Nina Berman is a documentary photographer, author and educator, whose photographs and videos have been exhibited at more than 100 international venues including the Whitney Museum of American Art, the Museum of Fine Arts Houston, the Portland Art Museum, and Dublin Contemporary. She has received awards from the New York Foundation for the Arts, (NYFA), the Open Society Foundation, World Press Photo, Pictures of the Year International, the Aftermath Project Grant, and Hasselblad, among others.
She is the author of two monographs: PurpleHearts – Back from Iraq, and Homeland, which examine the aftermath of war and the militarization of American life. Her photographic series Marine Wedding was exhibited at the Whitney Biennial 2010, and is considered an iconic work on the Iraq war. She is an Associate Professor at Columbia University Graduate School of Journalism and is a member/owner of the Amsterdam based NOOR photo collective. She lives in her hometown of New York City.
The path that eventually led Bill to the World Trade Center the morning of 9/11 took him through Northern Ireland, the Middle East, Berlin, and deep into the heart of racism in his own country. He never stopped moving until the end. As a spot news photographer, Bill chose to cover stories that most interested him, not the ones an editor selected. He focused on presenting the minority side – the Palestinians in the Middle East, the Catholic/IRA “troubles” in Ireland, and the issues of natives, blacks and gays in America.
Bill was born in Berlin in 1947, the pacifist son of a conservative Army officer. Raised in a rambunctious family of 12 children, Bill grew up learning to express his opinion – loudly and demonstrably if needed. Politics was often a heated topic of conversation and it affected his life at an early age. His family was forced to leave Berlin on one of the last trains before the Berlin Wall was erected.
In New York, Bill worked as a commercial photographer, while also pursuing his passion for photojournalism. In 1973, he went to Wounded Knee to cover the American Indian protest movement. He somehow got past the FBI perimeter and was captured by the besieged protestors who assumed he was a federal agent. His gift for gab got him released, but some of his film was confiscated.
In 1985, Bill received his first press card and immediately closed his studio. He left commercial photography behind and entered the world of black and white photojournalism. He hated color and only came back to it when he grudgingly accepted digital photography methods. Over the years following, Bill photographed racism in New York, the KKK in the South, the Palestinian uprising and refugee camps in Israel, the life of people in Northern Ireland, and the fall of the Berlin Wall.
He was one of the first members of a cooperative photo agency, Impact Visuals, which was devoted to issues of social change and alternative news. Aside from photography, Bill loved gardening, planting street trees in New York, sailing his boat, listening to Yankee games with his sons, and living in the center of what he considered the greatest city on earth.
Donna Binder is a photojournalist and entrepreneur with over 25 years of experience in creating, distributing, and fundraising for social justice and cultural projects. As a founding member and co-director of Impact Visuals, the cooperative photo agency, from 1986 – 1999, she managed 130 photographers worldwide and secured assignments, projects, and funds for social documentary photography.
Binder’s original photography has been featured in numerous publications, including The New York Times, Vanity Fair, Time, Life, Newsweek, Mother Jones, The Economist, Der Spiegel, MacLean's, The Christian Science Monitor, Fortune, US NEWS, The Village Voice, Utne Reader, OUT, and The Advocate. Her images have been used in the documentary films How to Survive a Plague and "Nothing Without Us: The Women Who Will End AIDS. Binder's photos have also been used in the campaigns of numerous unions and social justice organizations, including the AFL-CIO, Science in the Public Interest, and The Southern Poverty Law Center.
As a parent of a high school student, Donna was proud that her daughter walked out with her Midtown NYC high school to protest at Trump Tower after the election. Another parent told her that she wouldn't permit her child to walk out in protest "because they are too young to take a position and protest doesn't change anything." Binder couldn't disagree more.
Born in Arecibo, Puerto Rico, Máximo Rafael Colón is a New York-based photographer who studied at the School of Visual Arts in New York City.
Although his primary medium is analogue photography, Colón also creates assemblages in the found object tradition. His works have been exhibited in several venues throughout New York City and Puerto Rico and a number of his photographs are part of the Centro De Estudios Puertorriqueños archives at CUNY Hunter College and the permanent collection at the National Portrait Gallery of the Smithsonian Institution in Washington, D.C.
Colón's work was prominently featured in ¡Presente! The Young Lords in New York at The Bronx Museum of the Arts, El Museo del Barrio, and The Loisaida Center in Manhattan. He is currently editing My Upside Down World: Deconstructing Photography, a five year digital project encompassing photographs from New York, Puerto Rico, Berlin, Mainz, Paris, Havana, and Toronto.
Donna DeCesare is an author, educator, documentary photographer and recipient of documentary photography awards and grants. Her book Unsettled Desasosiego: Children in a World of Gangs was published in 2013. Later that year she received one of international journalism’s highest honors, the Maria Moors Cabot Award for Journalism contributing to Understanding in Western Hemisphere.
De Cesare teaches photography in underserved communities, to professional photographers in the US and Latin America and to college students at University of Texas, Austin, where she is a tenured faculty member in the School of Journalism. DeCesare lived in New York City between 1980 and 2000, with long periods of time spent in Northern Ireland and Central America covering social movements related to immigrant rights and human rights among other social issues.
Ricky Flores was born in New York to Puerto Rican parents in 1961. His father, Pastor Flores, a merchant seaman, and his mother, Ana Luisa Flores, a garment worker, lived in the Tremont section of the Bronx during the early 1960’s. Flores' father died in 1965 from bronchial asthma and his mother moved the family to Longwood section of the Bronx, where he was raised.
Flores started documenting life in the South Bronx after he purchased a camera with a small inheritance he received from his father in 1980. It started a journey of self-discovery born out of photographing the lives of his friends and family during one of the most turbulent times in the history of Bronx and New York City.
Over the years Flores free-lanced for The Daily News, The New York Times, The City Sun and The Village Voice. Flores was recognized for his coverage of the attacks on World Trade Center on September 11, 2001 as a staff photographer for The Journal News and is a two-time winner of the New York Press Publishers Association for Spot News. He has a permanent installation at I.S. 206 in the Tremont section of the Bronx commissioned by the School Construction Authority, New York City Board of Education and the New York City Department of Cultural Affairs.
Frank Fournier was born in 1948 in Saint-Sever, France. The son of a surgeon, he embarked on four full years of medical studies before beginning his career in photography in 1975 in New York City and became a member of Contact Press Images in 1982.
In 1986, he received the World Press Photo Premier Award for his portrait of Omayra Sanchez, a 13-year-old victim of the Nevada del Ruiz volcano’s eruption in Columbia. A deeply humanistic photographer, he has since produced work on infants with AIDS in Romania (First Place, General News Stories in World Press Photo), rape victims in Sarajevo during the Bosnian civil war, the genocide in Rwanda, the destruction of the World Trade Center on September 11, 2001, and many stories in Central America and Africa. Closer to home, Frank has maintained his interest in issues as they pertained to minorities and immigrants in the city. He is based in New York City.
David Gonzalez is a photographer and journalist who was born and raised in the Bronx, which he began to photograph in his late teens. Starting in the late 1970’s, he photographed movements to divest from South Africa, campaigns in support of affirmative action, the call for the US Navy to leave Vieques, and groups that opposed Nicaraguan dictator Anastasio Somoza.
He is currently the co-editor of the New York Times Lens: Photography, Video, and Visual Journalism and also does the biweekly Side Street Column for the Metro section. He is a founding member of Seis del Sur, a collective of Nuyorican photographers.
Lori Grinker is a photographer, artist, and educator. She is the author of Afterwar: Veterans from a World in Conflict; co-author, The Invisible Thread: Mike Tyson (spring 2017, Powerhouse); and Six Days From Forty (in progress, Redhook 2018), a memoir exploring the history of AIDS, gay rights, and sexual identity.
Internationally published and exhibited, her work is represented by the Nailya Alexander Gallery in New York City, and is in many private and public collections including the International Center of Photography in New York City; Museum of Fine Arts, Houston; and the Museum of Modern Art. Awards include a New York Foundation for the Arts Grant; W. Eugene Smith Memorial Fellowship; Ernst Hass Grant; Open Society Community Engagement Grant; Hasselblad Foundation Grant; Center Project Grant, and the World Press Foundation. She is an Ochberg Fellow of the Dart Center on Journalism and Trauma, and a senior member of Contact Press Images.
During 1980-2000 Lori Grinker worked for The Village Voice, where she covered homelessness, gay rights, women’s rights, and other political issues. The image in this exhibition, “Guerilla Girls Pasting” was taken on assignment for the Voice. She has covered veterans’ issues around the world, which are a part of her book and exhibition, Afterwar.
James Hamilton began as a painter studying at Pratt Institute in 1964. He spent the summer of 1966 working as assistant to a fashion photographer and did not to return to school, deciding instead to make photographs of his life in New York City. In 1969 he spent five months hitchhiking and taking pictures throughout America.
After showing photos from a Texas music festival to editors at Crawdaddy, the seminal rock ’n roll publication, he was hired as staff photographer. This launched a forty-year career of staff positions held with The Herald, Harper’s Bazaar, The Village Voice and The New York Observer. He has worked as a free-lancer for many publications including Vanity Fair, New York Magazine, The New York Times Magazine, and Rolling Stone, as well as on film sets with directors George Romero, Francis Ford Coppola, Wes Anderson and Noah Baumbach producing film stills.
In 2009 he published You Should Have Heard What I Just Seen, a photo book of musicians. He is now at work on a book of portraits, edited by filmmaker Wes Anderson.
Meg Handler is Editor at Large for Reading The Pictures. She is the former photo editor of The Village Voice. Following her time at the Voice, Meg worked at U.S. News & World Report, Blender, New York Magazine, COLORS Magazine, and Polaris Images.
She has edited a number of books, including the monograph Phil Stern: A LIFE’s Work, PAPARAZZI by Peter Howe, Mad World: An Oral History of New Wave Artists and Songs That Defined the 80’s, and DETROIT UNBROKEN DOWN by Dave Jordano.
After 20 years of immersion in the photography business, and having worked with some of the great photographers in New York and abroad, Meg now lives in Chicago. Meg received a Bachelor of Fine Arts in Photography from The Rochester Institute of Technology.
Lisa Kahane is a documentary photographer concerned with social and economic justice. Known for her continuing work in the Bronx, she’s also covered anti-war movements, student activism and actions to expand women’s rights.
She publishes worldwide in magazines, newspapers and books and has exhibited at the Smithsonian’s Museum of American History, El Museo Nacional de Bellas Artes in Havana and the Institute of the Arab World in Paris. Her work is in the permanent collection of the Fales Library at NYU, the Bronx Museum of the Arts, the New York Public Library and the Museum of the City of New York. Her book, Do Not Give Way to Evil: Photographs of the South Bronx 1979-1987, is available from libraries throughout the Bronx.
Michael Kamber has worked as a journalist for more than 25 years. Between 2002 and 2012 he worked for The New York Times covering conflicts in Iraq, Afghanistan, Liberia, the Sudan, Somalia, the Congo and many other countries. He has also worked as a writer and videographer for The New York Times, which twice nominated Kamber’s work for the Pulitzer Prize.
In 2011, he founded the Bronx Documentary Center, an educational space dedicated to education and social change through photography and film.
Gabe Kirchheimer focuses on alternative subcultures and events, outsider art and the intersection of natural and manmade environments. His work has appeared in the New York Times Magazine, The New York Times, Wired, Time, Rolling Stone, Artforum, Domus, Marie Claire, FHM and elsewhere. His Burning Man images have been published worldwide and exhibited in the U.S. and Europe, and his 9-11 Youngest Witnesses photographs of children building the Twin Towers out of blocks have appeared on Good Morning America and on the cover of Stern.
He began by photographing anti-fur protests in the 1980s, and has covered numerous environmental and social justice events. He has documented over 850 flower varieties that bloom in Upper Manhattan’s Fort Tryon Park, and recently designed a flower and wildlife poster for the park's MTA Subway station.
Carolina Kroon has been a photographer, educator, and activist for over 25 years. Beginning in news as a member of the photo agency Impact Visuals, her work has been published extensively worldwide and is used by many organizations, particularly non-profits, in their advocacy efforts.
Carolina has documented progressive movements through her photography including LGBTQ, Education, Women’s Rights, Labor, Harm Reduction and HIV/AIDS, Constitutional Rights, Immigration Rights, Government Accountability, and Racial and Interfaith Justice. She continues to work largely in advocacy and education both in stills and motion and as a producer/director.
Corky Lee is a self-taught freelance photographer who has been documenting the Asian Pacific Islander American community from coast to coast for the last 45 years. Born in 1947, he has been referred to as the "Undisputed, Unofficial Asian American Photographer Laureate." He concentrates on "day in the life" and democratic civil rights images of a minority population that is often unseen and unheard by mainstream media.
He has remarked that his images are "acts of photographic justice." One such example is the 145th anniversary of the competition of the first transcontinental railroad in Utah. Lee organized a "flash mob" type photograph comprising of over 200 Chinese Americans and additional Asian Americans in front of the two locomotives, thus reclaiming a chapter of history forgotten by the original historic photograph in 1869. This event has become an annual pilgrimage to Golden Spike National Historic Site during Asian Pacific Heritage month of May. Lee has been artist in residence in Lightwork at Syracuse University and New York University’s Asian Pacific American Studies Institute and Regents’ Scholar at the University of California Los Angeles.
His images are in the permanent collection of the Smithsonian National Portrait Gallery, Chinese American Museum of Los Angeles, Museum of Chinese in America, and the Beijing National Museum of Overseas Chinese.
Meryl Levin has worked as a social documentary photographer with a focus on health, social welfare, and political engagement for over 25 years. She is the author of two monographs and editor/curator of several publication and group exhibitions. She has guest lectured at colleges and universities around the country, and received several grants and fellowships in support of her work.
Levin taught at The School of Visual Arts in New York City for seven years, until moving to New Hampshire where she is an adjunct professor at Southern New Hampshire University. Levin is currently the Executive Director of Mill Falls Charter School, New Hampshire's first public Montessori school, which she helped to found in 2012. These days she speaks often on behalf of Mill Falls and education innovation. She lives in Manchester, NH with her husband, Will Kanteres and their son.
TL Litt graduated with honors in photojournalism from The New England School of Photography, but her real world training began in earnest on the streets of New York City in the 1980s documenting the many social and political conflicts in the city and the nation.
As a member of Impact Visuals, a cooperative photo agency dedicated to social documentary photography, TL covered many issues including AIDS activism, abortion rights, gay and lesbian rights, housing rights and homelessness. Her photographs have appeared in dozens of publications including Vanity Fair, Newsweek, US News & World Report, Spin, Essence, The Village Voice, Seventeen, Out, Utne Reader, and The Advocate, as well as in the books AIDS & Activism and Paul Monette's Becoming A Man.
She is honored to have several photos included in the permanent collection of the Library of Congress. Today, Tracey works as a licensed home inspector in Boston, MA and is kept busy raising a socially aware teenager.
Dona Ann McAdams is an activist, community organizer and award-winning photographer, whose work has been displayed at the Museum of Modern Art and The Whitney Museum of American Art, among other places. Her book of photography, Caught in the Act, was published by Aperture.
Since 1983, she has worked with under-served communities, sharing photography in places as diverse as adult homes, homeless shelters, day programs, farming communities, convents and the backstretch of thoroughbred racetracks. She is the director of the Sendak Fellowship. She milks a small herd of dairy goats at her home farm and produces raw milk cheese.
Thomas McGovern is a photographer, educator and writer in San Bernardino, California. From 1988 to 1995 he worked as an editorial and news photographer in New York, primarily for The Village Voice, where he was the photo editor from 1992-1994. There he founded the Voice Photo Grant. Though he photographed many demonstrations and events, his primary concern was the AIDS crisis and his photographs were eventually published in Bearing Witness (to AIDS) (Visual AIDS/A.R.T. Press, 1999). The International Center of Photography has recently acquired his archive from that project. He is the founder and editor in chief of Dotphotozine.
Tomas Muscionico is from Buchs, Switzerland, joined Contact in 1989, and has covered major political events and conflicts around the globe, from the fall of the Berlin Wall and the burning oil wells of the Gulf War to the ethnic conflagration in Bosnia, Chechnya, and Rwanda. He has also photographed the rise of some of the world's leaders, including Nelson Mandela in 1995, Bill Clinton in 1992, and Vaclav Havel in 1990, for which he won a first prize in the World Press Photo contest. As a foreigner, Tomas has long been drawn to and fascinated by the margins of society in America. For the last nearly 15 years Tomas made his home in Las Vegas documenting the high and low life of that hyper-real city.
His work has appeared in Time, The New York Times Magazine, The Independent, Stern, Spiegel, Bilanz, Paris-Match, Das Magazin and NZZ in his native Switzerland. Tomas has been affiliated with Contact Press Images since 1988.
Marilyn Nance is an American photographer known for reconciling her identity as an African American, artist, mother and community member. She grew up through many movements—the Civil Rights Movement, the Black Arts Movement, the Black Power Movement, the Anti War Movement, the Students Rights Movement, the Women's Movement, and the Anti-Apartheid Movement.
A two-time finalist for the W. Eugene Smith Award in Humanistic Photography for her images of African American spiritual culture, her photographs can be found in the Smithsonian American Art Museum, the Schomburg Center for Research in Black Culture, and the Library of Congress.
Edwin Pagán was born in New York City's Lower East Side (Loisaida) to Puerto Rican parents, and, as such, is a first-generation Nuyorican.
Pagán was exposed to photography at the age of 10 while a member of the Madison Square Boys & Girls Club (Hoe Avenue Division) in the South Bronx. During those early formative years he was mentored by the Club's art director Ernesto Lozano, who instilled a strong sense of documenting everyday events in the local community as a means of preserving its history. During the next two decades he chronicled life in the region from an insider's point-of-view, and created a body of work that reflects the tenacity and dignity of the people who live there during a tumultuous time when the region was vilified and written off by many. The lessons learned during that time proved extremely valuable in transforming him into an artist with the ability to 'see' rather than just 'look.'
During the mid-1980s and 1990s, Pagán created some of his best-known iconic imagery as he delved deeper into capturing his community with a renewed passion, even as he also began to venture outside the borough of the Bronx and train his lens on other sections of the city, including the Lower East Side and Coney Island.
Brian Palmer is a Richmond, Virginia-based independent journalist and educator. He began his career in 1988 at The Village Voice as a fact-checker, photographer, and writer. During this time, he covered AIDS activism, reproductive rights, social and racial justice movements, as well as many related demonstrations and protests. After the Voice, he served in a number of staff positions—photographer, assistant editor, and Beijing bureau chief at US News & World Report; writer at Fortune; and CNN correspondent.
His photos have appeared in a variety of outlets, including The New York Times, The Nation, Buzzfeed, Narrative.ly, and others. He went freelance in 2002. In 2008, he was awarded a Ford Foundation grant for Full Disclosure, a video documentary about his three embeds in Iraq with U.S. Marines. Currently, he works with the Economic Hardship Report Project and the Friends of East End.
Clayton Patterson's video activism shed light on the idea of citizens using video cameras to capture police misconduct, which lead to the idea of Cop Watch. He used the camera as an aggressive activists’ tool and later used the court as a political platform and as a way to make a historical record. Patterson spent many years photographing police brutality by the NYPD throughout the city.
Mark Peterson is a photographer based in New York City. His work has been published in The New York Times Magazine, New York Magazine, Fortune Magazine, Time Magazine, ESPN the Magazine, Geo Magazine and many other national and international publications. He has received several awards including the Eugene Smith support grant for his work on revolving door alcoholics.
He has been in numerous exhibitions and museum shows including his work on Low Riders which was in the show Museums Are Worlds at the Louvre in Paris France in 2012. He is the author of the Powerhouse book Acts Of Charity. He is represented by Redux Pictures. This fall Steidl published his book Political Theatre.
Peterson worked as a UPI staff photographer from 1984 to 1987 and ran the Reuters photo desk in New York from 1987 to 1991. Since 1991 he has been a freelance photographer.
Sandra-Lee Phipps is a passionate fine art photographer, documentarian, and educator. Phipps is a full-time faculty member and Professor of Photography at Savannah College of Art and Design in Atlanta Georgia and is represented in the Southeast by Whitespace Gallery in Atlanta Georgia. She worked extensively for The Village Voice in the 1990’s, shooting the street-style column “On the Street” and the columns “Money” and “Shelter,” as well as many demonstrations related to women’s rights.
Phipps holds a B.A. in Journalism from The University of Georgia, Athens and a Master’s of Art in Studio Arts degree from New York University. She has free-lanced extensively for The New York Times, Reader’s Digest, Vanity Fair, The Sun Magazine, and the Washington Post Magazine. Her work is held in numerous private collections worldwide. Most recently, the Rock and Roll Hall of Fame and the Georgia Music Hall of Fame acquired an archive collection of her photographs of the band R.E.M. She currently resides in Decatur, Georgia with her family.
Sylvia Plachy was staff photographer at The Village Voice between 1974-2004. At other times, she has been on staff at New York Magazine, The New Yorker, and Metropolis. In the 1980’s and 1990’s she covered New York culture and politics, national news, and international events, traveling to Nicaragua and Kuwait and covering the Romanian Revolution and the dissolution of the Eastern Block.
She was born in Budapest, left Hungary with her parents in the wake of the 1956 Revolution, and immigrated to the US in 1958. She has had six books published. Her work is in many private and public collections and has received the Guggenheim Fellowship, Page One Award for Journalism, Infinity Award, a Lucie and the Dr. Erich Salomon Preis.
Alon Reininger was born in Tel Aviv, Israel. He began his career covering the 1973 Yom Kippur War for UPI. One of the founding members of Contact Press Images in 1976, he has followed unrest and change in the wake of decolonialization in southern Africa, including the anti-apartheid struggle in South Africa; conflict in the Middle East (1976-80); and civil war in Central America (1979-83). He has also extensively covered the modernization of China (1985-89).
Perhaps best known for his pioneering work on AIDS, which he began in 1980 when the disease was still largely unknown, he has received numerous honors including the World Press Photo Premier Award in 1986, the UN World Health Organization “All for Health, Health for All” award in 1987, and the Kodak Crystal Eagle Award in 1990 for Impact in Photojournalism.
Working out of California during the 1990s, he focused primarily on social issues in the US, particularly those concerning disparities of race and gender, such as immigration, crime and education. He is based in Los Angeles, California.
Richard Renaldi received his BFA in photography from New York University in 1990. Exhibitions of his photographs have been mounted in galleries and museums throughout the United States, Asia, and Europe. Renaldi is represented by Benrubi Gallery in New York and Robert Morat Galerie in Berlin. In 2006 Renaldi's first monograph, Figure and Ground, was published by the Aperture Foundation. His second monograph, Fall River Boys, was released in 2009 by Charles Lane Press.
Renaldi's monograph Touching Strangers was released by the Aperture Foundation in the spring of 2014. In 2015 Richard was named a John Simon Guggenheim Memorial Foundation Fellow in Photography. Renaldi’s most recent book, Manhattan Sunday, was published by the Aperture foundation in the fall of 2016.
Clarence Elie Rivera, a product of Latino migration, lives and works in New York City where he documents the shifting politics of immigration, labor, and urbanization. A life-long project examines the impact of US-Puerto Rico relations on the lives of individuals residing on the continent and the island. His largest body of work, Legal Aliens: Gangsters, Musicians, the Neighborhood, spans two neighborhoods in New York, The Lower East Side (Ludlow Street) and East Harlem, capturing the lives and activities of four generations. The effect of gentrification on traditionally Puerto Rican neighborhoods is highlighted in this work, and was showcased in the group show Witness Against Our Vanishing curated by Nan Golden in 1989 at the Artists Space, in Pleasures and Comforts of Domestication, the group show curated by Peter Galassi at the Museum of Modern Art, and most recently in June of 2015 in “Lower East Side Story” on the New York Times Lens Blog written by David Gonzalez and edited by James Estrin.
He has worked as a staff photographer for a newspaper in Allentown, PA, “Entertainment News” for Getty Images, and more recently for organizations focused on labor. His videography work focuses on unionized labor and the national shifts in labor relations documenting the stories of those working to provide social goods, such as clean water, transportation, park recreation, and public education. He is the Staff Photographer and Videographer for the Public Employees Press paper serving DC37 members who are part of the largest municipal union in New York City.
He has completed formal course work in Black and Latin American Studies at City College and BMCC and is a graduate of The New School with a focus on media studies.
Joseph Rodriguez was born and raised in Brooklyn, New York. He began studying photography at the School of Visual Arts and went on to receive an Associate of Applied Science at New York City Technical College. He worked in the graphic arts industry before deciding to pursue photography further. In 1985 he graduated with a Photojournalism and Documentary Diploma from the International Center of Photography in New York.
He went on to work for Black Star photo agency, and print and online news organizations like National Geographic, The New York Times Magazine, Mother Jones, Newsweek, Esquire, Stern, and New America Media. He has received awards and grants from the USC Annenberg Institute for Justice and Journalism, the Open Society Institute Justice Media Fellowship and Katrina Media Fellowship, the National Endowment for the Arts, the Rockefeller Foundation, Mother Jones International Fund for Documentary Photography, and the Alicia Patterson Fellowship Fund for Investigative Journalism.
He has been awarded Pictures of the Year by the National Press Photographers Association and the University of Missouri in 1990, 1992, 1996 and 2002. He is the author of Spanish Harlem, part of the “American Scene” series by the National Museum of American Art/ D.A.P., as well as East Side Stories: Gang Life in East Los Angeles, Juvenile, Flesh Life: Sex in Mexico City, and Still Here: Stories After Katrina.
Recent exhibitions include The Spanish Harlem, Hi Arts Gallery, New York; Humanist Gaze, Hardhitta Gallery, Cologne, Germany; Portraits from Another America, Taller Boricua Gallery, New York; Still Here, Institute for Public Knowledge, New York, NY; Moving Walls, Open Society, New York, NY; and Cultural Memory Matters, 601 Art Space, New York, NY.
Linda Rosier has been a photographer in New York since 1990, working both independently and as a staff photographer for The New York Daily News from 1999-2011. In the 1990’s she worked for The Village Voice and The New York Times and was a contributor to Impact Visuals, where she covered all of the major news and politics of the time. She currently lives in Brooklyn.
Q. Sakamaki is a New York-based Japanese documentary photographer and educator, who has focused his work on the human conditions and socio-economic issues. His photographs have appeared in books and magazines worldwide and have been the subject of solo shows across the glove.
He is the recipient of the World Press Photo award and two Overseas Press Club prizes, among others. He deeply covered the Tompkins Square Park Movement in the 1980s to the 1990s, indicating the conflict between the haves and the have nots. Since then, he’s explored other human conflicts, including many war zones, to figure out the grave meaning of life and peace. One of his books is Tompkins Square Park.
Richard Sandler is a street photographer and documentary filmmaker. He has directed and shot eight non-fiction films, including The Gods of Times Square, Brave New York and Radioactive City. Sandler’s still photographs are in the collections of the New York Public Library, Brooklyn Museum, New York Historical Society, and Houston Museum of Fine Art.
He was awarded a New York Foundation for the Arts fellowship for photography, a John Simon Guggenheim Foundation fellowship for Filmmaking, and a New York State Council on the Arts fellowship also for Filmmaking. Sandler covered many demonstrations for publications such as The Boston Phoenix, The Real Paper and The Village Voice. Presently Sandler's film AKA Martha’s Vineyard is in post-production; it recounts the island’s history, told from only Wampanoag tribal perspectives.
Torn between Social Work and Photojournalism, Catherine Dodge Smith decided to do both. In 1986 after finishing at the International Center of Photography, she joined Impact Visuals, a cooperative of progressive and curious photographers. In 1986, Catherine went to South Africa to photograph the effects of Apartheid.
In New York City, Catherine covered issues of racism, poverty, homelessness and AIDS. Her story on “Shantytown” covered the last five years of a group of homeless people’s lives. Smith was the photographer for the Brooklyn AIDS Task Force, witnessed labor union struggles with 1199 Health and Hospital Workers Union, and worked with Wayne Barrett at The Village Voice, covering the power brokers of New York.
For the past ten years, Catherine has been a supporter, teacher, photographer and mother to individuals with Special Needs in the Camphill Movement in North America. She lives in Pennsylvania with her family.
During the last several decades, critically acclaimed photographer Les Stone has chronicled the human cost of conflict in Iraq, Afghanistan, Israel, Kosovo, Liberia, Cambodia and Haiti, among other war zones. The winner of several World Press Photo Awards and Picture of the Year Awards, Stone vaulted to prominence in 1989 when he photographed the savage, bloody beating of the newly elected Vice President of Panama by thugs of Generalissimo Manuel Noriega. The image revealed the true nature of Noriega's repressive regime. Since then, Stone has covered stories often ignored by the mainstream media, including the deadly legacy of Agent Orange in Vietnam, the plight of Iraqi Kurds fleeing the first Gulf War, and the deployment of child-soldiers in Africa.
Les Stone’s work straddles the worlds of photojournalism and fine art photography. His images are powerful not only because they bring to our attention important and often overlooked people and events but because they do so in a visually arresting way. Many of his photographs seem so improbable that they could be mistaken for either set-ups or manipulated images. For example, the Iraq food drop photograph doesn’t seem as though it can possibly be real—the scale of the military helicopter, the painterly mountains in the background, the expressions on the people’s faces. In Stone’s photograph of a Vodou ritual in Haiti two figures partially immersed in a mud pool and completely covered in the deep brown mud appear to be figures cast in bronze, a statue resembling the Pietá.