Episodios
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In Photography and Making Bedouin Histories in the Naqab, 1906-2013:: An Anthropological Approach (Routledge, 2023), Emilie Le Febvre takes us to the Naqab Desert where Bedouin use photographs to make, and respond to, their own histories. She argues Bedouin presentations of the past are selective, but increasingly reliant on archival documents such as photographs, which spokespersons treat as evidence of their local histories amid escalating tensions in Israel-Palestine. These practices shape Bedouin visual historicity; the diverse ways people produce their pasts in the present through images.
The book charts these processes through the afterlives of six photographs as they circulate between the Naqab’s entangled visual economies – a transregional landscape organized by cultural ideals of proximity and assemblages of Bedouin iconography. She illustrates how representational contentions associated with tribal, civic, and Palestinian-Israeli politics influence how images do history work in this society. Here, Bedouin value photographs not because they evidence singular narratives of the past; rather, the knowledges inscribed by photography are manifold as they support diverse constructions of Naqab Bedouin history and society. In this episode, Emilie joins me to discuss the ethics of photographs of the Naqab Bedouin as a historical source; the nuances of gender norms around photographing Bedouin women; and how social media and modern technology have changed how photographs are used and understood.
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In the middle decades of the twentieth century in New York City, Dubrow’s cafeterias in the Flatbush section of Brooklyn and the garment district of Manhattan were places to get out of your apartment, have coffee with friends, or enjoy a hearty but affordable meal. They were grounded in the world of Jewish immigrants and their children, and they thrived in years when Flatbush and the Garment District each had a distinctly Jewish character. The cafeterias were also places where working class and modestly middle class New Yorkers of European ancestry, with few great luxuries in their lives, could enjoy a taste of culinary abundance.
Under demographic changes, economic decay and high crime in the 1970s and 1980s, the world that produced Dubrow’s came apart. The Brooklyn branch of Dubrow’s closed in 1978, the Manhattan branch in 1985.
But before Dubrow’s cafeterias were shuttered, Marcia Bricker Halperin captured their mood and their patrons in black and white photographs. These pictures, along with essays by the playwright Donald Margulies and the historian Deborah Dash Moore, constitute Marcia’s book Kibitz and Nosh: When We All Met at Dubrow’s Cafeteria, published by Cornell University Press (2023) and winner of a National Jewish Book Council prize for Food Writing and Cookbooks.
Robert W. Snyder, Manhattan Borough Historian and professor emeritus at Rutgers University, is editing an anthology of New Yorkers’ memories of the COVID-19 pandemic for Cornell University Press.
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Shortly after its introduction, photography transformed the ways Americans made political arguments using visual images. In the mid-19th century, photographs became key tools in debates surrounding slavery. Yet, photographs were used in interesting and sometimes surprising ways by a range of actors. Matthew Fox-Amato, an Assistant Professor at the University of Idaho, examines the role of photography in the politics of slavery during the 19th century and the important legacies of those uses on later visual politics in his new book, Exposing Slavery: Photography, Human Bondage, and the Birth of Modern Visual Politics in America (Oxford University Press, 2019). The book examines the use of photographs by slaves, abolitionists, slaveholders, and Union soldiers to explore the rich complexities of the visual politics of the moment. He also considers the legacies of this use of the new medium.
In this episode of the podcast, Fox-Amato discusses the ways these various groups used photography for individual purposes and to shape the debates surrounding slavery in the antebellum period. He explains how photographs also highlight how union soldiers were beginning to think about a post-slavery racial hierarchy during the war. The book demonstrates the importance of thinking about photographs as both visual images and material objects. In the interview, Fox-Amato discusses the research necessary to analyze the photographs in both these ways and the broader importance of studying visual and material culture in all their historical complexity.
Christine Lamberson is an Associate Professor of History at Angelo State University. Her research and teaching focuses on 20th century U.S. political and cultural history. She’s currently working on a book manuscript about the role of violence in shaping U.S. political culture in the 1960s and 1970s. She can be reached at [email protected].
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A provocative investigation of the future of photography and human perception in the age of AI.
We are constantly photographing and being photographed while feeding machine learning databases with our data, which in turn is used to generate new images. Analyzing the transformation of photography by computation—and the transformation of human perception by algorithmically driven images, from CGI to AI—The Perception Machine: Our Photographic Future between the Eye and AI (MIT Press, 2023) investigates what it means for us to live surrounded by image flows and machine eyes. In an astute and engaging argument, Joanna Zylinska brings together media theory and neuroscience in a Vilém Flusser–Paul Virilio remix. Her “perception machine” names a technical universe of images and their infrastructures. But it also refers to a sociopolitical condition resulting from today's automation of vision, imaging—and imagination.
Written by a theorist-practitioner, the book incorporates Zylinska's own art projects, some of which have been co-created with AI. The photographs, collages, films, and installations available as part of the book (and its companion website) provide a different mode of thinking about our technological futures, at a local as well as a planetary level. Offering provocative concepts such as eco-eco-punk, AUTO-FOTO-KINO, planetary micro-vision, loser images, and sensography, the book outlines an existential philosophy of messy media for a time when our practices of imaging and self-imaging are being radically redesigned. Importantly, it also offers a new vision of our future.
Joanna Zylinska is Professor of Media Philosophy + Critical Digital Practice at King's College London. The author of Nonhuman Photography (MIT Press) and many other books on art, technology, and ethics, she is also an artist and curator.
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The global refugee, the ship passenger, the displaced person. How did their homeseeking routes and visual motifs intersect and diverge in the early Holocaust film archive? Simone Gigliotti's Restless Archive: The Holocaust and the Cinema of the Displaced tracks the footsteps and routes of predominantly Jewish refugees and postwar displaced persons in what I call a “restless archive” of photographic, cinematographic and visual material that was created and re-used between 1933 and 1949. The historical and spatial analysis concentrates on tracing the emergence and remediation (migration) of images of displacement and transit and the forgotten-ness of others. The visual inventory is anchored in non-fiction historical material, including newsreels, institutional projections, found footage, home movies, short films, "fundraisers" and documentaries. In addition to Manifold's narrative platform, creative technologies, such as StoryMaps, have enabled the digital curation, mapping and “repatriation” of this visual and spatial archive of obstruction which has, to date, eluded analysis in its local and global entanglements.
You can find the open access book here. You can also find all of the source material mentioned in the interview if you keep scrolling down to the "Resources" section.
Links Mentioned in the Episode
An Accented Cinema: Exilic and Diasporic Filmmaking, Hamid Naficy (Princeton University Press, 2001)
Walter Benjamin's essay "The Work of Art in the Age of Mechanical Reproduction" (PDF)
Hallel Yadin is an archivist and special projects manager at the YIVO Institute for Jewish Research.
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The end of the nineteenth century saw massive developments and innovations in photography at a time when the forces of Western modernity—industrialization, racialization, and capitalism—were quickly reshaping the world. The Unintended: Photography, Property, and the Aesthetics of Racial Capitalism (NYU Press, 2023) slows down the moment in which the technology of photography seemed to speed itself—and so the history of racial capitalism—up. It follows the substantial shifts in the markets, mediums, and forms of photography during a legally murky period at the end of the nineteenth century. Monica Huerta traces the subtle and paradoxical ways legal thinking through photographic lenses reinscribed a particular aesthetics of whiteness in the very conceptions of property ownership.
The book pulls together an archive that encompasses the histories of performance and portraiture alongside the legal, pursuing the logics by which property rights involving photographs are affirmed (or denied) in precedent-setting court cases and legal texts. Emphasizing the making of “expression” into property to focus our attention on the failures of control that cameras do not invent, but rather put new emphasis on, this book argues that designations of control’s absence are central to the practice and idea of property-making.
The Unintended proposes that tracking and analyzing the sensed horizons of intention, control, autonomy, will, and volition offers another way into understanding how white supremacy functions. Ultimately, its unique historical reading practice offers a historically-specific vantage on the everyday workings of racial capitalism and the inheritances of white supremacy that structure so much of our lives.
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In the decades leading up to the Civil War, abolitionists crafted a variety of visual messages about the plight of enslaved people, portraying the violence, familial separation, and dehumanisation that they faced. In response, proslavery southerners attempted to counter these messages either through idealisation or outright erasure of enslaved life.
In Hidden in Plain Sight: Concealing Enslavement in American Visual Culture (University of Arkansas Press, 2023), Dr. Rachel Stephens addresses an enormous body of material by tracing themes of concealment and silence through paintings, photographs, and ephemera, connecting long overlooked artworks with both the abolitionist materials to which they were responding and archival research across a range of southern historical narratives.
Dr. Stephens begins her fascinating study with an examination of the ways that slavery was visually idealised and defended in antebellum art. She then explores the tyranny—especially that depicted in art—enacted by supporters of enslavement, introduces a range of ways that artwork depicting slavery was tangibly concealed, considers photographs of enslaved female caretakers with the white children they reared, and investigates a printmaker’s confidential work in support of the Confederacy. Finally, she delves into an especially pernicious group of proslavery artists in Richmond, Virginia. Reading visual culture as a key element of the antebellum battle over slavery, Hidden in Plain Sight complicates the existing narratives of American art and history.
This interview was conducted by Dr. Miranda Melcher whose forthcoming book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars.
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Shortlisted for the 2023 Lumen Prize, Kat Mustatea's Voidopolis (MIT Press, 2023) is a hybrid digital artistic and literary project in the form of an augmented reality book, which retells Dante's Inferno as if it were set in pandemic-ravaged New York City.
Voidopolis is a digital performance about loss and memory presented as an augmented reality (AR) book with a limited lifespan. The book loosely retells the story of Dante's Inferno as if it were the dystopic experience of wandering through New York City during the pandemic; instead of Virgil, however, the narrator is guided through this modern hellscape by a caustic hobo named Nikita.
Voidopolis is meant to culminate in loss. It features images that are created by digitally “wiping” humans from stock photography and text that is generated without the letter “e”—in homage to Oulipo author Georges Perec's A Void, a 300-page novel written entirely without the letter—by using a modified GPT-2 text generator. The book, adapted from a series of Instagram posts that were ultimately deleted, is likewise designed to disappear: its garbled pages can only be deciphered with an AR app, and they decay at the same rate over a period of one year, after which the decay process restarts and begins again. At the end of this decay cycle, only the printed book, with its unintelligible pages, remains. Each July 1, the date the project first started on Instagram, the book resets again, beginning anew the cycle of its own vanishing.
A first-of-its-kind augmented reality book from a major university press, Voidopolis is a unique and deeply affecting artwork that speaks as much to our existential moment as it does to the fragility of experience, reality, and our connection to one another.
A guide to reading Voidopolis can be found here.
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Addressing the relationship between law and the visual, this book examines the importance of photography in Central, East, and Southeast European show trials.
The dispensation of justice during communist rule in Albania, East Germany, and Poland was reliant on legal propaganda, making the visual a fundamental part of the legitimacy of the law. Analysing photographs of trials, Agata Fijalkowski's Law, Visual Culture, and the Show Trial (Routledge, 2023) examines how this message was conveyed to audiences watching and participating in the spectacle of show trials. The book traces how this use of the visual was exported from the Soviet Union and imposed upon its satellite states in the immediate aftermath of the Second World War. It shows how the legal actors and political authorities embraced new photographic technologies to advance their legal propaganda and legal photography. Drawing on contemporary theoretical work in the area, the book then challenges straightforward accounts of the relationship between law and the visual, critically engaging entrenched legal historical narratives, in relation to three different protagonists, to offer the possibility of reclaiming and rewriting past accounts. As its analysis demonstrates, the power of images can also be subversive; and, as such, the cases it addresses contribute to the discourse on visual epistemology and open onto contemporary questions about law and its inherent performativity.
Alex Batesmith is a Lecturer in Legal Profession in the School of Law at the University of Leeds, and a former barrister and UN war crimes prosecutor, with teaching and research interests in international criminal law, cause lawyering and the legal profession, and law and emotion. Twitter: @batesmith. LinkedIn.
His recent publications include:
“‘Poetic Justice Products’: International Justice, Victim Counter-Aesthetics, and the Spectre of the Show Trial” in Christine Schwöbel-Patel and Rob Knox (eds) Aesthetics and Counter-Aesthetics of International Justice (Counterpress, forthcoming 2023, ISBN 978-1-910761-17-5)
"Lawyers who want to make the world a better place – Scheingold and Sarat’s Something to Believe In: Politics, Professionalism, and Cause Lawyering" in D. Newman (ed.) Leading Works on the Legal Profession (Routledge, July 2023), ISBN 978-1-032182-80-3)
“International Prosecutors as Cause Lawyers" (2021) Journal of International Criminal Justice 19(4) 803-830 (ISSN 1478-1387)
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How the image collection, organized and made available for public consumption, came to define a key feature of contemporary visual culture. The origins of today’s kaleidoscopic digital visual culture are many. In Picture-Work: How Libraries, Museums, and Stock Agencies Launched a New Image Economy (MIT Press, 2023), Diana Kamin traces the sharing of photographs to an image economy developed throughout the twentieth century by major institutions. Picture-Work examines how three of these institutions—the New York Public Library, the Museum of Modern Art, and the stock agency H. Armstrong Roberts Inc.—defined the public’s understanding of what the photographic image is, while building vast collections with universalizing ambitions.
Highlighting underexplored figures, such as the first rights and reproduction manager at MoMA Pearl Moeller and visionary NYPL librarian Romana Javitz, and underexplored professional practices, Diana Kamin demonstrates how bureaucratic work communicates ideas about images to the public. Kamin artfully shows how the public interfaces with these image collections through systems of classification and protocols of search and retrieval. These interactions, in turn, shape contemporary image culture, including concepts of authorship, art, property, and value, as well as logics of indexing, tagging, and hyperlinking. Together, these interactions have forged a concept of the image as alienable content, which has intensified with the advent of digital techniques for managing image collections. To survey the complicated process of digitization in the nineties and early aughts, Kamin also includes interviews with photographers, digital asset management system designers, librarians, and artists on their working practices.
Links Mentioned in the Episode
"Working With the Whitney's Replication Committee," Ben Lerner, The New Yorker, 2016
Invocation of Beauty: The Life and Photography of Soichi Sunami, Cascadia Art Museum, 2018
Soichi Sunami's manuscript autobiography, Museum of Modern Art Library
The New York Public Library: A Universe of Knowledge, Phyllis Dain (Scala Books and The New York Public Library, 2000)
What Photographs Do: The Making and Remaking of Museum Cultures, eds. Elizabeth Edwards and Ella Ravilious (UCL Press, 2022).
Hallel Yadin is an archivist and special projects manager at the YIVO Institute for Jewish Research.
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In this episode of High Theory, Margaret Galvan talks about the queer politics of Visibility. In her work the activist practices of representation take concrete form in comic books, photographs, and even drawings on lecture slides!
In the episode, she discusses the photography of Nan Goldin and queer comic books in the 1980s. She quotes Adrienne Rich’s 1980 essay “Compulsory Heterosexuality and Lesbian Existence.” She also references This Bridge Called My Back: Writings By Radical Women of Color, and Gloria Anzaldúa’s Borderlands/La Frontera. At the end of the episode she references the Lesbian Avengers, who have amazing images.
Margaret Galvan is an assistant professor of English at the University of Florida. Her research examines how visual culture operates within the print media of feminist and queer social movements of the 1970s-1990s. Her brand new book In Visible Archives: Queer and Feminist Visual Culture in the 1980s, is out this fall from University of Minnesota Press‘s Manifold Scholarship Series. You should go check it out!
Because the amazing images Margaret talks about were drawn recently, they’re still in copyright. Our image this week is from Gladys Parker’s comic Mopsy which ran from 1937 to 1966. Parker was a successful female artist in a world of mainstream US comic books dominated by men.
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Bookshop.org is an online book retailer that donates more than 80% of its profits to independent bookstores. Launched in 2020, Bookshop.org has already raised more than $27,000,000. In this interview, Andy Hunter, founder and CEO discusses his journey to creating one of the most revolutionary new organizations in the book world. Bookshop has found a way to retain the convenience of online book shopping while also supporting independent bookstores that are the backbones of many local communities.
Andy Hunter is CEO and Founder of Bookshop.org. He also co-created Literary Hub.
Caleb Zakarin is the Assistant Editor of the New Books Network.
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Framing the Holocaust: Photographs of a Mass Shooting in Latvia, 1941 (University of Wisconsin Press, 2023), edited by Valerie Hébert, compiles essays on the meaning of twelve photographs of a terrible atrocity. In December 1941, German police and their local collaborators shot 2,749 Jews at the beach in Sķēde, near Liepāja, Latvia. Twelve photographs were taken at the scene. These now-infamous images show people in extreme distress, sometimes without clothing. Some capture the very moments when women and children confronted their imminent deaths, while others show their dead bodies. They are nearly unbearable to look at -- so why should we?
Framing the Holocaust offers a multidimensional response to this question. While photographs are central to our memory of modern historical events, they often inhabit an ambivalent intellectual space. What separates the sincere desire to understand from voyeuristic curiosity? Comprehending atrocity photographs requires viewers to place themselves in the very positions of the perpetrators who took the images. When we engage with these photographs, do we risk replicating the original violence? In this tightly organized book, scholars of history, photography, language, gender, photojournalism, and pedagogy examine the images of the Sķēde atrocity along with other difficult images, giving historical, political, and ethical depth to the acts of looking and interpreting. With a foreword by Edward Anders, who narrowly escaped the December 1941 shooting, Framing the Holocaust represents an original approach to an iconic series of Holocaust photographs. This book contributes to compelling debates in the emerging field of visual history, including the challenges and responsibilities of using photographs to teach about atrocity.
Link Mentioned in the Episode: Digitized Mizrakh Yidisher Historisher Arkhiv archive (YIVO Institute for Jewish Research)
Hallel Yadin is an archivist and special projects manager at the YIVO Institute for Jewish Research.
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The Twin Children of the Holocaust: Stolen Childhood and the Will to Survive (Academic Studies Press, 2023) is an annotated collection of original, informative, and moving photographs of the twins who survived the brutal medical experiments conducted at the Auschwitz-Birkenau death camp (1943-1945). The experiments were conducted by the infamous physician, Josef Mengele. These never-before-seen photographs were taken by the author (Segal) at the 40th anniversary of the camp’s liberation (January 27, 1985) and the public hearing on Mengele’s crimes at Yad Vashem (A Memorial and a Name) in Jerusalem that followed. Other memorable moments, captured in photographs, include traveling to Krakow, visiting Warsaw and hearing survivors’ testimonies. The photographs are organized into ten sections that unfold chronologically—each section is accompanied by a brief essay to provide compelling context and each photograph has an informative caption.
Dr. Nancy L. Segal is Psychology Professor and Director, Twin Studies Center, at California State University, Fullerton. Her book, Born Together-Reared Apart, won the American Psychological Association’s William James Book Award. Her work has been featured in the New York Times and Atlantic Monthly. She has appeared on the Oprah Winfrey Show, Good Morning America, and the BBC.
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Life on Earth depends on the busy activities of insects, but global populations of these teeming creatures are currently under threat, with grave consequences for us all. Steve Nicholls' book Alien Worlds: How Insects Conquered the Earth, and Why Their Fate Will Determine Our Future (Princeton UP, 2023) presents insects and other arthropods as you have never seen them before, explaining how they conquered the planet and why there are so many of them, and shedding light on the evolutionary marvels that enabled them to thrive. Blending glorious imagery with entertaining and informative science writing, this book takes you inside the hidden realm of insects and reveals why their fate carries profound implications for our own.
Spectacular photos provide a rare, up-close look at the alien worlds of insects
Sheds light on the origins and wondrous diversity of insects
Discusses how insects first took to the air and colonised the far corners of our planet
Explores the extraordinary sensory world of insects
Explains the remarkable success of social insects, from termites and ants to bees and wasps
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The late nineteenth century witnessed a rapid increase in colonial conflicts throughout the French and British empires. It was also the period in which the first mass-produced cameras became available. Colonial authorities were quick to recognise the power of this new technology, which they used to humiliate defeated opponents and project an image of supremacy across the world.
Drawing on a wealth of visual materials, from soldiers’ personal albums to the collections of press agencies and government archives, The Violence of Colonial Photography (Manchester UP, 2022) offers a new account of how conflict photography developed in the decades before the First World War. It explores the ways the camera was used to impose order on subject populations in Africa and Asia and to generate propaganda for the public in Europe, where a visual economy of violence was rapidly taking shape. At the same time, the book reveals how photographs could escape the intentions of their creators, offering a means for colonial subjects to push back against oppression.
Daniel Foliard is a Professor of Modern History at Université Paris Cité
Morteza Hajizadeh is a Ph.D. graduate in English from the University of Auckland in New Zealand. His research interests are Cultural Studies; Critical Theory; Environmental History; Medieval (Intellectual) History; Gothic Studies; 18th and 19th Century British Literature. YouTube channel.
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In The War on the Eastern Front: The Soviet Union, 1941-1945 - A Photographic History (Pen & Sword Military, 2021), Professor Alexander Hill has collected photographs from the brutal conflict on the Eastern Front and the extraordinary experience of the soldiers and civilians who were caught up in it. The book covers the formation of Soviet military forces and the conflicts leading up to the war to the final phases in Manchuria. Photographs and captions in the book take the reader from the Nazi-Soviet Pact through Operation Barbarossa to the tide-shifting battles at Stalingrad and Kursk and the collapse of Nazi forces in Berlin in 1945. Each chapter features an introduction along with extensive descriptions of the battlefields, shattered towns, and combatants left behind by two titanic armies locked in a devastating war.Professor Alexander Hill teaches military history at the University of Calgary in Canada and is an expert on the military and political history of Russia and the Soviet Union post-1917. Professor Hill is the author of The Red Army and the Second World War (Cambridge University Press, 2019); The Great Patriotic War of the Soviet Union, 1941-45: A Documentary Reader (Routledge, 2008); and The War Behind the Eastern Front: Soviet Partisans in North West Russia 1941-1944 (Routledge, 2006).Rick Northrop is an ex-journalist and undergraduate student in Calgary, Alberta Canada. He can be reached at [email protected] more about your ad choices. Visit megaphone.fm/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/photography
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Photography matters, writes Jerry Thompson, because of how it works--not only as an artistic medium but also as a way of knowing. With this provocative observation, Thompson begins a wide-ranging and lucid meditation on why photography is unique among the picture-making arts. In Why Photography Matters, he constructs an argument that moves with natural logic from Thomas Pynchon (and why we read him for his vision and not his command of miscellaneous facts) to Jonathan Swift to Plato to Emily Dickinson (who wrote "Tell all the Truth but tell it slant") to detailed readings of photographs by Eugène Atget, Garry Winogrand, Marcia Due, Walker Evans, and Robert Frank. Forcefully and persuasively, he argues for photography as a medium whose business is not constructing fantasies pleasing to the eye or imagination, but describing the world in the toughest and deepest way.
Jerry L. Thompson is a working photographer who also writes about photography. He worked as Walker Evans’s principal assistant from 1973 to Evans’s death in 1975. He is the author of The Last Years of Walker Evans and Truth and Photography.
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Picture Research: The Work of Intermediation from Pre-Photography to Post-Digitization (MIT Press, 2023) focuses on how pictures were saved, stored, and searched for in a time before scanners, servers, and search engines, and describes the dramatic difference it made when images became scannable, searchable, and distributable via the internet. While the camera, the darkroom, and the printed page are well-known sites of photographic production that have been replaced by cell phones, imaging software, and websites, the cultural intermediaries of mass-circulation photography—picture librarians and researchers, editors, and archivists—are less familiar. In this book, Nina Lager Vestberg artfully details the range of research skills, reproduction machinery, and communication infrastructures that was needed to make pictures available to a public before digitization.
Drawing on documents and representations across a range of cultural expressions, Picture Research reveals the intermediation that has been performed by skilled workers in a variety of roles, making use of pre-photographic, photographic, and digital machineries of capture, accumulation, extraction, and transmission. Tracing a history of the modern pictorial economy from the pre-photographic 1830s to the post-digitized 2010s, it makes visible and explicit the invisible labor that has built—and still sustains—the visual commodity culture of everyday life.
Jen Hoyer is Technical Services and Electronic Resources Librarian at CUNY New York City College of Technology. Jen edits for Partnership Journal and organizes with the TPS Collective. She is co-author of What Primary Sources Teach: Lessons for Every Classroom and The Social Movement Archive.
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Told through the eyes of witnesses to the fall of Kabul, Walkley award-winning journalist Andrew Quilty's debut publication offers a remarkable record of this historic moment. August in Kabul: America's Last Days in Afghanistan (Bloomsbury, 2023) is the story of how America's longest mission came to an abrupt and humiliating end, told through the eyes of Afghans whose lives have been turned upside down: a young woman who harbors dreams of a university education; a presidential staffer who works desperately to hold things together as the government collapses around him; a prisoner in the notorious Bagram Prison who suddenly finds himself free when prison guards abandon their post. Andrew Quilty was one of a handful of Western journalists who stayed in Kabul as the city fell. This is his first-hand account of those dramatic final days.
Andrew Quilty’s photography career began in Sydney, in the year 2000, on the day his application to a university photo elective was rejected. He quit, and set off around Australia with a surfboard and a Nikon F3 that his uncle—also a photographer—had passed down. His work in Afghanistan has been published worldwide and garnered accolades including, in 2019, a World Press Photo, a Picture of the Year International award of excellence in the category of Photographer of the Year (POYI), and prior to that, a George Polk Award, three POYI awards, a Sony World Photography award and six Walkley Awards, including the Gold Walkley, the highest honor in Australian journalism. In 2016, a selection of his work from Afghanistan was exhibited at the Visa pour L'Image Festival of Photojournalism in Perpignan, France. He has travelled to two thirds of Afghanistan's 34 provinces and continues to document the country through pictures and, increasingly, the written word.
Connor Christensen is a graduate student at the University of Chicago, pursuing both an MPP at the Harris School of Public Policy and an MA at the Center for Middle Eastern Studies. His work focuses on the reintegration process of veterans of the military and non-state armed groups in contexts spanning the US, Colombia, Afghanistan, Sierra Leone, and beyond. He is a staff writer for the Chicago Policy Review, director of projects and programs at Corioli Institute, and a contributing researcher at Trust After Betrayal. He welcomes collaboration, so feel free to reach out on LinkedIn or at his email, [email protected].
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