (1948), depicting the artist leaping through the air, paintbrush in hand, alongside three live cats and a bucket of water. Clergue’s close-up headshot, taken two decades later, is the antithesis of that. Where Halsman created superhuman fictions, Clergue shows us Dalí’s tired eyes, rumpled hair and five-o’clock shadow — in other words, his human frailty.
The only 21st-century work in the show is Gabriela E. Campos’ photograph of Judy Chicago from 2023. The artist poses behind one of her “Moving Parts” sculptures — clear acrylic forms, similar to chess pieces, which rest on a translucent pink acrylic base.
Although the artist has been artificially posed, the portrait reveals truths about her work, including the centrality of color and the intrinsic relationship between her sculptural forms and her body.
Alexander Calder, Annie Leibovitz, Gordon Parks, Francis Bacon and Joan Miró are among the many artists whose portraits appear in “Artists Behind the Art.”
Vaccaro has two eye-catching photographs of the art collector Peggy Guggenheim, as well. In one, she wears a flamboyant pair of sunglasses as she floats down a Venetian canal.
Tony Vaccaro: Peggy Guggenheim, Venice, 1966
Guggenheim’s public image was as bold and memorable as those of the artists whose work she collected.
The artists in “Artists Behind the Art” rarely reveal their inner lives to us. More often, they show their canniness for curated self-presentation. Such branding tactics, now ubiquitous among social media users, are ones they perfected in close collaboration with their savvy photographic portraitists. In the best of these photographs, the artists become the art. Today, millions of ordinary people do the same.
Logan Royce Beitmen is an arts writer for the Albuquerque Journal. He covers music, visual arts, books and more. You can reach him at lbeitmen@abqjournal. com.
While we admire the work of famed and influential artists of our time, we don’t often see images of the artists themselves. The Monroe Gallery’s Artists Behind the Art exhibition gives the viewer a peek at the people behind some of the 20th century’s most iconic works, including Picasso (1881-1973), Willem de Kooning (1904-1997), Man Ray (1890-1976), Henri Matisse (1869-1954), and many more, as seen through the eyes of a select group of photographers who were granted access to the studios and work spaces, galleries, and candid moments of the artists in their elements.
On such photographer is Steve Schapiro (1934-2022), whose work is part of the exhibition and who didn’t just capture high-profile artists and celebrities in his portfolio, he also bore witness to significant moments in American and civil rights history, a particular focus of his.
Some of those images are part of the exhibition, and in addition, the gallery is hosting two special screenings of the new documentary Steve Schapiro: Being Everywhere at Sky Cinemas on Monday, December 29, and Tuesday, December 30. Both screenings will be followed by a Q&A with filmmaker Maura Smith, moderated by Michelle and Sid of Monroe Gallery. — B.S.
Artists Behind the Art; Through January 25, 2026, Monroe Gallery of Photography, 112 Don Gaspar; 505-992-0800; monroegallery.com
Steve Schapiro: Being Everywhere; 7 p.m. Monday, December 29, and 5 p.m. Tuesday, December 30; Sky Cinemas, 1606 Alcaldesa Street; $16; 505-216-5678; santafe.violetcrown.com
View of the 2025 edition of AIPAD's Photography Show.
Photo Erica Price
The Association of International Photography Art Dealers (AIPAD) has named the 77 exhibitors that will participate in the upcoming edition of the Photography Show. The annual fair will return to the Park Avenue Armory in New York, running April 22–26.
This year’s fair will include a number of the world’s top photography-focused galleries, including Edwynn Houk Gallery, Yancey Richardson, Robert Mann Gallery, and Higher Pictures. First-time exhibitors, including Ruiz-Healy Art, Leica Gallery New York, and Galerie Sophie Scheidecker, will also feature in the fair.
The 2026 iteration of the fair will also focus on increasing its gender parity, per a release; a third of the exhibitors are women-led, women-founded, or both.
The fair will also introduce a new section, titled “Focal Point,” which will be dedicated to solo presentations for artists focused on lens-based photography to “showcase how artists have historically expanded our collective understanding of what photography is and how contemporary artists continue to show us what it can become,” per a release. This section of the fair will be designed by architecture firm Oficina.la.
Additionally, AIPAD will give artist, scholar, and NYU professor Deborah Willis its 2026 AIPAD Award, which will be presented during the VIP opening on April 22. A winner of both the MacArthur “Genius” Grant and a Guggenheim Fellowship, Willis joined NYU in 2000 and has chaired the Department of Photography and Imagining in the Tisch School of the Arts for nearly two decades. She is the author or editor of several landmark publications on Black photography, including Picturing Us: African American Identity in Photography (1996), Reflections in Black: A History of Black Photographers – 1840 to the Present (2000), and Posing Beauty: African American Images from the 1890s to the Present (2009).
The full exhibitor list follows below.
Main Sector
Exhibitor Location(s) 19th Century Rare Book & Photograph Shop New York, NY Alta Anyós, Andorra Augusta Edwards Fine Art London, UK Bildhalle Zurich, Switzerland | Amsterdam, the Netherlands Bruce Silverstein New York, NY Catherine Couturier Gallery Houston, TX Cavalier Galleries New York, NY | Greenwich, CT | Nantucket, MA | Palm Beach, FL Charles Isaacs Photographs New York, NY CLAMP New York, NY Curatorial Gallery London, United Kingdom Daniel / Oliver Gallery Brooklyn, NY Danziger Gallery New York, NY Deborah Bell Photographs New York, NY Echo Fine Arts Cannes, France Edwynn Houk Gallery New York, NY Form. Gallery Dinard, France Galerie Olivier Waltman Miami, FL | Paris, France Galerie XII Los Angeles, CA | Paris, France Galerie Esther Woerdehoff Paris, France Galerie Sophie Scheidecker Paris, France Gana Art Seoul, South Korea | Los Angeles, CA Gilman Contemporary Ketchum, ID Gitterman Gallery New York, NY Gregory Leroy Madrid, Spain HackelBury London, United Kingdom Hans P. Kraus Jr. Inc. New York, NY Higher Pictures Brooklyn, NY Holden Luntz Palm Beach, FL Howard Greenberg Gallery New York, NY The Hulett Collection Tulsa, OK IBASHO Antwerp, Belgium Ilaria Quadrani Fine Art New York, NY
IN-DEPENDANCE by IBASHO Antwerp, Belgium
INTHEGALLERY Copenhagen, Denmark | Palma de Mallorca, Spain
Jackson Fine Art Atlanta, GA
Janet Borden Inc. Brooklyn, NY jdc Fine Art San Diego, CA Keith de Lellis Gallery New York, NY LARGE GLASS London, UK Leica Gallery New York New York, NY Marshall Gallery Los Angeles, CA
Michael Hoppen London, United Kingdom Michael Shapiro Photographs Westport, CT Momentum Miami, FL Monroe Gallery of Photography Santa Fe, NM Nailya Alexander Gallery New York, NY Obscura Gallery Santa Fe, NM Paul M. Hertzmann, Inc. San Francisco, CA POLKA Galerie Paris, France Robert Klein Gallery Boston, MA Robert Koch Gallery San Francisco, CA Robert Mann Gallery New York, NY Rolf Gallery Buenos Aires, Argentina Ruiz-Healy Art New York, NY | San Antonio, TX Scheinbaum & Russek Ltd. Santa Fe, NM Scott Nichols Gallery Sonoma, CA Staley-Wise Gallery New York, NY Stephen Bulger Gallery Toronto, ON Stephen Daiter Gallery Chicago, IL Throckmorton Fine Art New York, NY Toluca Fine Art Paris, France Vasari Buenos Aires, Argentina Von Lintel Gallery Los Angeles, CA Yancey Richardson New York, NY
Focal Point Sector Exhibitor Location(s) Artist(s) Be Fine Art Gallery Chiayi and Taipei City, Taiwan Hsu-Pin Lee Central Server Works Los Angeles, CA Lenard Smith Duncan Miller Gallery Los Angeles, CA Jacqueline Woods ELLEPHANT Montreal, Quebec, Canada JJ Levine Glaz Gallery Moscow, Russia Zhenya Mironov Galerie Catherine et André Hug Paris, France Susan Burnstine L. Parker Stephenson Photographs New York, NY Ray Mortenson LAS Contemporary Nashville, TN Chrissy Lush M77 Gallery Milan, Italy Nino Migliori Obscura Gallery Santa Fe, NM Paul Caponigro + John Paul Caponigro Roland Belgrave Vintage Photography Ltd Brighton, UK Baud Postma SoMad New York, NY Yi Hsuan Lai Thomas Erben Gallery New York, NY Olivia Reavey
Assistant Chief Patrol Agent David Kim runs down an alleyway after a caravan of federal agents pulled up on people in southwest Chicago, Nov. 6, 2025. Photographs by Ashley Gilbertson/VII for Hammer & Hope
The immigrant catchers, faces covered, chase the workers down the street in broad daylight. The enemy is the landscaper, the day laborer, the high school student born in Mexico, Honduras, Venezuela. In the masks and guns of the federal agents, we see the riot gear of the Ferguson cops, the billy clubs of the Alabama state troopers, the Klansman’s hood. And in the brave crowds who gather to confront them, we see the power of solidarity. --click for full article
“That was my neighbor!” the woman screamed through tears at federal agents. “He’s just my neighbor!”
I tried to talk to the woman pictured above. She gave me permission to use her photograph, but she didn’t want to provide her name. Like so many people around ICE, she’s scared. Usually the stories I work on are filled with quotes, but the feds won’t talk to the press, and neither will anyone else. --Ashley Gilbertson
Women Photograph is proud to share our 2025 Year in Pictures — a collection of images that once again shows us a world on the brink of political turmoil, climate crisis, and an extensive range of human-made disasters. This year’s annual retrospective takes us from Malaysia to South Sudan to Peru, from the ongoing immigration raids happening across the U.S. to efforts to control the spread of malaria in Uganda. As our planet continued to emerge from the aftermath of the COVID-19 pandemic and wars raged on in Ukraine and Congo, we also were buoyed by images of birth, family, celebration, and connection. This year’s Year in Pictures was curated by Women Photograph board member and former National Geographic magazine editor Elizabeth Krist — you can pre-order the 2025 Women Photograph Annual here, and donate to Women Photograph here to support our ongoing work to diversify the visual media industry.
TRACY BARBUTES
A fired park ranger and friends hang an upside-down American flag from El Capitan (Tu-Tok-A-Nu-La), a granite monolith in Yosemite National Park, Calif., on February 22, 2025. This act of protest against the thousands of federal job cuts by the current administration coincided with the “firefall” event, which draws thousands of spectators and photographers annually.
The image went viral and ignited protests on public lands throughout the United States. I stood under El Cap—something I’d done hundreds of times—and as I documented the unfurling of that upside down flag, an act signaling distress, I couldn’t help but observe that we were gathered on colonized Indigenous land.
Shot shortly
before his passing by filmmaker Maura Smith, Steve Schapiro: Being Everywhere
is a loving tribute to a man who was the quintessential "fly on the
wall," waiting for moments to unfold and capturing them with a naturalism
and skill that's nothing short of dazzling.
In this powerful episode of the Destinations Podcast, we sit down with Eugene Tapahe, a Navajo (Diné) artist, photographer and cultural storyteller whose work bridges healing, identity and the sacred connection to the land.
Tapahe shares his deeply moving journey growing up on the reservation, the origins of the Jingle Dress Healing Project and how Native traditions became a source of unity during COVID.
From sand installations made with soil from across the world to protecting sacred lands and preserving Indigenous identity, this conversation is an inspiring reflection on resilience, spirituality and cultural preservation.
We stand at scenic overlooks and lift our lens to capture a post card view that, of course, looks better on a postcard. It’s not about gear, or the 10,000 hours. It’s simply that almost any photograph is improved by having people in it—a lesson TIME’s Top 100 Photographs of 2025 underscores in images that capture not only a year, but also the faint but discernable shadow cast by a less human future.
The moments photojournalists document tend to be most visible on faces: the panic of a fallen runner about to be spiked, the anguish in an immigrant in a headlock, a smiling Buddha toppled in a quake. Robots (in a footrace, at a bedside) serve as comic relief partly because they have no faces. But, as machines, they carry the same ambiguous edge as artificial intelligence. In Ahmedabad, the tail section of an Air India flight juts from a building like a paper airplane that sailed in and stuck. And in Portland, Ore., sworn agents of the United States government all but disappear inside red smoke, body armor and gas masks. — Karl Vick
New York City mayoral candidate Zohran Mamdani talks to the press and meets with supporters at a park in Midtown Manhattan, on Oct. 28. Mark Peterson—Redux
Monroe Gallery of Photography announces a new exhibit “Artists Behind The Art”. The exhibition opens with a public reception Friday, November 28 from 5 – 7 pm, and you can kick off the Holiday Season at the Holiday Plaza Lighting!
The exhibit continues through January 25, 2026.
Many of the most influential artists of the past century are, in a sense, unseen. This exhibition shows us the human beings behind some of the 20th century's most vital works of art. The photographs range from posed, candid, and working shots to behind the scenes of artists at work. In these photographs the essential personality of the artist is revealed, and an image of the past becomes visual history.
Artists depicted in the exhibit include Richard Avedon, Francis Bacon, Alexander Calder, Judy Chicago, Willem De Kooning, Helen Frankenthaler, Rene Magritte, Henri Matisse, Henry Moore, Pablo Picasso, Jackson Pollock, Georgia O’Keeffe, Andy Warhol, Andrew Wyeth, and many more.
Fall of Freedom is an urgent call to the arts community to unite in defiance of authoritarian forces sweeping the nation. Our Democracy is under attack. Threats to free expression are rising. Dissent is being criminalized. Institutions and media have been recast as mouthpieces of propaganda.
In solidarity with of Fall Of Freedom, Monroe Gallery presents a Pop Up exhibit now Online and in the Gallery November 18 - 23 of photographs documenting people struggling for their freedom; their right to live without fear, their right to speak and the right to protest inequities.
Photographer Steve Schapiro was often at the scene. Schapiro photographed historical Civil Rights marches, public figures like Muhammad Ali, David Bowie, and Robert Kennedy, and was also called to photograph films like "Taxi Driver" and "The Godfather." Before Schapiro died in 2022 at the age of 88, he sat down for interviews to reflect on his life and career. The result of those interviews is a new documentary, "Steve Schapiro: Being Everywhere".
Several of Schapiro's iconic photographs are featured in the new exhibit "Artists Behind The Art", opening at Monroe Gallery November 28, 2025 and on exhibit through January 25, 2026.
After the newspaper was raided. Monroe Gallery placed this ad to help support the
Marion County Record
TOPEKA, Kan. (AP) — A rural Kansas county has agreed to pay a little more than $3 million and apologize over a law enforcement raid on a small-town weekly newspaper in August 2023 that sparked an outcry over press freedom, the paper’s editor said Tuesday.
Marion County was among multiple defendants in five federal lawsuits filed by the company that publishes the Marion County Record, its publisher, the estate of his late mother Joan Meyer, the paper’s co-owner, employees of the paper and a former Marion City Council member whose home also was raided.
Eric Meyer, the paper’s editor and publisher, told The Associated Press he is hoping the size of the payment is large enough to discourage similar actions against news organizations in the future.
“The goal isn’t to get the money. The money is symbolic,” Meyer said. “The press has basically been under assault.”
Sheriff Jeff Soyez issued an apology that mentioned the publisher and his late mother Joan Meyer by name, along with former council member Ruth Herbel and her husband.
“The Sheriff’s Office wishes to express its sincere regrets to Eric and Joan Meyer and Ruth and Ronald Herbel for its participation in the drafting and execution of the Marion County Police Department’s search warrants on their homes and the Marion County Record,” the sheriff’s statement said.
The Marion County Commission approved the agreement Monday after discussing it in private for 15 minutes.
The raid triggered a national debate about press freedom focused on Marion, a town of about 1,900 people set among rolling prairie hills some 150 miles (240 kilometers) southwest of Kansas City, Missouri. Also, Meyer’s mother, who co-owned the newspaper and lived with him, died the day after the raid of a heart attack, which he blamed on the stress of the raid.
A search warrant tied the raid -- which was led by Marion’s police chief -- to a dispute between the newspaper and a local restaurant owner who had accused the Marion County Record of invading her privacy and illegally accessing information about her and her driving record. Meyer has said believed the newspaper’s aggressive coverage of local politics and issues played a role and that his newsroom had been examining the police chief’s past work history.
Ken Hawkin's photograph depicting NASA's original six women astronauts in training at Water Survival School at Turkey Point, FL has been acquired by the Smithsonian National Air & Space Museum for its’ permanent collection and will be featured in the upcoming “At Home in Space” exhibition at the Smithsonian National Air and Space Museum.
“The Six” are Sally Ride, Shannon W. Lucid, Margaret Rhea Sedan, Kathryn D. Sullivan, Anna L. Fisher and Judith A. Resnick.
Monroe Gallery of Photography announces a new exhibit “Artists Behind The Art”. The exhibition opens with a public reception Friday, November 28 from 5 – 7 pm. The exhibit continues through January 25, 2026.
Many of the most influential artists of the past century are, in a sense, unseen. This exhibition shows us the human beings behind some of the 20th century's most vital works of art. The photographs range from posed, candid, and working shots to behind the scenes of artists at work. In these photographs the essential personality of the artist is revealed, and an image of the past becomes visual history.
When federal immigration operations began sweeping across Los Angeles in June, our newsroom worked around the clock. I didn’t have to tell them to. No one wanted to stop.
One reporter’s family members were being followed. Another staffer’s family went into hiding — despite having legal status. Sources we’d cultivated for years suddenly wouldn’t answer calls. At LA Public Press, a 14-person nonprofit newsroom led by and largely staffed by people of color who grew up in the neighborhoods we cover, everyone on staff was personally touched by the raids in some way. We weren’t covering some abstract story happening to other people. We were covering home.
By July, I had to force people to take weekends off. Soon after, every other Friday became mandatory time away. The story hasn’t stopped, but boundaries are harder to draw when you’re covering what’s happening to your own family.
It took us weeks to realize we were facing the same dangers as foreign correspondents in conflict zones — the threat of violence, retaliation and the exhaustion of sustained trauma coverage. But we didn’t have their security teams, legal protections or institutional support. --click for full article
"A marathon Election Day in the books for Politico—19ish hours of coverage across three boroughs chasing Zohran Mamdani and Andrew Cuomo across the city that never sleeps, fueled by halal cart & an obscene number of coffees." --Bing Guan
New York City Mayor-elect Zohran Mamdani addresses supporters after being declared winner of the 2025 New York City mayoral election at his election night watch party at the Brooklyn Paramount in Brooklyn, New York, on Nov. 4, 2025. | Bing Guan for POLITICO
Zohran Mamdani wins NYC mayoral race
The democratic socialist vanquished Andrew Cuomo in a contest being closely watched by national Democrats, Republicans and the White House. --click for Politico article with photos
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
Fall of Freedom is an urgent call to the arts community to unite in defiance of authoritarian forces sweeping the nation. Our Democracy is under attack. Threats to free expression are rising. Dissent is being criminalized. Institutions and media have been recast as mouthpieces of propaganda.
In solidarity with of Fall Of Freedom, Monroe Gallery presents a Pop Up exhibit in the Gallery and Online November 18 - 22 of photographs documenting people struggling for their freedom; their right to live without fear, their right to speak and the right to protest inequities.
For decades, visual journalism has been at the heart of storytelling — shaping how audiences understand, connect with, and remember the world around them. Yet as newsroom budgets tighten, the visual side of journalism has become one of the first casualties. The National Press Photographers Association (NPPA) is trying to change that. --Click for full article
