Gallery Photographer Nina Berman Named 2025 World Press Photo Contest North and Central America Jury Chair

 Via World Press Photo

November 25, 2024

In each of the six regions of our contest model, a selection of entries per category will first be made by a regional jury, chaired by the regional jury chair.

The juries are made up of professionals from and/or working in the region they are judging, who are well-equipped to place the stories into a cultural, political and social context.

Once the regional juries have made their selection of entries, the global jury, composed of the six regional jury chairs and one additional member, the global jury chair, decides on the 2025 World Press Photo Contest winners. From those, they will then choose the World Press Photo of the Year and the two runners-up. 

The global jury is assisted by a secretary. The secretary is responsible for all procedural matters and ensures the rules and procedures are fairly and properly applied. The secretary does not contribute to debate on the merits of any entry, and has no vote in the balloting.

Nina Berman is an American documentary photographer, filmmaker, author and professor at Columbia University Graduate School of Journalism in New York City.

World Press Photo Involvement:
2025 World Press Photo Contest jury member
2011 World Press Photo Contest jury member
2005 World Press Photo Contest winner
2007 World Press Photo Contest winner

Nina Berman on Social Media:
Instagram: @nina_berman

Nina Berman fine art prints at Monroe Gallery of Photography

Depths of winter: 'Frozen in Time' brings images of joy, despair to Monroe Gallery

 Via The Albuquerque Journal

By Kathaleen Roberts

November 24, 2024

Winter brings both beauty and brutality.

Open at Santa Fe’s Monroe Gallery of Photography, “Frozen in Time” brings images of both joy and despair by some of the most renowned American photojournalists. The photographs cover the 2016 protests during the Standing Rock pipeline construction, a skating waiter at St. Moritz, Switzerland, in the early 1900s, and images of the grim winter conditions during World War II.

Several of the photojournalists worked for Life magazine.

"It always makes for a beautiful, serene, contemplative experience,” said Michelle Monroe, gallery co-owner, of the frosty season. “We know it’s cold, we know it’s quiet, we know there is a veil of light.”

Alfred Eisenstaedt/Life Picture Collection: Ice Skating Waiter, St. Moritz, 1932

Alfred Eisenstaedt’s “Ice Skating Waiter” encapsulates the grace of skating while balancing a tray of glasses and liquor.

“He had a very rudimentary camera with glass plates,” Monroe said. “He said the whole thing was a technical challenge.”

The photographer focused on the chair until the waiter swanned by.

Tony Vaccaro: Battle of Hurtgen Forest, Germany, 1944

Tony Vaccaro’s photograph of soldiers partially buried in snow during the 88-day Battle of Hürtgen Forest captures the longest fight on German ground of World War II. An estimated 24,000 were killed, wounded or captured.

“There was no one more uncomfortable than the other,” Monroe said. “You couldn’t even find any comfort being together. (Vaccaro) said there was a lot of dark humor.”

In 2023, Navajo photographer Eugene Tapahe took “Ancestral Strength” in Wyoming’s Grand Teton National Park.

Eugene Tapahe

Ancestral Strength, Teton National Park, WY, Cayuse, Umatilla, Newe Sogobia and Tséstho’e, 2023

Tapahe was studying at Utah’s Brigham Young University when the pandemic hit. He decided to take four Native jingle dancers (two of whom were his daughters) across the country.

“The jingle dress has always been used for healing,” Monroe said. “Since the schools were closed, perhaps he could heal the country. They went all over performing. It had a tremendous effect on people.”

Those stops included Mount Rushmore, Yosemite and New York’s Central Park.

Ryan Vizzions photographed the protests over the Standing Rock pipeline in 2017, including a portrait of a medicine man.

Ryan Vizzions: Standing Rock, Winter, 2016

“He was a spiritual counselor and guide for everything there to keep people in focus,” Monroe said.

“(For) a lot of the older photographers, in order to be put on the front page, it was to get out there and get a shot of this latest snowstorm,” Monroe said. “She was part of the Photo League (cooperative.) They were shut down by the Red Scare movement for being subversive.”

Ida Wyman: Wrought Iron Design in Snow, New York City, 1945

The photographs also include images of the 1939 Russo-Finnish War, harsh winter conditions in the northern Soviet Union taken during its collapse in the 1990s and several ice skating scenes, including Truman Capote at New York’s famed Rockefeller Plaza in 1959, as well as tranquil snow scenes of the American West.

Carl Mydans/Life Picture Collection: The newly created 'Japanese Police Force' moves out of camp for winter training, Hokkaido, Japan, 1951

Monroe Gallery specializes in photojournalism. It was the recipient of the 2010 Alfred Eisenstaedt Award for Excellence in Photojournalism.

'FROZEN IN TIME'

WHEN: Opening Reception on Friday, Nov. 29, 4-6 pm; exhibition continues through Jan. 19, 2025

WHERE: Monroe Gallery, 112 Don Gaspar Ave., Santa Fe

MORE INFO: monroegallery.com, 505-992-0800

Publisher of raided Kansas newspaper delivers advice to journalists: ‘Make democracy great again’

 Via Kansas Reflector

November 18, 2024

TOPEKA — The editor of the Kansas newspaper raided by police last year has a message for journalists struggling with their sense of purpose.

Go on the offensive.

Eric Meyer, editor and publisher of the Marion County Record, delivered remarks Friday as he was inducted alongside his mother, Joan, into the Kansas Press Association Newspaper Hall of Fame.

“I think this is a time when we have to establish for the people of this country the fact that we are important, that we have things that we can tell them that they will want to know, that they will want to change their positions about,” Meyer said.

He added, in a nod to the results of the presidential election: “Let’s not make America great again. Let’s make democracy great again.”

Police raided the Marion County Record newsroom and the home where Meyer lived with his mother in August 2023 under the false pretense that journalists had committed a crime by looking up a public record. Joan Meyer, the 98-year-old co-owner whose profane clash with police officers was captured on camera, died a day after the raid from stress-induced cardiac arrest. The raid spawned five civil lawsuits and a criminal charge against the police chief who led the attack on a free press.

Meyer said he is “an odd duck” because he retired to run a newspaper, rather than retire from it. He returned to Kansas during the COVID-19 pandemic to take over the publication his parents had operated for decades. After teaching journalism for 20 years at University of Illinois at Urbana-Champaign, Meyer wanted to practice what he had been preaching — that journalism is still vital.

“We’re not talking about the future of journalists. We’re talking about the future of democracy,” Meyer said. “Because without journalism, there is no democracy. We can’t have an informed public making informed decisions that will lead our country if they don’t have information, solid information that’s reliable. Getting their attention, though, is a very serious problem.”

Before the raid on his newspaper, Meyer said, circulation was already up, “because we were trying to do the best news stories we could.” After the raid, thousands of people from across the country purchased subscriptions in a show of support. Many of them, he said, are actually reading the stories. Some of the out-of-state readers have become so invested in the news out of Marion that they are even writing letters to the editor.

His advice to other journalists: “Forget all the gimmicks.”

“Don’t worry about what you put on social media,” Meyer said. “Don’t worry about the video you’re shooting. Don’t worry about the blogs you’re writing. Don’t worry about the marketing techniques. Do good journalism, period. Good journalism. That means finding stories that affect people and giving them an opportunity to do something about it.”

Joan Meyer edited the newspaper for 50 years and continued writing until she died. Her last column ran in the same issue as her obituary.

Her death intensified national interest in a story about the abuse of power in trying to silence a free press.

“Although I’m sure she didn’t want to go out the way she did, worrying about the Hitler tactics and so on, it is kind of rare, at age 98, that your death means something to someone, that you go out and you’re you’re sort of a martyr to your cause,” her son said.






Other hall of fame inductees were Ann Brill, dean of the University of Kansas journalism school; Sally Buzbee, a former executive editor of the Washington Post and Associated Press; small-town publishers Cynthia Desilet Haynes and Ben Marshall; retired Wichita Eagle and Kansas City Star reporter Roy Wenzl; and photojournalists Barbara Kinney, David Peterson, George Olson, Joel Sartore and W. Eugene Smith.

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

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

January 9 - February 15, 2025

 

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

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

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

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

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

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

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

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

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

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

The Smithsonian’s National Museum of the American Indian’s Native Art Market returns to the museum in Washington, D.C.

 Via Smithsonian

November 20, 2024

Native Art Market Brings Indigenous Artisans to Washington for Curated Shopping Experience

The Smithsonian’s National Museum of the American Indian’s Native Art Market returns to the museum in Washington, D.C., Dec. 7 and 8. This annual event invites lovers of art and craftsmanship to meet Indigenous artists and learn about traditional Native arts and contemporary Native creativity. Forty artists will offer authentic, hand-crafted works of art, including jewelry, fashion, photography and pottery. Serious collectors and casual shoppers will find one-of-a-kind pieces at a wide range of prices. During the market, guests will enjoy music by DJ JonRay.

Museum members will have early access to the market during a preview party Dec. 6, from 6 to 8 p.m.

The list of artists scheduled to attend includes Gallery photographer Eugene Tapahe, whose work is featured in the current exhibition "Frozen In Time".

Joe McNally "Faces of Ground Zero" Giant Polaroid Exhibit And Talk At 9/11 Museum

 

Via 9/11 Memorial and Museum

Wednesday, November 20, 2024

Faces of Ground Zero: A Conversation with Joe McNally

6:00 p.m. - 7:00 p.m. ET

Award-winning photographer Joe McNally’s "Faces of Ground Zero: Portraits of the Heroes of September 11, 2001" is comprised of 246 large-scale polaroids featuring individuals who responded to 9/11 and contributed to the rescue and recovery operations at Ground Zero. A cross-section of these responder portraits will be on view in the Museum beginning this November. In conversation with Executive Vice President of Collections & Chief Curator Dr. Jan Ramirez, McNally will discuss his undertaking of this project in the emotional weeks following the attacks, how this medium served to uniquely capture this community, and his own experience interacting with those at the heart of this tragedy. 

 This program is presented as a complement to the Museum’s exhibition Faces of Ground Zero. The exhibition will be on view starting late November 2024.

More information and registration here.

Credit Joe McNally

Reflections On An Exhibition

 

Grey Villet

Coma and Compassion, Nurse Judy Strickland, New York, 1977

November 17, 2024

Today is the final day for the exhibition "The Best Of Us". 

At the conclusion of every exhibit, we find ourselves discussing our impressions, thoughts, and the feedback we received from gallery visitors and collectors. This time, our reflections are deeply meaningful. 

"The Best Of Us" was an exhibition depicting the ideals and diversity of the human experience; through nearly 50 photographs which explored the characterization of extraordinary and everyday people who renew our faith that all things are possible and exemplify our ideals. People who exemplified the best traits of humanity:  kindness, empathy, compassion, consideration, patience, generosity, resilience, and the willingness to make a difference.

Opening on October 4, as America headed into the final stage of a Presidential election, the images in the exhibit emphasized the necessity of understanding and appreciating photojournalism.

There have been many exhibits that we wish could have run longer, and this another; it will be difficult to see it come to an end. Since the opening on October 4, the exhibit has been seen by many hundreds of viewers: young, old, tours, school groups, veterans, politicians, museum curators, collectors, the "famous", and even a few homeless. We have seen parents quietly explaining the situation behind a photograph to their children, we have seen people softly weeping, and the quiet of the gallery has occasionally been startled by someone gasping "Oh my God!" 

This exhibition has affirmed our steadfast belief in the power of a photograph. The introductory wall text included this quote from Maya Angelou: "Be sure you do not die without having done something wonderful for humanity”. 

We are so grateful for all of the participating photographers, so many of whom we have been privileged to have known know personally. For those who are no longer living with us, we thank their families for preserving their archives. For those still working, we honor your commitment and service to humanity.

 Thank you to all who visited the exhibit and thank you for your kind words and shared emotions. It has been deeply moving to see "The Best Of Us" personified in visitors to the exhibit.

“I cannot tell you where our history is leading us, or through what suffering, or into what era of war or peace. But wherever it is, I know people of good heart will be passing there.” -Carl Mydans, Life photojournalist

View "The Best of Us" and other past exhibits archived here.

Anna Boyiazis Photographs Featured in "Growing Up in Climate Chaos"

 

Via The New York Times

November 7, 2024

Growing Up in Climate Chaos

When you’re a teenager, everything can feel like a crisis. But for these teenagers living in areas around the world affected by climate change, the sense of growing crisis is real — not in some hazy future but today, disrupting their adolescence in ways both large and small…

Obama Mchembe pays attention to rain. He has to. When the roads flood, he stays home from school for days at a time. Floods, heat and drought make it harder to grow crops, so his family struggles to buy staple foods, including maize flour, rice and sugar. ‘‘In the past, it was normal for us to eat foods like rice,’’ Mchembe says. ‘‘But now, for a month, we can eat rice once or twice.

Mchembe worries about what climate change means for the future, both for himself and for his country. He and his classmates have started planting cassia trees in a field beside their school — a simple act that ‘‘makes all of us feel courage.’’

full article here

Mchembe and his schoolmates in the shade of cassia trees

Photograph by Anna Boyiazis

Eugene Tapahe: Between the Worlds

Via Utah Policy

November 6, 2024 

Celebrated Native American art exhibit comes to UVU’s Museum of Art at Lakemount

In celebration of Native American Heritage Month, the Utah Valley University Museum of Art at Lakemount is pleased to present an art exhibition by Diné (Navajo) artist Eugene Tapahe. “Eugene Tapahe: Between the Worlds” opens with a reception on Tuesday, November 12, from 5-7:30 pm. The exhibition will remain on view through February 15, 2025.

“Eugene Tapahe: Between the Worlds” explores multiple meanings, connecting the contemporary world with tradition while highlighting the relationship between people and the land. Curated by Katherine Jackson, professor of art history at UVU, the exhibition includes a combination of Tapahe’s installations, photography, and performance, engaging people and places while mapping monuments as sacred sites throughout the modern world.

“I draw inspiration from my Diné (Navajo) traditions and modern experiences. My work reflects the fragility and resilience of Native American culture. I strive to unite these two worlds in my concepts while transcending worldly uncertainties. Through various visual mediums, I intend to celebrate and honor the identity and culture of Native Americans. Ultimately, the persona of my work offers unity, hope, and healing,” said Tapahe.

Tapahe is Diné (Navajo) and originally from Window Rock, Arizona. He received his MFA in studio art from Brigham Young University. Tapahe has exhibited his work in prestigious shows at the Santa Fe Indian Market, the Heard Museum Indian Fair & Market, the Cherokee Art Market, and the Smithsonian National Museum of the American Indian. He has received awards for his photography from the Cherokee Art Market (2018) and the Museum of Northern Arizona (2019), and he was honored with two International Awards of Excellence from “Communication Arts” magazine.

Tapahe’s work is in the permanent collections of numerous museums, including the Smithsonian National Museum of the American Indian, the Birmingham Museum of Art, the Arizona State Museum, the Minnesota History Center, the College of Wooster Art Museum, the Nora Eccles Harrison Museum of Art at Utah State University, and more.

His art is represented by the Modern West gallery in Salt Lake City, Utah; Monroe Gallery of Photography in Santa Fe, New Mexico; Rainmaker Gallery in Bristol, England; and Four Winds Gallery in Sydney, Australia. Tapahe resides in Provo, Utah, with his wife, Sharon, and their two daughters, Erin and Dion.

“Eugene Tapahe: Between the Worlds” is one of several concurrent exhibitions at the UVU Museum of Art at Lakemount. The annual Faculty Art Exhibition highlighting the work of 41 artists teaching at UVU is on view in the upstairs galleries through November 20, in addition to several exhibits of artwork from the museum’s permanent collection.

At Utah Valley University, we believe everyone deserves the transforming benefits of high-quality education — and it needs to be affordable, accessible, and flexible. With opportunities to earn everything from certificates to master’s degrees, our students succeed by gaining real-world experience and developing career-ready skills. We continue to invite people to come as they are — and leave ready and prepared to make a difference in the world.

For more information, visit UVU’s Newsroom website for fact sheets, maps, leadership bios, history, photos, b-roll, filming policies, and a list of interview-ready faculty experts at https://www.uvu.edu/newsroom/# or scan this QR code.

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

 Via Columbia Journalism Review

November 6, 2024

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