Photography Discussion: Exploring the Magnum Archive

Book sales and a reception will follow the program.

Susan Meiselas is a documentary photographer based in New York. She is the author of (1976), (1981), (1997), (2001), (2003) (2016), (2017), (2020), and (2022). Meiselas is well known for her documentation of human rights issues in Latin America. Her photographs are included in North American and international collections. In 1992 she was made a MacArthur Fellow and received a Guggenheim Fellowship (2015). Most recently, she received the first Women in Motion Award from Kering and the Rencontres d’Arles (2019), the Deutsche Börse Photography Foundation Prize (2019), and the Erich Salomon Award of the German Society for Photography (2022). , a survey exhibition of her work from the 1970s to present was initiated by the Jeu de Paume in Paris and traveled to Fundació Antoni Tàpies, the San Francisco Museum of Modern Art, and the Instituto Moreira Salles in São Paulo, among others. Meiselas has been the President of the since 2007, with a mission to expand diversity and creativity in documentary photography.

Mark Menjívar has engaged in projects at venues including the El Museo del Barrio, Rothko Chapel, Eastern State Penitentiary, the Cornell Lab of Ornithology, FOTOFEST, Bemis Center for Contemporary Art, Haverford College, Contemporary Arts Museum Houston, The Puerto Rican Museum of Art and Culture, Sala Diaz, Contemporary at Blue Star, and the Krannert Art Museum. Menjívar is currently an Associate Professor in the Interdisciplinary School for Engagement at the University of Texas at San Antonio.

Erina Duganne is Professor of Art History at Texas State University. Her research, writing, and curatorial projects focus mostly on contemporary art and its intersection with solidarity practices, intersectional feminisms, and documentary practices. Her forthcoming projects include Dreams of a Continent: Artists Call’s Transnational Solidarity with Central America, supported by The Andy Warhol Foundation Arts Writers Grant, Feminist Visual Solidarities and Kinships, co-edited with Genevieve Hyacinthe and Susan Richmond, and a second edition of Global Photography: A Critical History, co-authored with Heather Diack and Terri Weissman.

Ann Reynolds teaches art history and gender and sexuality studies at the University of Texas at Austin. Her forthcoming book, Imagining an Altogether: Cinema, Surrealism, and New York 1940-1970, supported by fellowships at The Institute for Advanced Study and The National Humanities Center, provides a history of intergenerational relationships among New York artists and writers that were shaped by shared, if heterogeneous, commitments to Surrealism and its legacy, primarily through an engagement with film. Her recent publications include essays on the Magnum photography archive, cold war sculpture, surrealist animation, queer aesthetics, Joan Jonas, Ruth Asawa, Jack Smith, and Zoe Leonard. She is also the author of Robert Smithson: Learning from New Jersey and Elsewhere and co-editor with Ann Cvetkovich and Janet Staiger of Political Emotions.

Please have your reservation confirmation ready upon entering. A reservation does not guarantee a seat. Line forms upon arrival of the first patron, and doors open 30 minutes before the event begins. No food or beverages are allowed inside our theater or gallery space.

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Host or Publisher Harry Ransom Center