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Like The Waters We Rise


Like The Waters We Rise box set is a collection of posters, photos, and objects from the front lines of the climate justice movement, 1968–2022.

The scale of the climate crisis we are collectively facing is daunting, and it is our hope that each piece in this collection offers a portal to an inspiration, a victory, or a teaching about how people-powered action is the most viable strategy we have for building the future. Each element of this collection has been carefully selected to support an understanding of climate justice as a rich, intersectional movement of movements driven by a multitude of visions for a better world.

Each poster, banner, and button in this collection was designed and produced as a call to action. Posters, in particular—a touchstone of movement visual culture—are a high-impact format: versatile, accessible, affordable, replicable, and easy to distribute. A full-color printed monograph is included in each box set and within it, you’ll find hands-on activities for use in classrooms and community centers. These activities are accessible for a range of diverse audiences and adaptable for a variety of educational and community contexts.
 Photographer(s): Various
Publisher: The Interference Archive, Booklyn Inc.
Gallery: City Lore Gallery
Format: Educational Catalog, Exhibition
Date: 2022/04/29 — 2022/09/01

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National Guard troops block striking workers in Memphis, TN, 1968. Photograph from Alamy

United Auto Workers, I Am A Man, 1968.

Youth activists at the PCB landfill protest, Warren County, NC, 1982. Photograph by Jerome Friar, Courtesy North Carolina Collection Photographic Archives, Wilson Library, The University of North Carolina

Designer unknown. No PCB, offset printed placard, 1982.

Global justice banner drop during the batter of Seattle, 1999. Photograph from Reuters / Alamy

Reverend Joseph Lowery with protestors in Warren County, NC, 1982. Photograph from Bettmann / Getty

The Young Lord's Serve The People breakfast program, 1970. Photo by Hiram Mirastany

Earth First!, logo and button design, ca. 1990s

Navajo-Hopi Relocation Act protest (woman with sign, Roberta Blackgoat, woman with flag, Mae Tso), 1986. Photograph by Kenji Kawano

Water protector overlooks Oceti Sakowin Camp, Standing Rock, ND, 2016. Water is Life backpatch image by Nicolas Lampert. Photograph by Kiliii Yüyan

Designer unknown, Stop Black Lung Murder, graphic, ca. 1960s

Strikers and supporters gather in the fields outside of Paso Ranch, 1973. Photograph by Criz Sanchez, Courtesy Walter P. Reuther Library, Wayne State University

Young Lords Party, Struggle, screenprint, 1971 

Members of United Farm Workers picket Safeway Stores, 1971. Photograph by David Cupp / The Denver Post / Getty

Draping flas of peace on the Seneca Army Depot fence, 1983. Photograph by Mima Cataldo

Boycott Lettuce, The Black Panther, v.8 n.27, 1972.

Draping flas of peace on the Seneca Army Depot fence, 1983. Photograph by Mima Cataldo

Imagining Everyday Life


Imagining Everyday Life: Engagements with Vernacular Photography brings together leading scholars and critics to consider vernacular photography: snapshots and family pictures; photo albums and displays; mug shots and identification photographs; and ethnographic, scientific, industrial, and architectural images. What do these ordinary photographs that people make and use every day tell us about our social patterns and personal rituals, and how we reinforce or resist structures of identity or political participation? Defining vernacular photography by its social function rather than by its aesthetic features, the essayists reexamine these ordinary photographs in relation to power and ideology, as well as to gender, race, ethnicity, and sexuality in the communities from which they originated. The authors reevaluate the agency of the makers, compilers, subjects, and viewers of these vernacular images, and highlight the affects, touch, and sounds that shape them and the social roles they play. These new approaches recast existing histories of photography, and insert into those narratives objects and questions that have been in large part ignored or erased.
Photographer(s): Various
Publisher: The Walther Collection, Steidl
Format: Print (432 pages)
ISBN: 978-3-95829-627-5
Date: 2020/05/01

winner of the 2020 Paris Photo—Aperture PhotoBook Awards Photography Catalogue of the Year!

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The Energy Transition Will Require Cobalt. America’s Only Mine Can’t Get Off the Ground.


The U.S. is playing catch-up in battery supply chains dominated by China.
Photographer: Natalie Behring
Publisher: The Wall Street Journal
Format: Print, Digital
Date: 2023/07/20

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A skeleton crew maintains the Idaho cobalt mine. Upkeep costs: about $1 million a month. Photograph by Natalie Behring for The Wall Street Journal
The mine has been decades in the making, surviving market swings, a corporate takeover and a 2000 wildfire that scorched parts of the nearby Salmon-Challis National Forest. Photograph by Natalie Behring for The Wall Street Journal
Photograph by Natalie Behring for The Wall Street Journal
Before suspending operations, Jervois planned to load cobalt from the mine into containers, truck them to a rail station, then send the supplies to a port for shipment to a processing plant abroad. Photograph by Natalie Behring for The Wall Street Journal
The mine sits in the so-called Idaho Cobalt Belt, one of the few areas of the country endowed with the silvery metal. Photograph by Natalie Behring for The Wall Street Journal
Jervois spent about $155 million to finish constructing its Idaho facility—almost double what it anticipated. Photograph by Natalie Behring for The Wall Street Journal
Executive General Manager Matthew Lengerich said he joined Jervois in part because he believes the U.S. needs more domestic mining for the energy transition. Photograph by Natalie Behring for The Wall Street Journal
The mine will be mostly quiet till the start of a Pentagon-funded drilling project. Jervois expects regulatory approval for that project in August. Photograph by Natalie Behring for The Wall Street Journal
Jervois constructed a 102-bed camp where workers could live at the remote locale. Photograph by Natalie Behring for The Wall Street Journal

Ancient Farming Practice Draws Cash From Carbon Credits

Biochar, which pulls carbon from the atmosphere, is embraced by companies to offset emissions.
 Photographer: Alexandra Hootnick 
Publisher: The Wall Street Journal
Format: Print, Digital
Date: 2023/02/25

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Companies pay handsomely for carbon-removal credits tied to biochar because of the certainty that it is sequestering the carbon and helping neutralize their emissions. Alexandra Hootnick for The Wall Street Journal
Biochar was used by farmers in South America thousands of years ago because they found that it helped soil retain water and nutrients. Alexandra Hootnick for The Wall Street Journal
Josiah Hunt, CEO of Pacific Biochar Benefit Corp., struggled to grow sales before carbon credits let him bring in extra revenue and cut prices. Alexandra Hootnick for The Wall Street Journal
Pyrolysis, the process used to make biochar, keeps most of the carbon trapped by restricting oxygen levels so the material smolders rather than burns. Alexandra Hootnick for The Wall Street Journal
Because biochar is essentially sequestering the carbon that plants absorb when they grow, it is considered an effective form of carbon removal. Alexandra Hootnick for The Wall Street Journal

Homeowners Struggle to Get Pandemic Aid Meant to Stop Foreclosures

The $10 billion Homeowner Assistance Fund has been slow to distribute funds.
Photographer: Julie Renée Jones
Publisher: The Wall Street Journal
Format: Digital
Date: 2023/01/22

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Mr. and Mrs. Rosalez learned they were eligible for federal aid in November, just before the scheduled sheriff’s sale of the house. Photograph by Julie Renée Jones for The Wall Street Journal
Family photographs, artwork and other belongings sit in piles of boxes, which have overflowed into the family garage. Photograph by Julie Renée Jones for The Wall Street Journal
The foreclosure on Mr. and Mrs. Rosalez’s home was later rescinded and they were told the aid money would be applied to reinstate their mortgage. Photograph by Julie Renée Jones for The Wall Street Journal

The $42 Billion Question: Why Aren’t Americans Ditching Big Banks?

Big banks still pay next to nothing on savings, but their customers aren’t yet moving much money to higher-yielding alternatives.
Photographer: Devin Blaskovich
Publisher: The Wall Street Journal
Format: Digital
Date: 2022/12/08

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Americans have lost out on at least $291 billion in interest since the start of 2019 by keeping their savings in the five biggest U.S. banks. Photo illustration by Devin Blaskovich for The Wall Street Journal

The Reign of Queen Elizabeth II Has Ended

Elizabeth, who died on September 8th at ninety-six, led a life made up of privilege and sacrifice, and even those who resented the former acknowledged the latter.
Photographer: Tim Graham
Publisher: The New Yorker
Format: Digital
Date: 2022/09/08

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Photograph by Tim Graham / Getty

Harvesting Wheat in Drought-Parched Kansas

A global grain shortage has put extra pressure on American farmers. Can they navigate extreme weather and skyrocketing inflation when the world needs them most?
Photographer: Stephen Ross Goldstein
Publisher: The New Yorker
Format: Digital
Date: 2022/07/22

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David and Lisa Schemm repair a combine during the summer wheat harvest in Sharon Springs, Kansas. They’ve been contending with drought, inflation, and price shocks brought on by the Russian invasion of Ukraine. Photograph by Stephen Ross Goldstein for The New Yorker
With millions of tons of grain stuck in Ukraine, some farmers in Kansas feel a moral dimension to this year’s harvest. “That’s honestly what’s weighing on me more than anything,” David Schemm said. Photograph by Stephen Ross Goldstein for The New Yorker
Photograph by Stephen Ross Goldstein for The New Yorker
Photograph by Stephen Ross Goldstein for The New Yorker
During the harvest, millions of bushels of wheat are sent to grain elevators across the state. Photograph by Stephen Ross Goldstein for The New Yorker
The Schemm family has been in Kansas since before the Dust Bowl. Photograph by Stephen Ross Goldstein for The New Yorker
Photograph by Stephen Ross Goldstein for The New Yorker
Clay, David, and Lisa Schemm farm twelve thousand acres in western Kansas. Lisa worries that drought will make fall’s crop “dismal.” Photograph by Stephen Ross Goldstein for The New Yorker
In March, the Governor of Kansas, Laura Kelly, put each of the state’s hundred and five counties under a drought watch, warning, or emergency.
Photograph by Stephen Ross Goldstein for The New Yorker
David Schemm, a fourth-generation wheat farmer. Photograph by Stephen Ross Goldstein for The New Yorker
Photograph by Stephen Ross Goldstein for The New Yorker
The draper head of a combine. Photograph by Stephen Ross Goldstein for The New Yorker
Photograph by Stephen Ross Goldstein for The New Yorker
Photograph by Stephen Ross Goldstein for The New Yorker
Photograph by Stephen Ross Goldstein for The New Yorker

Rose Matafeo Is Reconstructing the Rom-Com

The creator and lead of “Starstruck” has crafted a heroine who responds to outlandish tropes in recognizably human ways.
Photographer: Bridget Badore
Publisher: The New Yorker
Format: Digital
Date: 2022/03/26

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“I had an interest in writing something I could be in as who I am,” Matafeo says, of “Starstruck.” “I’m not embarrassed of emotion, and feeling things, and sharing things that don’t make me look like the most put-together person.” Photograph by Bridget Badore for The New Yorker
“I am ethnically ambiguous, and I’ve got curly hair,” Matafeo has said. “I’m the one who will say something sassy and then never be heard from again.” Photograph by Bridget Badore for The New Yorker

Cate Le Bon’s Strange Journey Home

How a Welsh artist making sharp, mysterious songs found herself in the desert.
Photographer: Pat Martin
Publisher: The New Yorker
Format: Digital
Date: 2022/02/25

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Le Bon’s album “Pompeii” wades into bleak themes—loss, memory, legacy, the planet’s destruction—but the music often has an up-tempo eighties vibe. Photograph by Pat Martin for The New Yorker

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