ZEKE Magazine: Fall 2021, Preview edition
Subscribe and read full version.
Subscribe and read full version.
Create successful ePaper yourself
Turn your PDF publications into a flip-book with our unique Google optimized e-Paper software.
<strong>ZEKE</strong>FALL <strong>2021</strong> VOL.7/NO.2 $15 US<br />
THE MAGAZINE OF GLOBAL DOCUMENTARY<br />
<strong>Preview</strong> Edition.<br />
FEATURED ARTICLES<br />
AWAKE IN THE DESERT LAND<br />
Photographs by Sofia Aldinio<br />
PATH AWAY<br />
Photographs by Nicolò Filippo Rosso<br />
FROM TULSA TO MINNEAPOLIS<br />
Photographs by 27 Black photographers documenting<br />
this extraordinary time in American history<br />
THE EMPTYING OF THE ANDES<br />
Photographs by Emiliano Pinnizzotto<br />
Published by Social Documentary <strong>ZEKE</strong> FALL Network <strong>2021</strong>/ 1
FALL <strong>2021</strong> VOL.7/NO.2<br />
$15 US<br />
2 | AWAKE IN THE DESERT LAND<br />
Photographs by Sofia Aldinio<br />
CO-WINNER OF <strong>2021</strong> <strong>ZEKE</strong> AWARD FOR DOCUMENTARY PHOTOGRAPHY<br />
Sofia Aldinio from Awake in the Desert Land<br />
Nicolò Filippo Rosso from Path Away<br />
Joshua Rashaad McFadden from From Tulsa to<br />
Minneapolis: Photographing the Long Road to<br />
Justice<br />
Emiliano Pinnizzotto from The Emptying of the<br />
Andes<br />
14 | PATH AWAY<br />
Photographs by Nicolò Filippo Rosso<br />
CO-WINNER OF <strong>2021</strong> <strong>ZEKE</strong> AWARD FOR DOCUMENTARY PHOTOGRAPHY<br />
40 | FROM TULSA TO MINNEAPOLIS:<br />
PHOTOGRAPHING THE LONG ROAD TO JUSTICE<br />
Photographs by 27 Black photographers documenting this<br />
extraordinary time in American history<br />
60 | THE EMPTYING OF THE ANDES<br />
Photographs by Emiliano Pinnizzotto<br />
26 |<br />
30 |<br />
52 |<br />
54 |<br />
70 |<br />
Migration from the Northern Triangle<br />
The Last Resort to Stay Alive<br />
by Daniela Cohen<br />
<strong>ZEKE</strong> Award Honorable Mention Winners<br />
Interview with Joseph Rodriguez<br />
by Caterina Clerici<br />
Photography & Social Change<br />
by Emily Schiffer<br />
Book Reviews<br />
Edited by Michelle Bogre<br />
78 | Contributors<br />
Deborah Espinosa from Photography & Social<br />
Change<br />
On the Cover<br />
Photo by Emiliano Pinnizzotto from The Emptying<br />
of the Andes. Inside a bus heading in the direction<br />
of Lima. Many of the people inside the bus are<br />
leaving their homes forever, looking for a job and<br />
a better life in the cities. See inside back cover for<br />
a profile of Emiliano Pinnizzotto.
<strong>ZEKE</strong><br />
THE<br />
MAGAZINE OF<br />
GLOBAL DOCUMENTARY<br />
Published by Social Documentary Network<br />
Dear <strong>ZEKE</strong> Readers:<br />
As I write this letter, Hurricane Ida has just completed its deadly flooding and destruction in Louisiana and the<br />
Northeast exactly 16 years after Katrina devastated the Gulf Coast. Floods have killed 20 people in Tennessee.<br />
Wildfires rage in the West and in Europe. And the Delta variant of COVID-19 extends its grip.<br />
It has also been just a few weeks since the fall of Kabul as the Taliban swept into victory following the<br />
American pullout after our 20-year failed effort at nation building. Now a chaotic and deadly evacuation<br />
has ended for U.S. troops, American citizens, our Afghan allies, and nationals of other countries struggling<br />
to flee the imposition of a harsh and despotic rule that we all know too well from the years prior to 9/11<br />
when the Taliban last controlled Afghanistan.<br />
While none of these events are presented in this issue of <strong>ZEKE</strong>, prior issues have featured numerous<br />
articles on climate change and the U.S. "War on Terror." We continue to publish <strong>ZEKE</strong> because we stand<br />
resolutely behind the importance of the documentary image, and the photographers who make them, in<br />
bringing awareness, nuance, and humanity to global issues.<br />
In this issue of <strong>ZEKE</strong>, we are thrilled to present the winners of the <strong>2021</strong> <strong>ZEKE</strong> Award for Documentary<br />
Photography. Sofia Aldinio’s award-winning project, Awake in the Desert Land, explores migration and historical<br />
memory as residents from Baja California, Mexico are uprooted from their land as a result of climate<br />
change. Nicolò Filippo Rosso’s project, Path Away, follows migrants from the Northern Triangle countries<br />
(Guatemala, Honduras, and El Salvador), as they flee violence and climate change to seek better opportunities<br />
in the U.S. only to find the border sealed as they approach their destination.<br />
We also present the extraordinary images by Italian photographer Emiliano Pinnozzotto and his project,<br />
The Emptying of the Andes, documenting an important, under-reported, and all too common story, where<br />
young people are fleeing their ancestral mountainous homes only to find a new form of poverty and alienation<br />
in urban centers—in this case in Peru—as climate change makes it increasingly difficult to sustain life<br />
at 13,000 feet.<br />
It is no coincidence that migration is a central theme in these three exhibits as the existential threat of<br />
climate change forces millions of people each year to seek less vulnerable environments.<br />
We are also thrilled to present 27 submissions from a call for entries from Black photographers on the<br />
theme “From Tulsa to Minneapolis: Photographing the Long Road to Justice” including first-place winner<br />
Donald Black Jr. for his story A Day No One Will Remember.<br />
In addition to these portfolios, Emily Schiffer has written a very provocative and inspiring feature article<br />
on Photography and Social Change exploring photographic artists who are making a difference by challenging<br />
the norms of both imagemaking and traditional structures of power.<br />
Lastly, on a personal note, I am very saddened to report that the namesake<br />
for <strong>ZEKE</strong> magazine, our thirteen-year-old beloved feline companion Ezekiel<br />
(aka Zeke), passed away in July following injuries suffered from a valiant fight<br />
with a wild animal. Barbara and I take solace that his exuberance for life, his<br />
unbounding energy, and his persistent demand for dignity often denied our<br />
non-human friends, live on in this magazine.<br />
Matthew Lomanno<br />
Glenn Ruga<br />
Executive Editor<br />
<strong>ZEKE</strong> FALL <strong>2021</strong>/ 1
This ongoing photography project<br />
by Sofia Aldinio documents<br />
how climate change is uprooting<br />
small, inland and coastal<br />
communities in Baja California,<br />
Mexico, that depend directly on<br />
natural resources to survive and thereby<br />
threatening cultural heritage.<br />
The peninsula is facing stronger hurricanes,<br />
changes in precipitation patterns<br />
and streamflow, loss of vegetation<br />
and soils and negative impact on fisheries<br />
and biodiversity. It is estimated that<br />
in Mexico and Central America, 3.9<br />
million people will be forced to leave<br />
their homes due to climate change.<br />
Photographed in four different communities<br />
across the peninsula, the work<br />
presented here documents the tension of<br />
the communities whose cultural heritage<br />
is at risk, adds a new perspective on<br />
the existing reports on climate change<br />
and migration and starts a conversation<br />
about how the loss of collective memory<br />
has a direct impact on the mental health<br />
of the next generation.<br />
The newest cemetery in San Jose de<br />
Gracia, Baja California, Mexico,<br />
January 17, <strong>2021</strong>. The small community<br />
has at least four different cemeteries<br />
generationally identified. The town lost<br />
most of its population after Hurricane<br />
Lester in 1992, the biggest storm the<br />
community has faced in its history.<br />
Since 2006, the community has lost 60<br />
members and has a population of 12<br />
today.<br />
2 / <strong>ZEKE</strong> FALL <strong>2021</strong>
Awake in the Desert Land<br />
MIGRATION, CLIMATE CHANGE, AND HISTORICAL MEMORY<br />
<strong>ZEKE</strong> AWARD FIRST-PLACE WINNER<br />
By Sofia Aldinio<br />
<strong>ZEKE</strong> FALL <strong>2021</strong>/ 3
4 / <strong>ZEKE</strong> FALL <strong>2021</strong>
Photo by Sofia Aldinio<br />
Felipe and Olga drive to buy food<br />
for their goats in San Juanico, Baja<br />
California, Mexico, January, 23, <strong>2021</strong>.<br />
The land is parched after no rain for<br />
three years, and the goats have been<br />
having a hard time finding the wild<br />
food that grows in the desert.<br />
<strong>ZEKE</strong> FALL <strong>2021</strong>/ 5
PATH<br />
AWAY<br />
TENS OF THOUSANDS FLEE VIOLENCE,<br />
CLIMATE CHANGE, AND ECONOMIC<br />
COLLAPSE FOR NORTH AMERICA<br />
<strong>ZEKE</strong> AWARD FIRST-PLACE WINNER<br />
By Nicolò Filippo Rosso<br />
Two months after Hurricanes Eta and<br />
Iota hit Central America in November<br />
2020, leaving 4.5 million victims of<br />
flooding and mudslides in their wake,<br />
11 thousand people gathered in San<br />
Pedro Sula, Honduras starting the<br />
first migrants’ caravan of the year heading<br />
towards the United States. <strong>2021</strong> began<br />
with one of the most significant migration<br />
waves of the last decade posing a difficult<br />
challenge for the new administration of<br />
President Joe Biden.<br />
The migrants’ crossing through gangcontrolled<br />
areas, deserts, and jungles<br />
is made even harder by the pandemic.<br />
International aid is scant, and many<br />
migrants’ shelters and charity kitchens<br />
closed their doors to avoid contagion.<br />
Thousands of migrants have reached<br />
Mexico while walking along its southern<br />
border with Guatemala, continuing the<br />
migration routes of the Gulf of Mexico, and<br />
the northern border with the United States to<br />
seek asylum. However, hundreds of families<br />
are expelled and returned to Mexico. Their<br />
asylum claims are denied with arguments<br />
based on Title 42, a U.S. statute that allows<br />
the expulsion of migrants from a country<br />
where a virus such as COVID-19 is present.<br />
This is their story.<br />
6 / <strong>ZEKE</strong> FALL <strong>2021</strong>
Left: Lesbia Vanessa Bovadia, 35 years old,<br />
from Honduras, cries as she talks to a psychologist<br />
in a charity shelter in Tijuana, Mexico.<br />
After being separated from her children in the<br />
United States, she was deported to Mexico in<br />
2019. She doesn’t know where her children<br />
are, and she’s desperate to find them. The<br />
last time she saw them was in Chattanooga,<br />
Tennessee in 2018 before being arrested by<br />
the U.S. police.<br />
<strong>ZEKE</strong> FALL <strong>2021</strong>/ 7
8 / <strong>ZEKE</strong> FALL <strong>2021</strong>
Photo by Nicolò Filippo<br />
Rosso<br />
Guatemalan police officers take<br />
custody of a Honduran migrant<br />
who attempted to break the police<br />
barricade while driving a truck in<br />
Vado Hondo, Guatemala.<br />
January 18, <strong>2021</strong>.<br />
<strong>ZEKE</strong> FALL <strong>2021</strong>/ 9
Migration from the<br />
Phoenix<br />
Channel<br />
Islands<br />
Mexicali<br />
Guadalupe<br />
Hermosillo<br />
A<br />
Chihuahua<br />
G o l f o d e C a l i f o r n i a<br />
La Paz<br />
Culiacan<br />
Durango<br />
MEXICO<br />
Saltillo<br />
Ciudad Victoria<br />
Monterrey<br />
Zacatecas<br />
Aguascalientes San Luis Potos<br />
Tepic<br />
Leon<br />
Queretaro<br />
Guadalajara<br />
Morelia Pachu<br />
Colima<br />
Toluca<br />
Mexico<br />
Chilpancingo<br />
P a c i f i c<br />
Olga Marina Rodriguez<br />
Gonzalez holds her two<br />
babies while waiting for<br />
the cargo train known as La<br />
Bestia “The Beast.” People<br />
jump on the moving train to<br />
reach Northern Mexico, on<br />
their way to the United States.<br />
Coatzacoalcos, in Veracruz,<br />
Mexico. February 16, <strong>2021</strong>.<br />
Photo by Nicolò Filippo Rosso.<br />
O c e a n<br />
10 / <strong>ZEKE</strong> FALL <strong>2021</strong>
Northern Triangle<br />
A last resort to stay alive<br />
by Daniela Cohen<br />
Little Rock<br />
ustin<br />
i<br />
ca<br />
City<br />
MEXICO<br />
Guatemala<br />
The significant increase<br />
in migration from<br />
Central America to the<br />
U.S. in recent years<br />
indicates rapidly deteriorating<br />
conditions<br />
in the region that have left people<br />
no choice but to flee in order to<br />
survive. The majority of migrants<br />
come from Honduras, Guatemala<br />
and El Salvador, together referred<br />
to as the Northern Triangle.<br />
Around 311,000 migrants<br />
from this region arrived in the<br />
U.S. between 2014 and 2020<br />
according to the Congressional<br />
Research Service. In June <strong>2021</strong>,<br />
US Customs and Border Protection<br />
(CBP) recorded almost 180,000<br />
Baton Rouge<br />
GUATEMALA<br />
San Salvador<br />
Jackson<br />
EL SALVADOR<br />
BELIZE<br />
HONDURAS<br />
Tegucigalpa<br />
Managua<br />
Havana<br />
San Jose<br />
Atlanta<br />
Montgomery<br />
NICARAGUA<br />
COSTA RICA<br />
Tallahassee<br />
Columbia<br />
migrants – including 15,000 unaccompanied<br />
minors and 50,000<br />
families – the highest monthly total<br />
in over 20 years. But given that<br />
one third of these migrants have<br />
crossed the border previously, the<br />
actual increase in migration may<br />
not be as high.<br />
“It’s one of the hardest decisions<br />
people are often making,” says<br />
Andani Alcantara Diaz, supervising<br />
attorney of removal defense for<br />
the Refugee and Immigrant Center<br />
for Education and Legal Services<br />
(RAICES) in Austin, Texas. “That’s<br />
why you see people go through<br />
really horrible things and still not<br />
leave for a while because they<br />
don’t want to leave their homes,<br />
their families, everything they<br />
know, behind. But at a certain<br />
point, it’s the only thing they can<br />
do to stay alive.”<br />
The main drivers of migration<br />
from the Northern Triangle are violence<br />
and socioeconomic insecurity,<br />
which frequently overlap, and are<br />
exacerbated by climate change.<br />
“Many migrants are fleeing<br />
gangs or other sorts of dangerous<br />
organizations that have harmed<br />
them and their families,” says<br />
Alcantara Diaz, “And they know<br />
they can’t go to the government,<br />
that the government in their countries<br />
is not going to protect them.”<br />
Many of these gangs originated<br />
in Los Angeles in the 1980s and<br />
were later deported back to their<br />
home countries in the region.<br />
Women and children are<br />
particularly vulnerable to violence,<br />
often within the home. Honduras<br />
and El Salvador have some of the<br />
highest rates of femicide worldwide.<br />
Endemic corruption means<br />
that the police are often involved<br />
and those responsible are not held<br />
to account. The threat of violence<br />
by both gangs and family members<br />
has led to a surge in unaccompanied<br />
minors arriving at the U.S.<br />
border since 2014.<br />
Socioeconomic drivers of migration<br />
include widespread inequality<br />
and poverty and pervasive lack<br />
CUBA<br />
JAMAICA<br />
Panama<br />
Bahama<br />
Islands<br />
Nassau<br />
Long Island<br />
G r e a t e r A n t i l l e s<br />
Caribbean Sea<br />
of work opportunities. With 40<br />
percent of the population under the<br />
age of 20, youth can either stay in<br />
precarious working conditions or<br />
try to seek opportunities elsewhere.<br />
Climate change has led to prolonged<br />
droughts and crop losses.<br />
The coffee industry has been hit<br />
hard by both an increase in the<br />
coffee leaf rust fungus and low<br />
international coffee prices, jeopardizing<br />
a critical source of seasonal<br />
income for over a million families.<br />
In addition, in 2020, the region<br />
was devastated by the COVID<br />
pandemic and back-to-back category<br />
4 Hurricanes Eta and Iota,<br />
which displaced over 500,000<br />
people, leaving many homeless<br />
and without access to clean<br />
drinking water. According to the<br />
World Food Programme, approximately<br />
eight million people are<br />
facing hunger, including a quarter<br />
with emergency levels of food<br />
insecurity. Almost 15 percent of<br />
people surveyed in January <strong>2021</strong><br />
reported plans to migrate, up eight<br />
percent from 2018.<br />
A Migrant Family’s<br />
Journey<br />
Angel Antonio Mejia Gonzales,<br />
from Danli, Honduras, felt he<br />
had no choice but to leave. The<br />
33-year-old and his wife, Olga<br />
Marina Rodriguez Montoya, 27,<br />
had both been affected by violence<br />
and wanted to protect their<br />
children. Mejia Gonzales is eager<br />
to work but says there were no<br />
prospects for work in Honduras.<br />
And Hurricanes Eta and Iota took<br />
what little they had.<br />
<strong>ZEKE</strong> FALL <strong>2021</strong>/ 11
FROM TULSA TO MINNEAPOLIS<br />
Photo by Joshua Rashaad<br />
McFadden<br />
After the last speech at the<br />
Commitment March Rally on<br />
August 28, 2020, thousands<br />
of people flooded the streets of<br />
Washington, D.C., to protest<br />
police brutality in America.<br />
14 / <strong>ZEKE</strong> FALL <strong>2021</strong>
PHOTOGRAPHING THE LONG ROAD TO JUSTICE<br />
<strong>ZEKE</strong> FALL <strong>2021</strong>/ 15
FROM TULSA TO MINNEAPOLIS: PHOTOGRAPHING THE LONG ROAD TO JUSTICE<br />
Several consistent themes arise across<br />
the thousands of images documenting<br />
the last year of racial justice<br />
protests in the United States— the<br />
raised Black power fist; a surge of<br />
civilian bodies facing off against<br />
a line of stony-faced police forces; eyes<br />
raised to the camera in triumphant challenge<br />
of the powers that be. Each of these<br />
poignant moments draw from long histories<br />
of photography on the American struggle<br />
for justice within a country whose deeply<br />
embedded racism spans centuries built of<br />
settler colonization and the enslavement of<br />
Black people.<br />
An especially horrific part of that long<br />
history of racial terror and subjugation in<br />
America is the 1921 Tulsa, Oklahoma massacre<br />
of Black residents by a white mob.<br />
While many Black Americans have long<br />
held the memory of that deadly night and<br />
the several preceding years of white mob<br />
violence that erupted across the nation,<br />
few photographs exist to bear ongoing<br />
witness to the death and destruction. In the<br />
decades since, however, Black Americans<br />
have utilized the camera’s evidentiary<br />
power as a tool in the twin struggles to<br />
humanize Black lives and depict racial<br />
injustice. The evisceration of Tulsa’s prosperous<br />
Black community and the 2020<br />
racial justice protests that represent the<br />
largest social justice movement in U.S.<br />
history are separated by nearly 100 years,<br />
serving as troubling markers of how little<br />
progress has been made on this long road<br />
to justice. Yet, the influx of visual storytelling<br />
by those whose lives are held in the<br />
balance and social media’s access to a<br />
rapt global audience offers new hope that<br />
justice might yet be realized.<br />
Since Black Lives Matter’s 2013 beginnings<br />
as a hashtag following the 2013<br />
shooting death of Black teenager Trayvon<br />
Martin, the movement gained steam as<br />
both a social media campaign and a<br />
series of national protests in the wake of<br />
each Black person killed by police brutality.<br />
It’s vital to understand how much this<br />
movement (and many other contemporary<br />
social justice efforts) owes to the wide<br />
circulation of visual evidence online. While<br />
such egregious acts of racial violence and<br />
police brutality have been rampant since<br />
the advent of American policing, it is the<br />
increasing presence of digital cameras that<br />
have ushered in an era where racism can<br />
be documented and therefore demand further<br />
reckoning. As BLM builds on the visual<br />
rhetoric of Civil Rights Movement photography,<br />
the relationship between street-level<br />
activism and the power of the camera is<br />
increasingly revealed.<br />
The collection of 23 photographs on<br />
these pages is drawn from over 500<br />
images submitted by photographers who<br />
answered the call to share their visual<br />
interpretations of the Long Road to Justice.<br />
Importantly, the work is primarily made<br />
by Black photographers whose lived<br />
experiences of racial injustice and respect<br />
for Black lives is tangibly felt across the<br />
photo essay. From Brian Branch-Prices’s<br />
intimate look at Black musicians to Kenechi<br />
Unachukwu’s We Still Here, a picture of<br />
Black resilience emerges. Donald Black<br />
Jr.’s loving ode to Black childhood symbolizes<br />
exactly what we fight for: a future<br />
where the threat of police brutality against<br />
our children, our mothers, our fathers and<br />
brothers is a thing of the past.<br />
The work to realize that future, however,<br />
is far from over. Even as these images of<br />
Black life compel the world to recognize<br />
the shared humanity of all people, there<br />
remains a stark disconnect between the<br />
realities visualized by our photography<br />
and the widespread realization of social,<br />
political, and economic reform. The<br />
struggle for racial justice continues and we<br />
lift our cameras as we steady our resolve,<br />
ready to meet the call wielding our choice<br />
of weapons.<br />
—Tara Pixley<br />
Program Credits<br />
Chair:<br />
Lisa DuBois<br />
Jurors:<br />
Laylah Amatullah Barrayn<br />
Lisa DuBois<br />
Anthony Barboza<br />
Eli Reed<br />
Jamel Shabazz<br />
16 / <strong>ZEKE</strong> FALL <strong>2021</strong>
Best-of-Show Award<br />
Donald Black Jr.<br />
A Day No One Will Remember<br />
A collection of images created by Donald<br />
Black Jr. over the past 10 years. After returning<br />
home to Cleveland, Ohio, he started creating<br />
images that only an insider could see<br />
and began making images that represented<br />
his perception of his reality. Seeing himself<br />
and where he came from has influenced<br />
an obsession to photograph children in his<br />
community.<br />
<strong>ZEKE</strong> FALL <strong>2021</strong>/ 17
FROM TULSA TO MINNEAPOLIS: PHOTOGRAPHING THE LONG ROAD TO JUSTICE<br />
Above<br />
Photographer: Titus Brooks Heagins<br />
Exhibit Title: Where the Sidewalk Ends<br />
This project represents a visual dialog<br />
that interrogates the lives of those who<br />
live in the margins of society.<br />
Caption: Brittany and Brianna<br />
Right top<br />
Photographer: Brian Branch-Price<br />
Exhibit Title: Rhythm and Praise, an<br />
Epic Journey<br />
This project reflects the expressions,<br />
thoughts and actions of a people, of a<br />
culture and of a folk who love to sing,<br />
dance, shout, give, teach, preach, cut a<br />
step all in the name of gospel music.<br />
Caption: Percy Bady, Newark, New<br />
Jersey<br />
Right below<br />
Photographer: Teanna Woods Okojie<br />
Exhibit Title: Black Boy Joy<br />
Black Boy Joy is a series of multiple<br />
images spanning from 2013 to <strong>2021</strong><br />
depicting young African youth and<br />
young men in various environments<br />
experiencing pure joy.<br />
18 / <strong>ZEKE</strong> FALL <strong>2021</strong>
Above<br />
Photographer: Brian Branch-Price<br />
Exhibit Title: BLM: The Third<br />
Expressing the frustrations of an oppressed<br />
community reacting to social injustices, economic<br />
apartheid, Jim Crow, over-policing,<br />
lynching, inhumanity, during peaceful and<br />
confrontational protest in New York, New<br />
Jersey, Philadelphia, Richmond, and D.C.<br />
Caption: Livia Rose Johnson, 20, march<br />
organizer during a Justice for George Floyd<br />
protest and rally in New York on June 4, 2020<br />
Left<br />
Photographer: Raymond W. Holman, Jr.<br />
Exhibit Title: COVID-19 in Black America<br />
Environmental portraits of Black and brown<br />
skin people with first-hand experience of<br />
COVID-19 – having recovered, lost family<br />
members, been mentally challenged by<br />
social isolation, and figuring out how to<br />
adjust and make a new pathway.<br />
Caption: A Princeton University student<br />
experiencing a year of online classes and<br />
isolation due to COVID-19, but becoming a<br />
stronger human being through this challenge.<br />
<strong>ZEKE</strong> FALL <strong>2021</strong>/ 19
Interview<br />
JOSEPH RODRIGUEZ<br />
Joseph Rodriguez is a New York-based photographer<br />
whose career spans over 25 years. His<br />
work has been published in National Geographic,<br />
The New York Times <strong>Magazine</strong>, Mother Jones,<br />
Newsweek, New York <strong>Magazine</strong> and others. He<br />
teaches at NYU and the International Center<br />
for Photography (ICP), among others, and has<br />
published several books including, more recently:<br />
Taxi: A Journey Through My Window 1977-1987<br />
and LAPD 1994. Below is an excerpt from our<br />
conversation, edited for clarity.<br />
By Caterina Clerici<br />
Caterina Clerici: Can you tell us about<br />
your background and how you got<br />
started in photography?<br />
and then dropped out and then got into<br />
the drug scene, started doing heroin,<br />
selling heroin, all that bad boy stuff. I<br />
went to Rikers Island. First time I went in, I<br />
was 17 years old. The second time I was<br />
20, and I was a much tougher guy than<br />
when I first went in. Rikers Island is not<br />
a place that I can even describe to you.<br />
How horrible that place is, that’s a whole<br />
other story.<br />
However, I came out at a very interesting<br />
time because I felt the need to change<br />
and those were the times of affirmative<br />
action, the only way for most young people<br />
to go to college without the ugly bank<br />
loans we have today. Through education<br />
I got myself together: got off methadone<br />
at 26, got my GED and studied graphic<br />
arts technology at the New York City<br />
Technical College in downtown Brooklyn.<br />
In 1980, I came out of school — first one<br />
to go to college in my family — and got<br />
a job in the printing business. You would<br />
send us your chromes, and we would<br />
make negatives, make plates and put<br />
them on a printing press. I learned a lot<br />
about color and printing and that helped<br />
my photography later on.<br />
I was making a lot of money in ‘80,<br />
‘81, doing all those big ads you see<br />
on the front pages of magazines, but I<br />
found myself going back down a rabbit<br />
hole, working 50, 60 hours a week. It<br />
was a great experience, but I was really<br />
unhappy. So I quit my job. My mother<br />
was very upset. I went back to driving<br />
a cab (taking photos that made up Taxi:<br />
Journey Through My Windows 1977-<br />
1987) and worked with a friend who had<br />
a truck and an art moving business.<br />
One day we delivered to a gallery in<br />
Soho where Larry Clark was laying his<br />
whole life’s work up on the wall. I went<br />
up to him as if he was Jimi Hendrix, like,<br />
“Oh, man! I really want to do what you<br />
do!” and he said: “Just go make pictures.”<br />
That’s all he said to me.<br />
I went to ICP and started assisting in<br />
the dark room, cleaning up the cibachrome<br />
lab. Then they gave me a scholarship<br />
and my life changed. I was schooled<br />
by some of the greatest Magnum photographers:<br />
Gilles Peress, Susan Meiselas,<br />
Eugene Richards, Alex Webb, Raymond<br />
Depardon, Sebastiao Salgado. The way<br />
I work is the way they work. For weeks,<br />
months and years. Anything personal is<br />
going to take me years. I’m just coming<br />
off following Mexican migrants throughout<br />
the USA for 10 years.<br />
I think about photography in time, and<br />
I always felt great work takes a lot of it.<br />
And, for me, it was always self-initiated.<br />
There were no editors, no one telling me<br />
Joseph Rodriguez: I was born and<br />
raised in Brooklyn in 1951. I grew up<br />
where I live right now, Park Slope, but it<br />
was South Brooklyn then. And you know,<br />
the Italian American history in New York<br />
was very strong. It was a very mafioso<br />
neighborhood and I’m not lying — we<br />
had the Gowanus Canal and it was not<br />
unusual for us to see floating bodies… It<br />
was pretty much like the old Sicilian way.<br />
In my Catholic school there were<br />
only about 400 or 500 of us. There was<br />
one Black kid and one Puerto Rican kid:<br />
me. The other kids were all mostly from<br />
Genoa, in Italy. Every single parent who<br />
lived close by used to grow grapes in<br />
the backyard and you would stop by to<br />
try their wine. It was very old school.<br />
But then the drugs came, and that’s what<br />
brought a lot of the same problems you<br />
have in so many other places.<br />
I lost my way… got into high school<br />
A young 18th Street Gang member being arrested. At the time this photo was taken the ATF (Arms Tobacco and<br />
Firearms) were working with LAPD to try and take down one of the most notorious gangs in Los Angeles. The aim<br />
was also to get as many guns off the streets as possible. Photo by Joseph Rodriguez from LAPD 1994.<br />
20 / <strong>ZEKE</strong> FALL <strong>2021</strong>
what to do. We just had that practice,<br />
that discipline, which also brings a lot<br />
of anxiety because you’re swimming<br />
upstream and you’re always alone. The<br />
practice is mapping out a story, which<br />
then turns into something longer — like<br />
when I went to LA in 1992 to photograph<br />
gangs and I’m still revisiting that project<br />
some 20 years later.<br />
CC: Can you tell us how your project<br />
on gang violence in LA started, how it<br />
evolved, and the challenges you faced?<br />
JR: When the Rodney King uprising<br />
happened, immediately I wanted to<br />
go, because I was missing America<br />
(Rodriguez was living in Europe at the<br />
time) and I understand the urban narrative,<br />
no matter which city it is — Chicago,<br />
Miami, New York, LA. I couldn’t do much<br />
research while I was living in Europe,<br />
because it wasn’t like now where everything’s<br />
online, but one thing I did was listen<br />
to music: all this gangsta rap, Eazy-E,<br />
Tupac, Dre, N.W.A., Public Enemy. The<br />
rhymes they were spitting out were the<br />
newspapers of the streets. So I was listening<br />
to guys like this Chicano rapper Kid<br />
Frost, who’s totally East LA, and I was like<br />
“Ok, I gotta go there.”<br />
I flew in the middle of the night from<br />
Stockholm to LA and arrived in my hotel<br />
room. I didn’t know where I was going,<br />
I had no connections and LA is huge!<br />
So I grabbed three newspapers, turned<br />
on the news and of course there was a<br />
funeral and a drive-by shooting every<br />
minute.<br />
There was a lot of ground to cover,<br />
so I stayed five weeks and worked<br />
really hard. No sleep, just worked and<br />
drove around, from one neighborhood<br />
to another, also with the cops doing the<br />
gang unit. But I knew our history already.<br />
I began interviewing African-American<br />
families in Watts, asking what was the<br />
difference with the riots in 1965, in the<br />
era when Malcolm X and Robert Kennedy<br />
were assassinated and there was a lot<br />
of city streets burning. The conversation<br />
began and it opened up doors, and I<br />
realized I wasn’t interested in just the<br />
guns or the people dying. This was a<br />
generational story that went back three or<br />
Waiting for a fare outside 220 West Houston Street, an after-after-hours club. New York 1984. Photo by Joseph<br />
Rodriguez from Taxi: A Journey Through My Window 1977-1987.<br />
four generations. That’s when I really felt<br />
the power of this story.<br />
I went back to Stockholm and we published<br />
what we could. I applied for an artist<br />
grant there, and then I moved to LA in<br />
September of ‘92. It was hard, I had left<br />
the kids behind and just kept flying back,<br />
trying not to be the absentee father that I<br />
was. But that was the path I was on.<br />
The gang project was very hard to<br />
do and I paid the psychological price<br />
for it, in terms of PTSD. At least eleven<br />
kids are dead, in the East Side Stories:<br />
Gang Life in East L.A. book. Children<br />
were dying and parents were telling me<br />
I needed to tell this story. Plus, sometimes<br />
people thought I was an undercover cop.<br />
I showed them my Spanish Harlem book<br />
and my National Geographic stories to<br />
prove that I wasn’t a cop, but paranoia<br />
runs deep in the hood. That hung over my<br />
head for a while — until the book was<br />
published — and I was going to quit the<br />
project, I felt I couldn’t handle it.<br />
I also had guys come say to me: “Yo,<br />
man, I’m about to go do a hit, you can<br />
come and just take pictures.” This is ethics.<br />
I said: “Look, I go with you, I photograph<br />
you doing this scene. Detectives<br />
come, they find out who’s who, they<br />
take my film and they use the evidence<br />
against you.” Some of the gang members<br />
were 16 years old; they didn’t know how<br />
the law worked. They didn’t understand<br />
what a camera could do. They were so<br />
enamored by their vanity and Hollywood<br />
influence. With a camera comes a lot of<br />
responsibility.<br />
CC: How did your surroundings while<br />
growing up influence your practice and<br />
your understanding of photography, as<br />
well as your mission as a “humanist”, as<br />
you often define yourself?<br />
JR: I grew up with my mother and her<br />
sisters, and there were no men in my family.<br />
My stepfather was a dope fiend who<br />
died on the streets. There were a lot of<br />
not nice things growing up, and that was<br />
very tough for me.<br />
One thing I remember is that my mom<br />
would sit with her sisters in a very old<br />
school, Italian way, they would have their<br />
coffee and talk about the men. I would<br />
hear these stories — it was unbelievable<br />
— of abuse and cheating, and those references<br />
helped me develop a feminine eye.<br />
I’m always asking myself: “Why did<br />
this photographer go photograph a gangster<br />
with guns, bullets and drugs, but then<br />
didn’t photograph a mother at the same<br />
time, or the struggling parent?” That’s<br />
always been very important in my work. I<br />
didn’t always go for the guns.<br />
“Raised in violence, I enacted my own<br />
violence upon the world and upon myself.<br />
What saved me was the camera, its ability<br />
to gaze upon, to focus, to investigate,<br />
to reclaim, to resist, to re-envision.” That<br />
quote is from my journal. That’s how I<br />
got here, that’s where this goal comes<br />
from. That’s why I went back for East Side<br />
Stories (Rodriguez’s long-term project<br />
about gang violence in LA, shot between<br />
1992–2017.)<br />
Continued on page 70.<br />
<strong>ZEKE</strong> FALL <strong>2021</strong>/ 21
But before delving into how documentary<br />
photography is evolving, it is essential<br />
to first address the fight to change<br />
the internal practices and structure of the<br />
photo industry itself.<br />
One of the biggest problems in<br />
photography is the widespread percep-<br />
Years ago,<br />
tion among audiences that photographs<br />
during an artist talk at a journalism<br />
conference, I stated that I the extent to which a photographer’s<br />
don’t lie. Most people don’t understand<br />
don’t believe documentary photographs<br />
create social change. A consume. This knee-jerk assumption of<br />
personal biases impact the images we<br />
colleague stood up and interrupted my objectivity allows audiences to accept<br />
talk to disagree with me. Our impromptu an image as truth: forming hard-andfast<br />
opinions about events and cultures.<br />
debate--across an audience of photographers<br />
and journalism students--exemplifies Without critical assessment from the viewers,<br />
the photographer has tremendous<br />
an important dialog within our industry<br />
that is pushing the boundaries of how power over the value viewers assign to<br />
photography is created and used. Our the lives of the individuals pictured. Such<br />
power and representation have plagued<br />
the industry since the advent of photography<br />
as a medium. Recent momentum<br />
in acknowledging and changing these<br />
practices prompted the formation of<br />
collectives such as Women Photograph,<br />
MFON, Diversify Photo, Ingenious<br />
Photograph, and the Authority Collective,<br />
to name a few. Meaningful reflection<br />
about representation, connection, and<br />
accountability are imperative starting<br />
points for anyone assigning, publishing,<br />
Photography &<br />
By Emily Schiffer<br />
disagreement hinged on different definitions<br />
of what “social change” looks like<br />
and means. I was asserting that images<br />
create awareness--which unreliably<br />
evokes empathy, shifts mindsets, and<br />
inspires action. He was arguing that<br />
empathy is change. We were both right.<br />
Differentiating between raising awareness,<br />
fostering empathy, inspiring action,<br />
and changing conditions enables photographers<br />
to precisely define their goals<br />
and approaches for individual projects.<br />
A whole world opens up when<br />
we think of images as the start<br />
of a creative process—rather<br />
than the end goal.<br />
unchallenged authority creates a dangerous<br />
paradigm. Historically, photographers<br />
have been overwhelmingly white<br />
and male, which means they produced<br />
images of cultures, communities, and<br />
people that were not familiar to them.<br />
On top of that, editors, curators, critics,<br />
and other industry gatekeepers have<br />
also historically been white and male,<br />
which further normalizes the white male<br />
gaze within the industry writ large, and<br />
silencing other perspectives. This set-up<br />
causes glaring omissions in documentary<br />
narratives. Practically speaking,<br />
omissions amount to erasure, which is a<br />
quintessential tactic of colonialism and<br />
oppression. Despite important changes<br />
in who is able to access the profession,<br />
and in how we think about photography,<br />
statistics show that the demographics of<br />
the industry remain largely unchanged.<br />
In 2020, 80% of A1 images in leading<br />
U.S. and European newspapers were<br />
created by male photographers. Issues of<br />
exhibiting, or creating photographs, let<br />
alone those attempting to create social<br />
change through photography.<br />
Sometimes, viewers need to physically<br />
see the errors in the dominant narrative<br />
in order to shift their mindset. Artists such<br />
as Alexandra Bell, Wendy Red Star,<br />
and Tonika Lewis Johnson visualize the<br />
crisis of biased representation, enabling<br />
viewers to reflect on their perceptions<br />
of self and others. Bell redacts racist<br />
language in New York Times articles and<br />
sometimes changes the imagery to reflect<br />
a more accurate depiction of the facts.<br />
She then wheatpastes the before and<br />
after versions of the articles onto outdoor<br />
public walls: simultaneously holding the<br />
media accountable, and forcing viewers<br />
to confront their complacency when<br />
consuming media. Similarly, Red Star<br />
annotates photographs of Crow chiefs,<br />
originally taken by Charles Milton Bell in<br />
1880. Red Star uses red ink to provide<br />
historical and contextual information,<br />
22 / <strong>ZEKE</strong> FALL <strong>2021</strong>
Photo by Dawnee LeBeau. From Women of the<br />
Tetonwan, a portrait project celebrating the matriarchs<br />
of the Cheyenne River Sioux Tribe in South Dakota. <br />
Winona Kasto is one of our Lakota Lolihan' (cooks).<br />
It's a great honor to be able to offer food as nourishment<br />
and healing, especially at ceremonies and<br />
community events.<br />
with individuals directly impacted by the<br />
issues their work addresses. Still, for others<br />
who photograph solo, like Dawnee<br />
LeBeau, an ongoing and deep community<br />
dialog dictates what is created and<br />
shared. It is worth noting that all of the<br />
aforementioned photographers identify<br />
as part of the communities they document.<br />
Even people depicting their own<br />
cultures need accountability, and ceding<br />
power enriches photographic work.<br />
Listening, critical discourse, and reflection<br />
Social Change<br />
on one’s own biases are even more vital<br />
for outsiders.<br />
thereby informing the viewer and commenting<br />
on non-Indigenous people’s lack<br />
of knowledge about Indigenous culture<br />
and history. Aware of how profoundly the<br />
media impacts our sense of self, Johnson<br />
created Englewood Rising, a communityled<br />
billboard campaign created and<br />
paid for with funds raised by Englewood<br />
residents and activists to, “showcase<br />
Englewood’s everyday beauty and<br />
counter its damage-centered narrative.”<br />
Created by the community, for the community,<br />
and in the community, this wildly<br />
popular project demonstrates how well<br />
someone from the community can portray<br />
other members within it.<br />
Discussions about representation<br />
and whether or not a solo perspective is<br />
always desirable have prompted photographers<br />
to share authorship and power<br />
in the image-making process. More<br />
horizontal approaches sometimes take<br />
the form of a collective voice, composed<br />
of many professional photographers, as<br />
is the case with Kamoinge (founded in<br />
1963), a collective working to “HONOR,<br />
document and preserve the history and<br />
culture of the African Diaspora with<br />
integrity and insight for humanity through<br />
the lens of Black photographers.” Other<br />
artists, like Brenda Anne Kenneally, facilitate<br />
decade-long photography workshops<br />
With the politics of representation<br />
fresh on our minds, and<br />
the raising of awareness as a<br />
baseline, we will look at examples<br />
of photographers leading<br />
our industry in a more responsible,<br />
and impactful direction.<br />
Whether making images collaboratively,<br />
using them to create conversations,<br />
creatively installing them in communities,<br />
or amplifying existing grassroots<br />
organizing, these projects engender<br />
active engagement from both the people<br />
impacted by these issues and the viewers<br />
seeing these projects--even when there is<br />
not an easy or clear solution.<br />
More →<br />
<strong>ZEKE</strong> FALL <strong>2021</strong>/ 23
Photography & Social Change<br />
Projects<br />
That Inspire<br />
Introspection<br />
and<br />
Challenge<br />
Oppressive<br />
Narratives<br />
Ariana Faye Allensworth<br />
Staying Power<br />
Ariana Faye Allensworth’s<br />
background in social work,<br />
urban studies, African<br />
American studies,<br />
and education enables her to<br />
deconstruct power imbalances<br />
in the photo industry.<br />
Her latest project Staying<br />
Power, implements her critique<br />
of how photography is<br />
taught, and how narratives are<br />
constructed and consumed.<br />
Staying Power is “a collaborative,<br />
multidisciplinary art and research project<br />
celebrating the people’s history of New<br />
York City public housing. The project<br />
offers counter-narratives to the stereotypes<br />
surrounding the New York City<br />
Housing Authority (NYCHA) through<br />
the lens of residents raised and living in<br />
NYCHA.”<br />
The project emerged out of<br />
Allensworth’s collaborative work at the<br />
Anti-Eviction Mapping Project (AEMP):<br />
visualizing injustice by mapping open<br />
data, collecting oral histories, producing<br />
storytelling projects in collaboration<br />
with tenants, facilitating mutual aid, and<br />
researching real estate speculation and<br />
corporate landlordism.<br />
At AEMP, Allensworth worked closely<br />
with residents displaced by the demolition<br />
and downsizing of public housing.<br />
New York City, home to the largest public<br />
housing stock in the United States, is<br />
privatizing and defunding many public<br />
housing programs, a radical shift in<br />
how these programs are managed and<br />
operated. “It’s an important moment to<br />
document public housing reform, and<br />
to create room for people’s narratives,”<br />
explains Allensworth. The dominant<br />
‘failed public housing’ narrative stood<br />
in stark contrast to the breadth of lived<br />
experiences residents described.<br />
Housed online, Staying Power is a<br />
platform for publishing, discussing, and<br />
presenting the NYCHA community’s<br />
histories. The content is also available<br />
through an open-ended series of booklets<br />
and postcards, distributed to subscribers<br />
through the postal service.<br />
The project explores how this community<br />
creates, cares for, and<br />
builds their own archives.<br />
“Memory is a valuable historical<br />
resource,” explains<br />
Allensworth. “Staying<br />
Power explores how<br />
photography, ephemeral<br />
and personal collections<br />
of objects, and interviews<br />
with residents can offer<br />
alternative modes of knowledge<br />
that retell the public housing story. The<br />
project positions residents as archivists<br />
and storytellers.” Allensworth’s goal is to<br />
refute stereotypes that eclipse people’s<br />
lived experiences, and assert that all residents<br />
are worthy of inclusion in NYCHA<br />
history.<br />
To gather material, Allensworth<br />
facilitated photography workshops,<br />
conducted long-form oral histories, and<br />
photographed ephemera. Teaching<br />
photography as a way of collaboratively<br />
building narratives poses a challenge: on<br />
the one hand, taking someone’s creativity<br />
seriously by helping them develop<br />
their craft is the ultimate form of respect.<br />
On the other hand, traditional photoeducation<br />
practices—which literally teach<br />
how to see—undermine the message that<br />
Image by Ariana Faye Allensworth. A poster created<br />
for Staying Power featuring an image of Michael Casiano,<br />
a resident of LaGuardia Houses on the Lower<br />
East Side of Manhattan.<br />
everyone’s perspective and story is valid.<br />
Allensworth didn’t want her aesthetic<br />
preferences to influence the work residents<br />
created. She structured her workshops<br />
using the “Photo Voice” model,<br />
inviting participants to create visual<br />
answers to questions about their public<br />
housing experience. Instead of focusing<br />
on aesthetics, the group discussed the<br />
messages the images delivered, and critiqued<br />
the artists’ visual communication.<br />
Similarly, Allensworth’s method of<br />
collecting oral histories positioned the<br />
narrator to author their own story: “I<br />
don’t show up with a predetermined set<br />
of questions, so they’re not reduced to<br />
whatever container I create for them.<br />
They decide what it is that they want to<br />
put on record.”<br />
Though created primarily for NYCHA<br />
residents, Staying Power is also an important<br />
resource for educators, activists, and<br />
policy makers looking to counter erasure,<br />
claim space, and amplify residents’<br />
experiences without filtering them through<br />
a third party lens.<br />
24 / <strong>ZEKE</strong> FALL <strong>2021</strong>
Subscribe to <strong>ZEKE</strong> and receive the full<br />
84-page version in print and digital<br />
$25.00* for two issues/year<br />
Includes print and digital<br />
*Additional costs for shipping outside the US.<br />
Subscribe to <strong>ZEKE</strong> magazine and get the best of<br />
global documentary photography delivered to your<br />
door, and to your digital device, twice a year. Each<br />
issue presents outstanding photography from the<br />
Social Documentary Network on topics as diverse<br />
as the war in Syria, the European migration crisis,<br />
Black Lives Matter, the Bangladesh garment industry,<br />
and other issues of global concern.<br />
But <strong>ZEKE</strong> is more than a photography magazine.<br />
We collaborate with journalists who explore<br />
these issues in depth —not only because it is important<br />
to see the details, but also to know the political<br />
and cultural background of global issues that require<br />
our attention and action.<br />
Click here to find out how »<br />
www.zekemagazine.com/subscribe<br />
Contents of <strong>Fall</strong> <strong>2021</strong> Issue<br />
Awake in the Desert Land<br />
Photographs by Sofia Aldinio<br />
Path Away<br />
Photographs by Nicolò Filippo Rosso<br />
From Tulsa to Minneapolis: Photographing the<br />
Long Road to Justice<br />
Photographs by 27 Black photographers documenting this<br />
extraordinary time in American history<br />
The Emptying of the Andes<br />
Photographs by Emiliano Pinnizzotto<br />
Migration from the Northern Triangle<br />
by Daniela Cohen<br />
Interview with Joseph Rodriguez<br />
by Caterina Clerici<br />
Photography & Social Change<br />
by Emily Schiffer<br />
Book Reviews<br />
Edited by Michelle Bogre<br />
<strong>ZEKE</strong> FALL <strong>2021</strong>/ 25
26 / <strong>ZEKE</strong> FALL <strong>2021</strong>
‘Tia’ (aunt) Sibilla in her hut<br />
in the village of St Martin de<br />
Porres, 15,000 feet above the<br />
sea level, in Peru.<br />
The Emptying of the Andes<br />
By Emiliano Pinnizzotto<br />
<strong>ZEKE</strong> FALL <strong>2021</strong>/ 27
There is a very quiet and subtle<br />
migration taking place in Peru. It is a<br />
phenomenon of “rural-urban migration”<br />
that has continued incessantly<br />
for years, and is emptying the Andes<br />
of people who are leaving their<br />
lands under the illusion of a better future in<br />
the big cities—Lima, Arequipa, Chimbote.<br />
Many young people have escaped from<br />
peasant life, only to end up in the favelas<br />
of these cities, with no light, no gas,<br />
nor running water. This migratory movement,<br />
which is emptying the Andes of a<br />
population that will end up in the slums, is<br />
referred to as “invasions,” because of the<br />
unstoppable number of arrivals.<br />
This photographic project by Italian<br />
photographer Emiliano Pinnizzotto follows<br />
the stories both of those who remain in<br />
their ancestral homes in the mountains, and<br />
those who left for the big city and found<br />
themselves passing from an imagined<br />
dream into a real nightmare. The Emptying<br />
of the Andes in an attempt to give voice<br />
to a little-known story that in the next few<br />
years will empty the mountains of native<br />
people and culture and fill the cities with<br />
those seeking a better life but often find<br />
disappointment instead.<br />
28 / <strong>ZEKE</strong> FALL <strong>2021</strong>
Photo by Emiliano Pinnizzotto<br />
Two women come back home with<br />
their sheep after a day of pasture.<br />
Grazing sheep is one of the main<br />
activities in the mountains. Sheep<br />
are raised principally for milk and<br />
wool and for their meat.<br />
<strong>ZEKE</strong> FALL <strong>2021</strong>/ 29
BOOK<br />
REVIEWS<br />
EDITOR: MICHELLE BOGRE<br />
I CAN MAKE YOU FEEL<br />
GOOD<br />
By Tyler Mitchell<br />
Prestel, 2020<br />
208 pages | $60<br />
I<br />
Can Make You Feel Good, Tyler<br />
Mitchell’s second monograph,<br />
evidences and envisions contemporary<br />
Black joy. His work, which reframes<br />
Blackness through portraits that challenge<br />
prevailing racial stereotypes,<br />
investigates the question: What does the<br />
pursuit of happiness look like for Black<br />
Americans?<br />
Mitchell chronicles unguarded<br />
moments of tenderness, tranquility, and<br />
bliss among individual and intimate<br />
clusters of young Black adults. Dramatic<br />
silhouettes of sumptuously textured clothing<br />
are interspersed with soft-focused<br />
sensual gestures of gentle affection.<br />
With his cinematic eye and deft use of<br />
scale, composition, and perspective, he<br />
animates a fluid compilation of full bleed,<br />
mostly double-page spreads.<br />
Mitchell, who was included in the<br />
Aperture publication and exhibition, The<br />
New Black Vanguard, pushes the conventions<br />
of race, beauty, gender and power.<br />
Aware of, and indebted to, predecessors<br />
including Roy DeCarava, Gordon<br />
Parks, Jamel Shabazz and 19th century<br />
scholar, abolitionist and orator, Frederick<br />
Douglass, he and his contemporaries<br />
embrace the role of the Black body and<br />
Black lives as subject matter. They expand<br />
the visual culture conversation by documenting<br />
and challenging their realities of<br />
presence, absence, invisibility, appropriation,<br />
desire, and objectification.<br />
Mitchell’s images are subversive in<br />
their disruption of what writer Junot Diaz<br />
coins as the ‘default whiteness’ of our<br />
American society. They are transgressive<br />
in their assertion of a reality beyond<br />
conventional representation. The wraparound<br />
cover image is an apt example of<br />
Mitchell’s intentional tableaux: It shows<br />
five young shirtless men, three of which<br />
face away from the camera with heads<br />
bent, another is partially seen, his face<br />
in profile, gazing somewhat pensively<br />
across a flowering meadow to the edge<br />
of a tree-lined woods. The fifth person,<br />
and the only one facing the camera, has<br />
his face in shadow as he seemingly tightens<br />
the black belt at his waist. A thick,<br />
intertwined chain of silver metal catches<br />
the available light and grabs the attention<br />
of the viewer. A white string of cotton is<br />
tied as a single, loose bracelet on the<br />
wrist of his active hand. The choice of<br />
adornment and fashion accessory could<br />
be codifiers of modes of bondage and<br />
tools of slavery, and intersect with the<br />
understated but obvious designer labels<br />
of Valentino jeans (which retail for close<br />
to $1000) and Ben Sherman underwear<br />
(a fashion brand noted for attracting<br />
youth culture).<br />
Images of leisurely<br />
picnics are sequenced with<br />
people at play, frolicking<br />
and actively engaging with<br />
hula hoops, skateboards,<br />
jump ropes, and a kite.<br />
Mitchell acknowledges his<br />
reference to Tamir Rice, the<br />
12-year-old Black boy shot<br />
in a Cleveland park in 2014<br />
while carrying a toy gun.<br />
Mitchell also reframes the<br />
connotation of the hoodie,<br />
following its presence in<br />
the 2012 killing of 17-yearold<br />
Trayvon Martin. Two<br />
images purportedly use the<br />
same man wearing a plush<br />
cotton, powder-blue hooded<br />
sweatshirt while lying on<br />
a wooden floor. The first<br />
features him face down<br />
framed in a horizontal position with his<br />
open-palmed hands interlaced behind his<br />
back. In the second, he is face-up, with<br />
his head, shoulders and arms filling the<br />
bottom of the frame, his hands tentatively<br />
holding the soft hood, a wide-eyed listful<br />
expression, looking just above the gaze<br />
of the viewer. Both images imply the<br />
notion of an arrest and a mug shot.<br />
A final example of Mitchell’s purposeful<br />
challenge to codified visual language<br />
is a vertical image of a man standing<br />
in front of a peeling red-painted cement<br />
wall. He wears flowing white pants<br />
spilling over sleek brown leather loafers.<br />
A green fabric sac, is held in hand, a billowing<br />
bright yellow piece of silk is hung<br />
with clothespins from black electrical<br />
cording suspended above, obscuring his<br />
head and torso.<br />
This bold abstraction of Pan African<br />
colors is perhaps a nod to poet, playwright,<br />
and activist, Amiri Baraka, who<br />
saw Black beauty as an act of justice.<br />
His poem, Why Is We Americans?<br />
proclaims, “What is the use of being<br />
ethereal and being escapist and romantic?<br />
Take the words and make them into<br />
bullets. Take the words and make them<br />
do something.” Tyler Mitchell’s images<br />
create visual text to explode imagination<br />
and claim sovereignty.<br />
—J. Sybylla Smith<br />
©Tyler Mitchell.<br />
30 / <strong>ZEKE</strong> FALL <strong>2021</strong>
OUR TOWN<br />
by Michael von Graffenried<br />
Steidl, <strong>2021</strong><br />
121 pages | $50<br />
“<br />
The only way to achieve realistic<br />
pictures is to steal them,” says<br />
Swiss photographer Michael<br />
von Graffenried (MvG as he calls<br />
himself), whose most recent book, Our<br />
Town, illustrates both the art of the steal<br />
and MvG’s chosen path bringing people<br />
together, or not. In Our Town, MvG catalogs<br />
the divisions of racism in a small<br />
town in America by photographing who<br />
he observes—whites with whites and<br />
Blacks with Blacks. There are common<br />
moments that chronicle people together:<br />
high school events, sports, political gatherings,<br />
a wedding, a barbershop and<br />
a strip bar. In the latter photograph, a<br />
white male in erotic contact with a Black<br />
dancer sadly illustrates the disparity that<br />
is less blatantly represented throughout<br />
Our Town.<br />
MvG prefers using an old rotating lens<br />
35mm Widelux film camera which has a<br />
140 degree wide angle view because,<br />
he says, he can hold the camera next to<br />
his chest, and take photos without looking<br />
through the viewfinder. “Today, photography<br />
is no longer real...People know you<br />
are coming and are putting on a show.<br />
They are never themselves. That’s why<br />
I use this camera. You can take photos<br />
without looking through the viewfinder<br />
and nobody notices when you are actually<br />
pressing the shutter button. It’s the<br />
only way to achieve realistic pictures,” he<br />
said in a 2010 interview with Hans Ulrich<br />
Obrist, held in the Serpentine Gallery,<br />
Kensington Court, London.<br />
Holding a large Widelux camera at<br />
chest level does not make a photographer<br />
invisible. It does increase MvG’s opportunity<br />
to steal a picture by circumventing the<br />
scene-altering effect of asking permission<br />
to make a picture. MvG’s mandate to<br />
bring people together seems to be related<br />
to his camera’s ability to register everything<br />
within its field of view. With the use<br />
of this slow-tech camera technique, he<br />
slices a story from his chosen environment<br />
with an impressive mastery.<br />
In 2006, MvG began his Our Town<br />
project for the 300th anniversary of the<br />
founding of New Bern, North Carolina.<br />
The town was founded in 1710 by<br />
MvG’s own Swiss ancestor Christoph<br />
von Graffenried, who had traveled to<br />
the Americas in 1710 and established<br />
what became the sister city to Bern,<br />
Switzerland.<br />
After MvG’s first exhibition, New<br />
Bern’s local newspaper, the Sun<br />
Journal, ran the front page headline,<br />
“Swiss Photos of City Nixed.” The<br />
article by Sue Book reported “Many<br />
of those on the 300th Anniversary<br />
Celebration Committee and the Swiss<br />
Bear Development Corporation board<br />
thought Michael von Graffenried’s images<br />
showed New Bern in an unflattering,<br />
even racist, light.” The newspaper also<br />
reported that neither sponsoring agency<br />
would help to publish the photographs.<br />
That response did not deter MvG from<br />
spending multiple years on his project.<br />
He returned to New Bern after the killing<br />
of George Floyd to photograph the<br />
underserved Black community. In the<br />
book, he combines his original pictures<br />
with his more recent work. He described<br />
his creative process to Swiss Television in<br />
2007, “. . . First, I want to understand if<br />
I’ve understood something. I try to put it<br />
in a frame that explains daily life. I try to<br />
condense a story within one picture. I am<br />
convinced a picture tells more about the<br />
person who is looking at it than about the<br />
one who took it.”<br />
But the most successful pictures are not<br />
about the photographer or the viewer.<br />
Great pictures are about what is inside<br />
the picture frame. MvG admits that he is<br />
not a creator of iconic images. For him,<br />
each photograph must be the story. There<br />
are no photo captions or text, other than<br />
his 124 word introduction. He intends his<br />
panoramic views to chronicle both the<br />
subject and the background details of a<br />
complex reality. The reader is invited to<br />
take cues from the book’s 120 images.<br />
Many of his amazing compositions reveal<br />
uncomfortable situations that are daily life<br />
in New Bern. MvG is a late witness to the<br />
plague of racism in America. There is the<br />
hope that this testament will contribute to<br />
the end of the racism common throughout<br />
the United States.<br />
—Frank Ward<br />
<strong>ZEKE</strong> FALL <strong>2021</strong>/ 31
Contributors<br />
Sofia Aldinio is an Argentine-American<br />
documentary photographer and storyteller<br />
based between Joshua Tree, California and<br />
Baja California, Mexico. As an immigrant<br />
and Latina, Sofia’s work is guided by themes<br />
like climate change, preserving natural and<br />
cultural heritage, and immigration, amplifying<br />
the stories of immigrants and refugees in the<br />
Northeast of the United States.<br />
Barbara Ayotte is the editor of <strong>ZEKE</strong> magazine<br />
and the Communications Director of the<br />
Social Documentary Network. She has served<br />
as a senior strategic communications strategist,<br />
writer and activist for leading global health,<br />
human rights and media nonprofit organizations,<br />
including the Nobel Peace Prize- winning<br />
Physicians for Human Rights and International<br />
Campaign to Ban Landmines.<br />
Kirsten Rebekah Bethmann, aka Kirsten<br />
Lewis, is a Colorado-based international<br />
photographer, educator and public speaker.<br />
She has traveled to over 40 countries to work<br />
with organizations and individuals creating<br />
documentary-based pictures to aid in fundraising,<br />
advertising, awareness and personal family<br />
archive builds, and is the primary force in<br />
the genre of documentary family photography.<br />
Donald Black Jr. is a Cleveland artist who<br />
works with video, installation, and photography.<br />
He is an alumnus of Cleveland School of<br />
the Arts and attended Ohio University, where<br />
he studied commercial photography. Black<br />
received first place in SDN's From Tulsa to<br />
Minneapolis Call for Entries and third place in<br />
Nikon's international photo competition. His<br />
work explores family relationships, racism,<br />
environment, and identity.<br />
Beginning as a freelancer for the Washington<br />
Post, Brian Branch-Price became an intern<br />
and staffer at various publications. As a content<br />
provider, Brian contracts with Zuma Press<br />
and also focuses on portraiture, reportage<br />
and fine art photography. He had several art<br />
exhibits at the Plainfield Public Library on his<br />
legendary Black gospel artists and veterans.<br />
Sheila Pree Bright is an acclaimed international<br />
photographic artist who portrays<br />
large-scale works that combine a wide-ranging<br />
knowledge of contemporary culture. Known<br />
for her series, #1960Now, Young Americans,<br />
Plastic Bodies, and Suburbia, Bright has<br />
received several nominations and awards.<br />
Her work is included in numerous private and<br />
public collections.<br />
Born in Harlem, New York, Sean Josahi<br />
Brown draws inspiration from the common<br />
human experience to capture raw emotion and<br />
share compelling stories that raise awareness<br />
of social issues.<br />
32 / <strong>ZEKE</strong> FALL <strong>2021</strong><br />
Caterina Clerici is an Italian journalist and<br />
producer based in New York. She graduated<br />
from Columbia University’s Journalism School<br />
and is a grantee of the European Journalism<br />
Centre for her work in Haiti, Ghana and<br />
Rwanda. She worked as a photo editor and<br />
VR producer at TIME, and as an executive<br />
producer at Blink.la.<br />
Daniela Cohen is a non-fiction writer of South<br />
African origin currently based in Vancouver,<br />
Canada. Her work has been published in New<br />
Canadian Media, Canadian Immigrant, The<br />
Source Newspaper, and is upcoming in Living<br />
Hyphen. Daniela’s work focuses on themes of<br />
displacement and belonging, justice, equity,<br />
diversity and inclusion.<br />
Lisa DuBois is an ethnographic photojournalist<br />
and curator with insatiable curiosity, who<br />
raises public cultural awareness through work<br />
focusing on subcultures within mainstream<br />
society. She has exhibited her work internationally<br />
and domestically, contributed to major<br />
news publications and stock agencies, and<br />
had her work for X Gallery recognized by the<br />
Guardian and New York Times.<br />
A Brooklyn-born photographer of a Jamaican<br />
mother and Saint Lucian father, Imari<br />
DuSauzay’s images range from portraits of<br />
people on the street to those of interesting and<br />
notable people. With a Masters degree in<br />
Media Arts from Long Island University, Imari<br />
has worked as an art educator and taught in<br />
programs for children in urban communities.<br />
Iyana Esters combines art with her expertise<br />
in public health, using photography as a lens<br />
to document the human impact of environmental<br />
racism, practices, rituals, and sexualities<br />
related to Black life. An emerging photographer,<br />
Iyana works primarily in long-form<br />
photography and documentary.<br />
Marissa Fiorucci is a freelance photographer<br />
in Boston, MA. She is former studio<br />
manager for photographer Mark Ostow and<br />
worked on projects including portraits of the<br />
Obama Cabinet for Politico. She specializes<br />
in corporate portraits and events, but remains<br />
passionate about documentary.<br />
Prof. Collette Fournier has been photographing<br />
for forty years. She is a member of<br />
Kamoinge, an African-American photography<br />
collective. As an award winning photographer,<br />
her specialties are portraiture, documentary<br />
and nature photography. Fournier is<br />
writing a personal narrative on her journey<br />
into photography and lectures on her production<br />
"Retrospective: Spirit of A People."<br />
After taking a college course in photography,<br />
Jonathan French began to teach himself.<br />
While living in Washington, D.C., he captured<br />
many historic events. Afterwards, he did international<br />
travel and events, as well as many<br />
live concerts. He has taught and has exhibited<br />
nationally and internationally. He currently<br />
lives in Panama.<br />
Cheryle Galloway is a Zimbabwean-born<br />
photographer based in Maryland. Pre-Covid,<br />
Cheryle’s work focused on nature, street and<br />
portraiture. Since February 2020, she has<br />
focused primarily on telling more personal stories,<br />
exploring issues of identity, gender and<br />
race. Her project “Out of Many?” asks the<br />
question, how does America heal to become<br />
one nation?<br />
Terrell Halsey is an artist based in<br />
Philadelphia, PA. He seeks to create visual<br />
poems of humanity while diving further into<br />
his understanding of the world. After receiving<br />
his Temple University BFA, he has exhibited<br />
nationally and also been featured in publications.<br />
His current project focuses on the<br />
contemporary Black experience.<br />
Titus Brooks Heagins is a documentary photographer<br />
and educator adept at capturing the<br />
full emotional and cultural spectrum of diverse<br />
communities. Based in Durham, NC, he has traveled<br />
extensively to produce a diverse body of<br />
work exhibited in many private and public collections,<br />
and taught photography and art history<br />
courses at numerous colleges and universities.<br />
LeRoy W. Henderson’s 40-year career<br />
as a photographer includes photojournalism,<br />
corporate events, public relations, aerial,<br />
theatrical and advertising assignments. His<br />
photographs have appeared in books and<br />
films, including Ken Burns’ Jazz. His extensive<br />
exhibitions include selection for the Virginia<br />
Museum of Fine Arts and National Museum<br />
of African American History and Culture’s<br />
permanent collections.<br />
Kay Hickman is a New York City-based<br />
documentary photographer. With an inquisitive<br />
eye, she offers a unique and empathetic perspective<br />
into the everyday lives of the people<br />
she photographs. Her work largely focuses on<br />
documenting the human experience as it relates<br />
to identity, human rights and health issues.<br />
Shoun Hill is an African-American veteran<br />
photojournalist and photo editor based in<br />
New York City with a body of work spanning<br />
different cultural, professional and human<br />
interest areas. A documentarian for the African<br />
American community, he is committed to documenting<br />
the African American experience as it<br />
unfolds in rapidly changing times.<br />
Raymond W. Holman, Jr. is a documentary/corporate<br />
photographer who aims to<br />
create images that touch the human heart. His
clients include Politico, Washington Post, New<br />
York Times, PECO and Philadelphia Health<br />
Department. He creates long-term projects<br />
about human challenges such as "Portraits of<br />
Family Caregivers of People with Alzheimer's/<br />
dementia" and "Covid-19 in Black America."<br />
Kevin Bernard Jones was born and raised<br />
in the community of South Central Los Angeles,<br />
California. He focuses his camera on the communities<br />
and places in the world that are less<br />
traveled. Kevin finds great personal satisfaction<br />
working with non-governmental organizations<br />
who support local community initiatives.<br />
Burroughs Lamar is a Harlem-born<br />
self-taught documentary photographer who<br />
acquired his skills from his personal project<br />
documenting Black American life in Harlem,<br />
began in 2008. His photographs are in<br />
the Studio Museum Harlem book, Harlem:<br />
A Century in Images, and in the Shomburg<br />
Library permanent collection.<br />
Misha Maslennikov was born in 1964 in<br />
the Dobroe settlement, near Moscow, Russia.<br />
He has been head of the Noga Creative Union<br />
since 2006, and a member of the Russian<br />
Photo Union and Russian Geography Society<br />
since 2010. Last year, he also became an<br />
independent photographer with the Incubator<br />
Photo Gallery in Portugal.<br />
A native Detroiter, Khary Mason has been a<br />
member of law enforcement for over 20 years.<br />
After realizing the failure of ageold methods<br />
of fighting crime intertwined with systems that<br />
take advantage of vulnerable populations,<br />
Mason began to use his story and privilege<br />
to create art that fights for the freedoms of<br />
humanity.<br />
Dana Melaver is a writer and artist. Her<br />
work is rooted in the belief that everything is<br />
interesting, and often acts as a bridge among<br />
art, thought, and the sciences. Dana's most<br />
recent projects include an experimental documentary<br />
about sustainable aquaculture, and<br />
an ode to the mischievous qualities of light.<br />
Thaddeus Miles is Director of Community<br />
Services at MassHousing and is responsible<br />
for strengthening families and communities<br />
in over 500 housing developments across<br />
Massachusetts. He has had creator and<br />
leadership roles with many non-profits, is an<br />
internationally recognized and award-winning<br />
photographer and animator and is a veteran<br />
of the United States Air Force.<br />
Deja Nycole's documentary work highlights<br />
the beauty, struggles, and power of the African<br />
Diaspora community. She captures moments<br />
and writes in an effort to show people’s realities<br />
while empowering each other to make a<br />
difference across our global communities.<br />
Born in Rome, Emiliano Pinnizzotto’s<br />
signature style is photographic storytelling<br />
and portraiture in a social vein, exclusively<br />
using the natural light available. He highlights<br />
the anthropological and spiritual aspects of<br />
diverse people and cultures. With numerous<br />
exhibitions and work published in books by<br />
Graffiti Publishing House, he has won many<br />
prizes and gained international recognition.<br />
Tara Pixley, Ph.D. is a Los Angeles-based<br />
visual journalist, curator, and professor, whose<br />
work addresses the intersectionality of race,<br />
gender, class, and visual rhetoric. Co-Founder<br />
and Board Member of Authority Collective,<br />
which aims to establish equity in visual media,<br />
her work has appeared in the New York<br />
Times, Wall Street Journal, and NPR, among<br />
others.<br />
Joshua Rashaad McFadden is a visual<br />
artist and assistant professor of photography<br />
at Rochester Institute of Technology. His work<br />
explores African American male identity and<br />
social justice issues such as police brutality.<br />
Published in numerous magazines, he has<br />
received multiple awards, and was named<br />
one of the top emerging talents in the world by<br />
LensCulture.<br />
Nicolò Filippo Rosso is a Colombia-based<br />
Italian documentary photographer, focusing<br />
on stories of abandoned communities, mass<br />
migration crises, conflict, and climate change.<br />
Since 2018, he has spent much time walking<br />
with migrants along migration routes from<br />
Venezuela to Colombia, and in <strong>2021</strong> traveled<br />
to Central America and Mexico to document<br />
migrants’ crossings into the U.S.<br />
Emily Schiffer is a photographer and<br />
mixed media artist interested in the intersection<br />
between art, community engagement,<br />
and social change. She is a Co-founder and<br />
Creative Director of We, Women, the largest<br />
social impact photography project by women<br />
and gender-nonconforming artists in the United<br />
States.<br />
Ashkan Shabani is a photographer and<br />
visual storyteller based in Turkey with a focus<br />
on exploring social questions and human rights,<br />
especially LGBTQ+ rights in the Middle East.<br />
Richard Sharum is a documentary and<br />
editorial photographer based in Texas, who<br />
focuses on socio-economic and cultural topics.<br />
His work has been published and collected<br />
internationally and his first book release,<br />
Campesino Cuba, debuts in September <strong>2021</strong><br />
with GOST Books.<br />
J. Sybylla Smith is a visual activist who utilizes<br />
the power of photography in exhibit and<br />
book form to ignite individual and collective<br />
change. As an independent curator, consultant,<br />
writer and educator, she illuminates and<br />
amplifies compelling visual narratives in text<br />
and image as part of a global conversation.<br />
Kenechi Unachukwu is a photographer<br />
based out of Central New Jersey. Formerly<br />
living in the Midwest, he has captured the<br />
near daily protests that happened in Madison,<br />
Wisconsin, over the course of 2020. He aims<br />
to tell stories that have not been told and ask<br />
difficult questions through art.<br />
David Verberckt is an independent documentary<br />
photographer, focusing on social<br />
issues affecting people living on the verge of<br />
existence. David builds a visual narrative aiming<br />
to raise awareness of these often undertold<br />
human stories. David is Belgian, currently<br />
based in Budapest and working worldwide.<br />
Frank Ward is a retired professor of visual<br />
art at Holyoke Community College, Holyoke,<br />
MA. In 2016, Ward received a National<br />
Endowment for the Humanities grant and a<br />
Mass Humanities grant for his photography<br />
of Holyoke, MA. In 2011, he was awarded<br />
an Artist Fellowship from the Massachusetts<br />
Cultural Council for his photography in the<br />
former Soviet Union.<br />
Reece T. Williams is a New-York-based<br />
photographer, writer, and audio and video<br />
producer interested in telling stories about<br />
culture as expressed through traditions, rituals,<br />
and art forms.<br />
Teanna "Tee" Woods Okojie has created<br />
a special and unique way of integrating<br />
her love for children and families through<br />
photography. Her visual focus remains within<br />
the documentary, humanitarian and non-profit<br />
fields. She is a Brooks Institute of Photography<br />
graduate, with work exhibited both domestically<br />
and internationally.<br />
Eva Woolridge (she/her) is an awardwinning<br />
Queer, Black & Chinese conceptual<br />
portrait photographer, public speaker, and<br />
social activist based in Brooklyn, NY. Her work<br />
transcends surface-level labels of people of<br />
color. A recipient of the Leica Women in Foto<br />
Award 2019, Woolridge’s work has been<br />
featured in publications such as Rolling Stone<br />
and various exhibitions.<br />
Michael Young is a street and documentary<br />
photographer fueled by his love of light and<br />
shadow. Based in the Bronx, New York, his<br />
work has been featured in The New York<br />
Times and Digital Photo <strong>Magazine</strong> and exhibited<br />
at The Bronx Documentary Center and<br />
Perspectives curated by Jamel Shabazz and<br />
Laylah Amatullah Barrayn for Photoville.<br />
<strong>ZEKE</strong> FALL <strong>2021</strong>/ 33
Subscribe to <strong>ZEKE</strong> and receive the full<br />
84-page version in print and digital<br />
$25.00* for two issues/year<br />
Includes print and digital<br />
*Additional costs for shipping outside the US.<br />
Subscribe to <strong>ZEKE</strong> magazine and get the best of<br />
global documentary photography delivered to your<br />
door, and to your digital device, twice a year. Each<br />
issue presents outstanding photography from the<br />
Social Documentary Network on topics as diverse<br />
as the war in Syria, the European migration crisis,<br />
Black Lives Matter, the Bangladesh garment industry,<br />
and other issues of global concern.<br />
But <strong>ZEKE</strong> is more than a photography magazine.<br />
We collaborate with journalists who explore<br />
these issues in depth —not only because it is important<br />
to see the details, but also to know the political<br />
and cultural background of global issues that require<br />
our attention and action.<br />
Click here to find out how »<br />
www.zekemagazine.com/subscribe<br />
Contents of <strong>Fall</strong> <strong>2021</strong> Issue<br />
Awake in the Desert Land<br />
Photographs by Sofia Aldinio<br />
Path Away<br />
Photographs by Nicolò Filippo Rosso<br />
From Tulsa to Minneapolis: Photographing the<br />
Long Road to Justice<br />
Photographs by 27 Black photographers documenting this<br />
extraordinary time in American history<br />
The Emptying of the Andes<br />
Photographs by Emiliano Pinnizzotto<br />
Migration from the Northern Triangle<br />
by Daniela Cohen<br />
Interview with Joseph Rodriguez<br />
by Caterina Clerici<br />
Photography & Social Change<br />
by Emily Schiffer<br />
Book Reviews<br />
Edited by Michelle Bogre