Welcome back. To celebrate reaching the 100th episode of the podcast, I collaborated with the team at the International Centre of Photography in New York City, to host a one day salon. My motivation was to gather the community together in person and start talking about where we stand in photography. Titled, Between Two Worlds, the salon was an attempt to describe the feeling of existing in two image worlds, the one we think we know, and the new one emerging. We can sense that this new image world operates differently to the one we were socialised in—and yet it’s unclear exactly how.

Before you dive in, I wanted to share what I told the audience at the salon - there are no tidy or easy answers here. In fact my expectation is that these conversations will involve a lot of complexity and contradiction, but holding space for, and embracing this chaos, is in my opinion, the urgent work that needs to be done. 

In this episode I discuss the future of storytelling with Kathy Ryan

For three decades, Kathy Ryan, the longtime director of photography at The New York Times Magazine, pioneered her own vision for visual storytelling. Her signature approach to masterful commissioning was rooted in unexpected cross-assignment, blurring boundaries between genres and creating space for photography to be interpretive and elaborate - a powerful voice unto itself. Kathy is an icon. She has truly had more impact than any other magazine director of photography in our time. Within photography circles, she is a genuine legend.

Now, as she enters a new era of her career as an artist, curator and educator, I wanted to talk to Kathy about her new chapter and what it means to shift from the role of directing images to making them herself. I also wanted to speak to her, now she is untethered from an insitution, about her take on the future of storytelling and the role of the photographer in preserving history, challenging misinformation, and safeguarding the integrity of our shared narratives.

Follow Kathy & Gem on Instagram. If you've enjoyed this episode, PLEASE leave us your feedback in the Apple Podcast store. Thank you for listening to The Messy Truth. We will be back very soon. For all requests, please email [email protected] 

Thank you to the whole team at ICP for collaborating on this project.

Hosted on Acast. See acast.com/privacy for more information.

Welcome back. To celebrate reaching the 100th episode of the podcast, I collaborated with the team at the International Centre of Photography in New York City, to host a one day salon. My motivation was to gather the community together in person and start talking about where we stand in photography. Titled, Between Two Worlds, the salon was an attempt to describe the feeling of existing in two image worlds, the one we think we know, and the new one emerging. We can sense that this new image world operates differently to the one we were socialised in—and yet it’s unclear exactly how.

Before you dive in, I wanted to share what I told the audience at the salon - there are no tidy or easy answers here. In fact my expectation is that these conversations will involve a lot of complexity and contradiction, but holding space for, and embracing this chaos, is in my opinion, the urgent work that needs to be done. 

In this session On Documentary, I was joined by Stacy Kranitz, Abdul Kircher, and Sinna Nasseri.

Amongst the doom and upheaval that defines life in the 2020s, from political extremism and war, the dizzying technological domination and the profound shifts in perception and attention, the role of documentary photography has never felt so consequential. Amongst this chaos, the protocols of the genre are shifting and new questions are emerging: What happens to documentary photography if we no longer trust in images? How is the changing media landscape impacting how images function? And can new forms of the medium emerge that adequately express the strange, unmapable shape of our present?

Projects mentioned:

Stacy Kranitz - The year after a denied Abortion and the conversation about the project

Abdul Kircher - Rotting From Within

Sinna Nasseri - LA Fires 

Follow Stacy, Abdul, Sinna & Gem on Instagram. If you've enjoyed this episode, PLEASE leave us your feedback in the Apple Podcast store. Thank you for listening to The Messy Truth. We will be back very soon. For all requests, please email [email protected] 

Thank you to the whole team at ICP for collaborating on this project.

Hosted on Acast. See acast.com/privacy for more information.

Welcome back. To celebrate reaching the 100th episode of the podcast, I collaborated with the team at the International Centre of Photography in New York City, to host a one day salon. My motivation was to gather the community together in person and start talking about where we stand in photography. Titled, Between Two Worlds, the salon was an attempt to describe the feeling of existing in two image worlds, the one we think we know, and the new one emerging. We can sense that this new image world operates differently to the one we were socialised in—and yet it’s unclear exactly how.

Before you dive in, I wanted to share what I told the audience at the salon - there are no tidy or easy answers here. In fact my expectation is that these conversations will involve a lot of complexity and contradiction, but holding space for, and embracing this chaos, is in my opinion, the urgent work that needs to be done. 

In this session on contemporary art. I’m joined today by three brilliant artists, thinkers and writers - Farah Al Qasimi, Charlie Engman and Gideon Jacobs.

What we understand an image to be is becoming completely reimagined. As photography slowly loses its utility value as a communication tool, does it have the opportunity to be a slippery, strange and miraculous medium of possibilities? From where we stand today, what is the work of art? And what role does photography play in those ideas and gestures?

Projects mentioned:

Charlie Engman - Cursed 

Farah Al Qasimi - Toy World

Gideon Jacobs - On Images

Follow Farah, Charlie, Gideon & Gem on Instagram. If you've enjoyed this episode, PLEASE leave us your feedback in the Apple Podcast store. Thank you for listening to The Messy Truth. We will be back very soon. For all requests, please email [email protected] 

Thank you to the whole team at ICP for collaborating on this project.

Hosted on Acast. See acast.com/privacy for more information.

Welcome back. To celebrate reaching the 100th episode of the podcast, I collaborated with the team at the International Centre of Photography in New York City, to host a one day salon. My motivation was to gather the community together in person and start talking about where we stand in photography. Titled, Between Two Worlds, the salon was an attempt to describe the feeling of existing in two image worlds, the one we think we know, and the new one emerging. We can sense that this new image world operates differently to the one we were socialised in—and yet it’s unclear exactly how.

Before you dive in, I wanted to share what I told the audience at the salon - there are no tidy or easy answers here. In fact my expectation is that these conversations will involve a lot of complexity and contradiction, but holding space for, and embracing this chaos, is in my opinion, the urgent work that needs to be done. 

In this session On Portraiture, I was joined by Avion Pearce, Caroline Tompkins and Alexander Coggin. Three fascinating photographers, each with their own distinct approach to imaging people, and yet their strategies overlap and intersect in different ways. 

Throughout history, Portraiture has played a critical role in how we understand people and ourselves, revealing a myriad of ideas about the maker and the sitter. In an era where identities and communities are yet again being erased or reduced, Portraiture feels particularly pertinent to me right now. 

Projects mentioned:

Caroline Tompkins - Bedfellow

Avion Pearce - In The Hours Before Dawn

Alexander Coggin - Micheal

Follow Caroline, Avion, Alexander & Gem on Instagram. If you've enjoyed this episode, PLEASE leave us your feedback in the Apple Podcast store. Thank you for listening to The Messy Truth. We will be back very soon. For all requests, please email [email protected] 

Thank you to the whole team at ICP for collaborating on this project.

Hosted on Acast. See acast.com/privacy for more information.

In this episode, Gem Fletcher talks to writer and artist Gideon Jacobs. For the last few years, Gideon has been grappling with our relationship to images and technology, posing theories about its potential futures. Despite his beat not being politics, many of his most potent essays, in particular those for the LA Review of Books, use the root of politics to untangle the changing state of images and the ways in which reality is being reimagined through image production and strategy in dark and surreal ways. In this episode, we cover a lot of ground, trying to unravel how the value of images is shifting and what the potential outcome or implications of this could be, to which there are several possibilities, but for Gideon, our relationship to technology comes front and centre. 

Gideon Jacobs is a New York based writer contributing fiction and nonfiction to The New Yorker, The New York Times, Artforum, BOMB Magazine, The Drift, Heavy Traffic, aMONG others. Alongside his writing, he is currently performing a one man show called Images: A Show, a performance as a Second Commandment fundamentalist preacher, directed by Ruby McCollister. He has lectured at a number of institutions including the Museum of Contemporary Art of Rome and the New School, NYC. Gideon is currently working on a novel about images.

Articles mentioned:

Trump l’Oeil (LA Review of Books)

Player One and Main Character (LA Review of Books)

AI is the Future of Photography… (New York Times)

Follow Gideon @gideon___jacobs & Gem @gemfletcher on Instagram. If you've enjoyed this episode, PLEASE leave us your feedback in the Apple Podcast store. Thank you for listening to The Messy Truth. We will be back very soon. For all requests, please email [email protected]

Hosted on Acast. See acast.com/privacy for more information.

In this episode, Gem Fletcher talks to Donna Ferrato, a fearless photojournalist who has redefined how the world sees domestic violence through her groundbreaking work. Her seminal book Living With the Enemy [published by Aperture] sparked a global reckoning, exposing the hidden realities of abuse and igniting conversations that continue to drive change. In this conversation, Donna shares her radical approach to image making, what she went through to get her work seen, and her lifelong mission of wielding the camera as a tool for justice.  

In 2021, Donna received a grant from the Mayor’s Office to End Gender-Based Violence to build and install a public art installation on a human scale in the form of a prison cell sculpture of mirrored steel which symbolized a portal into the lives of criminalized survivors of domestic violence.  Donna's work has been recognized with numerous prestigious honors, including the W. Eugene Smith Grant in Humanistic Photography, the Robert F. Kennedy Award for Outstanding Coverage of the Plight of the Disadvantaged, the IWMF Courage in Journalism Award, the Missouri Medal of Honor for Distinguished Service in Journalism, Artist of the Year at the Tribeca Film Festival, and the Look3 Insightful Artist of the Year. In 2008, New York City declared October 30th “Donna Ferrato Appreciation Day,” and in 2009, she was honored by the judges of the New York State Supreme Court for her tireless advocacy for gender equality. In 2025, she was awarded an honorary doctorate from John Jay College of Criminal Justice for her lifelong commitment to justice, truth, and the transformative power of photography.  

Donna's photographs are held in major institutional collections including the Museum of Fine Arts Boston, the Cleveland Museum of Art, the Library of Congress, and the International Center of Photography in New York City, as well as in private collections such as those of Celso Gonzalez-Falla, the Marrus Family Fund, Keri Jackson and Adrian Kunzel, Ann and Alex Russ Family Fund. She is represented by the Daniel Cooney Gallery in Santa Fe, New Mexico.  

Follow Donna @donnaferrato & Gem @gemfletcher on Instagram. If you've enjoyed this episode, PLEASE leave us your feedback in the Apple Podcast store. Thank you for listening to The Messy Truth. We will be back very soon. For all requests, please email [email protected]

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In this conversation Lisa Barnard talks to Gem Fletcher about her new exhibition, You Only Look Once,  at c/o Berlin which considers perception in relation to both human and machine experience. She addresses the complexity of technological progress and the ecological resources on which its promises depend. Her research focuses on California, unfolding a multilayered, fragmented and nonlinear story that encompasses photographs, an immersive video installation, archival interventions, alternative printing strategies and AI-generated image analyses that weave together in the creation of a dense visual entanglement.

Lisa Barnard is a British artist and lecturer whose photography focuses on real events. In her projects, she combines classical documentary methods such as photography, audio, video, and text with contemporary visual strategies and digital technologies. She brings together her interest in aesthetics and current debates on the materiality of photography with political questions surrounding new ecological efforts, technological developments, science, and the industrial military complex. Barnard is an associate professor and head of the online masters in documentary photography at University of South Wales. She regularly exhibits her work and has published three monographs: Chateau Despair (2012, GOST, supported by Arts Council England), Hyenas of the Battlefield: Machines in the Garden (2014, GOST, supported by Albert Renger-Patzsch prize), and The Canary and the Hammer (2019, MACK, supported by Getty Images Prestige Grant). 

Follow Lisa @lisacbarnard & Gem @gemfletcher on Instagram. If you've enjoyed this episode, PLEASE leave us your feedback in the Apple Podcast store. Thank you for listening to The Messy Truth. We will be back very soon. For all requests, please email [email protected]

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I Will Keep You in Good Company, the latest book by Liz Johnson Artur brings together pages and fragments from over twenty years of her personal workbooks she has kept since the early 1990s. These books are a kind of private, experimental playground where she shaped her photographic language through layering, cutting, annotating, and assembling: a space for processing not only images, but life itself. Each page is a tactile surface, combining photographic prints on canvas, tracing paper, faxes, and photo stock with screen-prints, handwriting, and clipped texts. The result is a sensorial, intimate archive of moments lived and witnessed – of friends, family, strangers, lovers – held with care and attention. 

In this conversation, Gem and Liz talk about the workbooks and Liz’s journey making them throughout her career. They also talk about the power of stubbornness, finding your tools, overcoming shyness, how she has integrated her work into her life and the importance of being yourself within the institution. 

Follow Liz @lizjohnsonartur & Gem @gemfletcher on Instagram. If you've enjoyed this episode, PLEASE leave us your feedback in the Apple Podcast store. Thank you for listening to The Messy Truth. We will be back very soon. For all requests, please email [email protected]

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In this episode Gem talks to writer and curator Vince Aletti about his most recent book Physique—which showcases rare photographic prints from the underground gay magazine of the same name—collated from his own private collection. Spanning the 1930s to the early 1960s, these photographs chronicle a hidden, coded world of homoerotic imagery. Physique reveals a forgotten chapter of American gay culture in which photographic prints served as a lifeline, connecting a community of men under threat while also providing solace, pleasure, and empowerment amid oppression. In their roving conversation, they talk about obsessions, Queer culture, FOMO, writing, the importance of incongruous connections, Bad Bunny and the evolving codes of masculinity.

Vince Aletti is a writer, critic, curator and book maker. He is a regular contributor to the New Yorker and has also written for Aperture, Artforum, Document, amongst other titles. Vince was the art editor of the Village Voice from 1994 to 2005 and the paper’s photo critic for twenty years. In 2005, he won the International Center of Photography’s Infinity Award for writing. He has made many books, most recently, The Drawer and Physique made in collaboration with Self Publish Be Happy and Mack. Vince lives and works in Manhatten

Follow Vince @vincealetti & Gem @gemfletcher on Instagram. If you've enjoyed this episode, please rate and review. Thank you for listening to The Messy Truth. We will be back very soon. For all requests, please email [email protected]

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In this episode, Gem Fletcher talks to Charlotte Jansen, writer and Photo London curator. They discuss mechanics behind photography fairs, how she approaches the curatorial process and how this aspect of the industry can support the work of emerging artists. 

Charlotte Jansen is a British Sri Lankan author, journalist and critic based in London. She is the curator of Discovery at Photo London and writes on contemporary art and photography for The Guardian, The Financial Times, The New York Times, British Vogue and ELLE, among others. She is the author of Girl on Girl: Art and Photography in the Age of the Female Gaze, and Photography Now.

Follow Charlotte @omfgnoway & Gem @gemfletcher on Instagram. If you've enjoyed this episode, PLEASE leave us your feedback in the Apple Podcast store. Thank you for listening to The Messy Truth. We will be back very soon. For all requests, please email [email protected]

Hosted on Acast. See acast.com/privacy for more information.