In the midst of ongoing turmoil, the Gaza Strip is engulfed in a conflict that has now stretched into its fifth harrowing month. The escalating violence has led to the tragic loss of over 30,000 lives, including countless children, marking a somber chapter. Amidst this backdrop of sorrow and chaos, a beacon of artistic activism addresses the darkness: Unmute Gaza, a bold initiative melding the worlds of photojournalism and visual art to break the silence surrounding the war’s devastating human toll.
Unmute Gaza represents a collective outcry against the indifference of the global community and media. This creative coalition has rallied around the poignant snapshots captured by five courageous Gazan photojournalists: Belal Khaled, Mahmoud Bassam, Sameh Nidal-Rahmi, Saher Alghorra, and Majdi Fathi. These photographers’ raw, unfiltered depictions of life amidst conflict are translated by artists worldwide. The striking images, reimagined as paintings and sketches, serve not only as powerful testaments to the human spirit but also as rallying cries for action and empathy.
Highlighting the intersection of activism and art, the Unmute Gaza movement recently partnered with environmental powerhouse Greenpeace to unveil a compelling piece by renowned artist Shepard Fairey (video below). Inspired by Belal Khaled’s haunting imagery, Fairey’s work—portraying a blood-stained Palestinian child beneath the pleading words “Can you hear us?”—was dramatically displayed at Madrid’s Reina Sofia Museum. This collaboration epitomizes the campaign’s reach and impact, with Unmute Gaza’s message resonating in public spaces across 83 cities in 30 countries worldwide, urging us to confront the harsh realities of war and to amplify the plight of people demanding to be heard.
CLICK HERE TO DOWNLOAD THE FILES FOR PRINT FREE OF CHARGE
CLICK HERE TO DOWNLOAD THE FILES FOR PRINT FREE OF CHARGE
As we usher in the new year, it’s exhilarating to embrace a project that embodies a powerful message: “Raise the Level.” This initiative, resonating with the ethos of elevating our discourse on critical issues, reminds us that respectful, high-quality debate is not only possible but necessary. Steering clear of personal attacks, we all have the capability to engage constructively in meaningful conversations.
In this spirit, we are thrilled to introduce the collaboration between STRAAT Museum and renowned artist and activist Shepard Fairey, in a project aptly named “Raise the Level.” This endeavor is brought to life through an extraordinary five-minute documentary that offers an intimate glimpse into Shepard Fairey’s creative process and his mission to use art as a catalyst for change.
The documentary, crafted by filmmaker Lidewij Hartog, follows Shepard Fairey during his visit to Amsterdam in August 2023. This visit marked a significant moment for Fairey, as he showcased his “Printed Matters: Raise the Level” exhibition at the STRAAT Gallery. But his contribution went beyond the gallery walls. Fairey left an indelible mark on the city by creating a monumental mural on the museum’s outdoor wall and adding a distinct artwork to the museum’s permanent collection.
STRAAT Museum proudly presents “Shepard Fairey: Raise the Level.” This documentary not only captures the essence of Fairey’s artistic journey in Amsterdam but also delves into the motivations and aspirations driving his art. Join us in experiencing the impact of Shepard Fairey’s work and his ongoing dedication to using art as a medium to inspire societal change.
We’re celebrating the end of one year and the beginning of the next by thanking BSA Readers, Friends, and Family for your support in 2023. Picked by our followers, these photos are the heavily circulated and “liked” selections of the year – shot by our Editor of Photography, Jaime Rojo. We’re sharing a new one every day to celebrate all our good times together, our hope for the future, and our love for the street. Happy Holidays Everyone!
In street art photography, there are at least two truths to keep in mind. Firstly, art doesn’t need to be freshly created to strike you as new. Our recent visit to LA proved this point. It had been some time since our last trip, so when we encountered the collaborative work of Shepard Fairey and Vhils for the first time this October, it left a lasting impression. We recalled their earlier partnership – possibly their first – seen in Lisbon. That piece was more vertically oriented, nestled tightly within a narrow street in a neighborhood. In contrast, the Los Angeles piece enjoys the luxury of space, allowing it to breathe and extend its impact.
Second truth: There are times when the unexpected intrusion of elements in your photograph can be surprisingly welcome and appropriate. Untrimmed palm trees, even when they sprout haphazardly in front of a mural, bring a certain tropical charm. Likewise, the diagonal lines of telephone wires slicing through the scene can enhance the mural’s collage-like quality, especially when it’s already interrupted with a window and a doorway. Los Angeles today mirrors this eclectic mix; it’s a city where contrasts hang heavily, a shattering of the myths. The sprawl of massive tent encampments and the random upcropping of people living on sidewalks, in cars, and under bridges – all these elements contribute to the city’s Dickinsonian “Tale of Two Cities” character in 2023. Writ larger, America today is extreme wealth and poverty side by side, with rumors of revolutions scattered about. Here, the portraits capture the Fairey glamour and the Vhils grit, each layer vividly entwined and textured, a visual echo of a jackhammer pounding away at the facade.
Great to see everyone last night at the Museum of Graffiti for the book launch of Mana Public Arts. Somehow, the guest list ballooned, and suddenly, we needed half a football field to fit everyone in. Right next door, the Hip Hop 50 museum had a breaking (break-dancing) expo, and the museum was broadcasting a live podcast in their glass booth for passersby to watch, and @0h10mike was walking through the museum doing one-line portraits so the streets on the periphery were very crowded. The energy at Art Basel this year waxes and wanes; rather excited, subdued, and tense, perhaps because everyone is talking about the wars, the economy, plastic surgery, the soulless co-branding of the grassroots graffiti/street art movement, the persistence of the man bun, and the political polarization that grips the country and much of the world. Nonetheless, the wide variety of artists and artworks on the street in Miami is still exceptional, the party scene at night is still pumping, and Martha still loves her margaritas.
Here is our weekly interview with the street – a collection from New York, LA, and a little Miami- more Miami to follow: this week featuring Homesick, HOACS, Eternal Possessions, Such, Stanley Donwood, XSM, Tom Boy NYC, Trades only Bro, Slasher, Skeam, Kanos, Vokles, Tinta Rosa, Michael Relave, Las Chicas Que Pintan, and Indo 093.
With 700 languages spoken in these five boroughs, New York is a nerve center with a vast network of connections to the rest of the world. So, if you are feeling it, we’re probably feeling it too. This week, the Middle East conflict, more radioactive than ever, it would seem, is sending people into the streets in Manhattan and Brooklyn – with heightened emotions stoked by a media machine that loves to see us fight. Now, as we see continued bombings by Isreal outside of their country, as surrounding countries begin banging their war drums, and as the US sits in the sea nearby, more than one commentator on the news and in your local deli, laundromat, bookstore or bar are wondering aloud if a hot war can spread across the region, or further.
Closer to home, we see that street art has not reflected the events directly, but somehow, the anxiety that has been raised will be invariably internalized and aerosolized. We’ll keep an eye out for the messages and sentiments, which are far from unanimous.
Here is our weekly interview with the street: this week featuring Shepard Fairey, Mike Makatron, A Lucky Rabbit, Phetus88, Muebon, Ideal, Jurse, Skitl, Thobekk, Go4art, Polar Bear, Mr. ENT, ICU463, and Where’s the Water.
This week, we found ourselves amidst the vibrant energy of Los Angeles, uncovering hidden gems and reconnecting with old friends. One highlight was a visit to Roger Gastman’s dynamic ‘Beyond the Streets’ gallery, which celebrated its first year with a captivating show featuring Tim Conlon, HuskMitNavn, and Pose. A thrilling moment was when we had the privilege of moderating a panel that featured the artistic brilliance of Layer Cake’s duo – Patrick Hartl and Christian Hundertmark (C100), the iconic Chaz Bojórquez, recognized as the godfather of graffiti and the epitome of California Chicano artistry, and our host, the ever-passionate artist and activist, Shepard Fairey. The venue buzzed with artists and connoisseurs, each directly or deeply ingrained in the world of art in the streets. And as LA’s streets echoed with the spirit of Mexican Independence Day, the youthful beats of Mexican music star Peso Pluma serenaded us from passing cars. Truly, a week to remember.
Here is our weekly interview with the street: this week featuring Shepard Fairey, Vhils, Invader, Keith Haring, Nychos, El Mac, Add Fuel, Praxis, Hueman, Estevan Oriol, Hijack, Tempt, David Howler, Loks Angeles, Kook, Madre, and Downtown Daniel.
The vibrant margins of cities around the globe have long echoed with the silent yet visually boisterous language of graffiti. For artists and graffiti writers, these urban practices and canvases are sacred, bound by several unspoken codes that regulate the street, and may vary somewhat from country to country, city to city. One that is universal: you do not “go over” or paint atop another’s work unless you intend a deliberate provocation.
Yet, Munich-based graffiti veterans Patrick Hartl and Christian “C100” Hundertmark, known collectively as Layer Cake, dare to challenge this rule in a groundbreaking collaborative project titled “Versus”. Presenting the fourth iteration of this show at the Subliminal Projects Gallery in Los Angeles, the “Versus IV” exhibition features a brand new roster of collaborations. It is a testament to the boundless possibilities when artists embrace challenge, change, and true collaboration.
Layer Cake’s audacious process commenced in their Munich studio during the last decade or so. They initiated canvases, leaving them deliberately unfinished before shipping them to various artists worldwide. These artists, in an act of trust and faith and an urge to collaborate, completed the paintings without prior discussion of details with Layer Cake. In some instances, this exchange occurred multiple times, spanning up to two years. The artworks emerged as stunning mosaics or hand style and eclectic modernism, a synthesis of diverse visual languages, methodologies, and ideas – a reflection of the artists’ non-verbal dialogues with one another as well as their introspections on personal boundaries.
The Versus project gathers a mosaic of artists, from Hera to MadC to Rocco and His Brothers to “Chaz” Bojórquez and Shepard Fairey, united by a fervent passion for style writing, street art, and graffiti. Each artist brings their distinct style to the canvas and in doing so, contributes to a diverse spectrum that blurs the lines between individual contribution and collective creation. These works aren’t just paintings; they’re conversations, layered dialogues that traverse geographical and artistic divides, embodying a unique intersection of graffiti and contemporary art.
Hartl and Hundertmark, despite being rooted in the world of graffiti, have constantly evolved their artistic expressions. Their collaborative moniker, “Layer Cake,” perfectly encapsulates their artistic ethos. Like a lush multi-tiered confection, theirs is a collection of artworks that is infused with depth – from Patrick’s writing elements juxtaposed against Christian’s hard-edged abstract forms. This joint effort, as they remark, challenges artists to confront an existing work rather than the pristine white of a blank canvas, pushing them out of their comfort zones and into new horizons.
For the uninitiated and the aficionados alike, “Versus: IV” at Subliminal Projects is more than an exhibition; It’s an invitation into a realm where graffiti’s age-old traditions meet the revolutionary ethos of contemporary art. It re-defines visual and psychological spaces where boundaries, both inner and outer, are tested and where creativity resists limits. Layer Cake’s initiative doesn’t just question the norms of the graffiti world; it celebrates the transformative power of collaboration in art.
BSA/Urban Nation’s Steven P. Harrington and Jaime Rojo saw the new works going up at Subliminal Projects yesterday, with Layer Cake leading the way. Please join us all Saturday night with artist and host Shepard Fairey and graffiti godfather “Chaz” Bojórquez for a panel discussion and a grand opening for Layer Cake: Versus IV.
Join us Saturday, September 16th, 6-7 PM for the Opening Reception. To kick off the reception, the gallery will host a special Artist Talk at 6:15 PM with Layer Cake, featuring contributing artists Shepard Fairey (@obeygiant) and Chaz Bojórquez (@chaz_bojorquez), moderated by Steven P. Harrington co-founder of Brooklyn Street Art (@bkstreetart). RSVP to rsvp@subliminalprojects.com to attend. This exhibition is made possible with support from OBEY GIANT ART & URBAN NATION MUSEUM
CONTRIBUTING ARTISTS
AKTE ONE, Bond Truluv, Carolina Falkholt, Chaz Bojórquez, Cren, CRYPTIK, Dave The Chimp, Flying Förtress, Formula76, HERA, HNRX, Layer Cake, MadC, MAMBO (Flavien Demarigny), Matthias Edlinger, Łukasz Habiera Nawer, Peter “Paid” Levine, Rocco & His Brothers, Shepard Fairey, Various and Gould, and Zepha (Vincent Abadie Hafez).
Click HERE for more information about this exhibition and Art Talk.
Steve and Jaime from BSA are proud to be repping Berlin’s Urban Nation Museum next month in Los Angeles in the company of the great German artist duo Layer Cake for the 4th iteration of their collaborative art project.
Please join us with artists Shepard Fairey and Chaz Bojórquez as we welcome Layer Cake to Shepards’ Subliminal Projects!
See the full Press Release below and if you are in LA on the 16th, we can’t wait to meet you. It will be a fantastic show and a very special night..
THE VERSUS PROJECT IV
LAYER CAKE
OPENING RECEPTION + ARTIST TALK
Subliminal Projects is pleased to present “The Versus Project IV,” an international traveling group exhibition co-curated by the German artist duo Layer Cake, individually known as graffiti veterans Patrick Hartl and Christian Hundertmark (C100).
Challenging the well-known Graffiti rule: “Never paint over other writers,” Layer Cake invites the broader graffiti and street art community to do just that. Starting with a canvas, the duo creates an unfinished base that is then sent to a guest artist, beginning a non-verbal collaborative process until the work is complete. The works result in layers of each artist’s contribution that both blend and highlight their personal styles.
“Working on The Versus Project is an experiment in uncompromising teamwork. Through the project, works have been created that would never have existed otherwise and represent a broadening of artistic boundaries for us and our guest artists.” – Layer Cake
After two well-received exhibitions at Urban Nation Museum for Urban Contemporary Art (UN) in Berlin in 2019 and 2022, and at the Museum of Graffiti in Miami in February 2023 (hats off to Alan Ket and team), “The Versus Project” makes its fourth stop at Subliminal Projects, continuing this experiment with the addition of new artists to the exhibition, including gallery owner, artist Shepard Fairey.
In conjunction with the opening reception, the gallery will host an Artist Talk with Layer Cake, featuring contributing artists Shepard Fairey and Chaz Bojórquez, moderated by Steven P. Harrington, co-founder of Brooklyn Street Art.
CONTRIBUTING ARTISTS
AKTE ONE, Bond Truluv, Carolina Falkholt, Chaz Bojórquez, Cren (Michel Cren Pietsch), CRYPTIK, Dave The Chimp, Flying Förtress, Formula76, HERA, HNRX, Layer Cake (Patrick Hartl and Christian Hundertmark aka C100), MadC, MAMBO (Flavien Demarigny), Matthias Edlinger, Łukasz Habiera Nawer, Peter “Paid” Levine, Rocco & His Brothers, Shepard Fairey, Various and Gould, and Zepha (Vincent Abadie Hafez).
This exhibition is made possible with support from
OBEY GIANT ART & URBAN NATION MUSEUM
OPENING RECEPTION + ARTIST TALK
SAT SEPT 16, 6-10 PM
rsvp@subliminalprojects.com
EXHIBITION DATES
SEP 16 – OCT 28
SUBLIMINAL PROJECTS
1331 W Sunset Blvd
Los Angeles, CA 90026
“Raise the Level” is what street artist/fine artist Shepard Fairey has always done regarding the level of political, social, and environmental discourse in any given room. At the STRAAT Museum in Amsterdam, where the shipping trade resides in the annals of history, you may also find yourself contemplating the ebb and flow of ocean levels. The question of how high future waters will lap at the doors of this establishment, nestled within a former maritime warehouse, has surely crossed the minds of those who tread its epic halls.
In town for his first serious exhibition here, which opens this weekend and runs through the first of October, the sharply satirical stalwart of activism and stunning graphic design on the street is surrounded by a cadre of fans and photographers gathering on the sidewalk as he floats with his crew on the lift above.
With deft choreography, he and his adept crew maneuver a lift to forge a new mural, seamlessly fusing his signature elements: symbols, incisive political commentary, and an embodiment of feminine resilience – somehow all of it converging in her unwavering gaze.
As ever, Fairey hopes to shake you from your apathy, if possible. The Californian voyager of street/punk/graphic aesthetics says the themes he follows in the new exhibition are “aimed at improving the ‘health’ of our planet but also addresses other urgent matters, such as nationalism, xenophobia, war, fake news, and threats to democracy.” There will be no doubt that he will do so convincingly.
Across the bottom of this new wall, which we’re proud to be able to share, are two collaborators styled rather wildly and in a complementary color palette. One is the OG USA crew captain and calligraffiti artist Niels “Shoe” Meulman. To his left is writing legend Yalt, who kills it. Integrated more directed into Shepard’s composition are the stylized letters of Shoe, perhaps reminding us that in matters of the planet and each other, it’s a good idea to “Handle With Care”.
“Printed Matters: Raise the Level” opens at Straat Museum Saturday, August 13th.
STRAAT: NDSM-Plein 1, 1033 WC Amsterdam Click HERE for more information about this exhibition.
“Urban[R]Evolution: A Journey from Graffiti to Contemporary Art” is a large exhibition that marks the rise and popularity of urban art and features original installations by 18 renowned Portuguese and international artists. Curated by Pauline Foessel and Pedro Alonzo, this showcase takes place at Cordoaria Nacional in Lisbon, running from June 21st to December 3rd.
The historic and iconic building that once served as the National Rope Factory during the late 18th century, catering to the needs of the Portuguese Navy by producing ropes for naval purposes, is situated near the scenic Tagus River. With its imposing neoclassical and industrial design, the building stands as a testament to the city’s cultural heritage and is now a versatile venue for hosting events after its meticulous restoration. With free-standing booths carefully built not to endanger the historic structure, the flow of the exhibition offers a pod-like adventure to visitors to experience individual artists’ work and visions. Some utilize the spaces fully with installations, while others choose the homey quality of an artist’s studio with work in progress.
The exhibition brings together a lineup of artists whose work was featured in early graffiti images by photographer Martha Cooper, second-wave western street artists who have burnished their names in the commercial urban contemporary art milieu, and a collection of names more locally known – each with profound ties to the graffiti and street art scene. Among them are esteemed names such as Barry McGee, Futura, Shepard Fairey, Swoon, Vhils, and Obey SKTR, to name a few. The curators thoughtfully selected these artists to narrate the fascinating development of urban art, tracing its origins from early tags, graffiti, and subway pieces to its current expression as street art and mural art.
Many of the artists are associated with previous projects of the curators and with one of Lisbon’s anchors of the street art scene, the artist and businessman Vhils. Aside from these connections and the common roots of early graffiti culture, it may be difficult for ticketed visitors to the show to discern the commonalities of the works on display. The connective tissue between the booths will be the many iconic photographs of North American photographer Martha Cooper, whose lens has captured the human experience in urban areas for about 50 years, immortalizing the origins and evolution of graffiti, street art, and urban art – when the scene was viewable directly on the train cars and streets of major cities like New York.
Another nerve center for the show is the installation by conceptual street artist ±MaisMenos± , known for his thought-provoking art pieces and street activations that sublimely challenge social norms and provoke critical thinking. Within this kinetic electronic display, a phalanx of screens emulates a bustling stock trading floor, listing street artists and graffiti artists and their market line charts bumping up and down alongside various commercial, academic, institutional, and cultural influencers and influences that have coalesced to foster their success.
In this exhibition’s composition of artistic expressions, each artist has the opportunity to tell their unique story through their installations and accompanying texts, reflecting on their journey from the streets to the contemporary art world. “Urban[R]Evolution” is a testament to the significance of Lisbon as a vital city for urban art, with the show embracing a dynamic mix of international pioneers and established/emerging talents from Portugal.
This major exhibition, presented by Everything is New and Underdogs Gallery, invites visitors on a dreamlike, poetic, and moving journey, oscillating between light and shadow, the humor and rancor of the street, expressing the heart of urban art’s evolution. It is an immersive experience into urban art’s origins and possible future, exemplifying a sample of the boundless creativity and diverse voices that have emerged from the graffiti and street art scene.
Our sincere thanks to exhibition participant and famed photographer Martha Cooper for sharing here her photos exclusively with Brooklyn Street Art, and to Vasco Vilhena, one of the exhibition’s official photographers.
The artist presented a video installation addressing the “market” for graffiti and street art, the intersection with art and commerce in a brilliant display.
“This took me to what is my thesis subject, where my work is the centerpiece of an eventual (or questionable) dichotomy between street art and the art market, the evolution from illegal, interventive and subversive work into a continuous institutionalization, mercantilization and commoditization, normalized with the (before pursued) but now consecrated and valuated (street) artists.
All of this materialized in an art industry (or market) of artist-companies, studios, galleries, festivals, fairs, museums, curators, collectors, political and media attention, touristic tours, financialization, etc, as so it is with the art world as a whole. Being this specific show, for its size, importance, where it is, its public, a realization of this “evolution”, or this stage of the urban arts. So I thought of an installation as a self-critique and self-awareness of this stage and present context of urban art (one of which myself and my work makes part), how capitalism kidnaps, agglutinates and transforms its (possible) critique and counter-culture, commodifying, massifying and selling it.”
Cato knows that immigrants (documented and undocumented) greatly benefit the country economically because they base their exhaustive study on data collected by the US Government, which also annually makes meticulous studies of the benefits of having immigrant labor to keep an economy alive and growing. But it is not only think tanks and governments who keep this meticulously detailed data proving the net financial benefits of keeping workers employed who are not granted equal pay, rights, or protections; so do all the banks and corporations across the globe.
Imagine how you would benefit if you could hire workers in your business who live in fear of getting arrested or being separated from family members. You could pay them lower wages and offer no sick days, vacation days, pensions, insurance, medical care, or even safe working conditions. These business owners know that these lowered costs and repressed wages make them more significant profit. It has always been true and, for many, a temptation too great to resist.
So why don’t we see this on the news or hear it from the political class? We rarely, if ever, do.
Today on International Workers Day, celebrated in much of the world, we’ll be regaled instead by stories of frightful “illegals” at the border and the Biden administration’s plans to lift Title 42 restrictions, and how we’ll soon be flooded by arriving Mexicans, Cubans, Haitians, Nicaraguans and Venezuelans. If the past is prologue, and it usually is, the US and its captains of industry will continue to profit from the labor of new arrivals as it has for centuries, despite any heated rhetoric from your TV news host of choice.
Street artist and fine artist Shepard Fairey has kept our collective eye on socio-political matters through his posters, advocacy, and donations of work and time to causes of the worker over the last three decades or so, and today we feature some of his work to celebrate May 1st. He also offers a few words to BSA readers as we think about the contributions of immigrants to the economic and cultural wealth of the US and how all workers deserve fundamental basic rights no matter who they are.
I’m an immigrant rights activist because I believe in the promise of opportunity this country was founded on. The U.S. is a country built on immigration by people leaving their homes to build a better life. That concept should not be something only open to white Europeans from decades and centuries past, but for all those seeking work and asylum. Only a short while ago whites were the immigrants to this land seeking a better life, so let’s not allow short memory and racism to diminish our compassion for those who want to work hard for a good life in the U.S. now!”
Behind the scenes at “Beyond the Streets London” is a hive of activity, with artists deeply focused on installing their work and seeking assistance with tools and equipment. Curators, organizers, and lighting professionals are bustling up and down the stairs, carrying props, or ladders, and communicating with vendors and artists via text message. Salespeople are diligently crafting wall texts to accompany the art pieces. It’s a few hours before showtime, yet everything is somehow accomplished just as the first guests arrive for the preview.
Photographer Martha Cooper is electrified by the activity at Saatchi Gallery. The event preserves the rich history of graffiti, street art, and commerce while pushing forward with new trends and directions. Cooper, who has documented this scene since the 1970s, has attended and exhibited in “Beyond the Streets” exhibitions in New York and Los Angeles – and we anticipate the next stop could be Shanghai. This particular iteration showcases an evolving mix of archetypes and invention, drawing on diverse influences from the US, UK, and EU.
Cooper observed many surprising music references at the show. Rock icon Eric Clapton was at the opening admiring a photograph of text declaring him to be God while filmmaker, musician, and BBC radio host Don Letts had a personal collection of his memorabilia/ephemera on display. Ron West, designer of the “Duck Rock” boombox, also made a sudden appearance at the opening, allowing guests to pose with his creation. Among the standout pieces was a Bob Gruen photo of Malcolm McLaren holding that boombox in front of Keith Haring’s Houston Street wall, a masterpiece of intersectionality, if you will.
Overall, “Beyond the Streets London” offers a smorgasbord of colors, flavors, and influences that are difficult to encapsulate in one show. However, Gastman, the visionary, gives it a good try, with a respectful nod to the many artists who have shaped this worldwide people’s art movement. Enjoy these behind-the-scenes shots from Ms. Cooper.
Beyond The Streets – London. Click HERE for more details, the schedule of events, tickets, and exhibition times.
We’re excited to introduce the inaugural Martha Cooper Scholarship (MCS), celebrating Martha Cooper’s legacy in capturing human cultures through photography. …Read More »