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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

The LGBTQ+ Travel Guide


Packed with insights, itineraries, and inspiration, this panoramic compendium will introduce you to LGBTQ+ locals who share, in their own words, the things that make their destination sparkle - with lesser-known attractions and off-the-beaten-path destinations that are inclusive and welcoming to LGBTQ+ travellers.
Photographer(s): Various
Publisher: Lonely Planet
Format: Print
Date: 2025/03/01

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Origin Story: The Frankfurt Kitchen

Aimed at reducing the burden of domestic labor for working women in the interwar period, Margarete Schütte-Lihotzky’s pioneering modular cooking space laid the groundwork for the modern built-in kitchen.
Photographer(s): Various
Publisher: Dwell
Format: Print, Digital
Date: 2025/03/01

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Austrian architect Margarete Schütte-Lihotzky designed the Frankfurt Kitchen in 1926. Photograph by Franz Pfemfert, Courtesy University of Applied Arts Vienna Collection and Archive
A general view of the Frankfurt Kitchen. Photograph from Ullstein Bild / Getty
A floor plan of the Frankfurt Kitchen. Illustration by Margarete Schütte-Lihotzky, courtesy University of Applied Arts Vienna Collection and Archive
Space-saving features in the Frankfurt Kitchen included labeled aluminum storage bins with spouts for pouring ingredients that fit into wall cubbies. Photograph by Eva Gruendemann / Alamy

Origin Story: The Surprising Sources of Space-Saving Inventions

Some of today’s most ubiquitous appliances for compact living have rather unexpected backstories
Photographer(s): Various
Organization: Dwell
Format: Print, Digital
Date: 2025/01/01

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Black+Decker developed the Dustbuster using technology from a lightweight, cordless drill the company designed for NASA as part of an Apollo-era partnership to build battery-operated tools for moon exploration. Photograph from Alamy 
In the late 19th century, inventor Sarah E. Goode became one of the first African American women to receive a United States patent for her design for the folding cabinet bed. Illustration from United States Patent And Tradesmark Office
In 1903, Albert J. Parkhouse devised a wire clothes hanger using spare material from his employer, Timberlake Wire and Novelty Company, in response to a lack of coat hooks at the office building where he worked. Many modern models of the clothes hanger are based on his design. Photograph by Peter Marlow / Magnum Photos

Origin Story: The Winding Road of American Gas Station Design


Call it an architectural joyride: For more than a century, the roadside icons have mapped the country’s ever-evolving landscape, reflecting shifting tastes and new technologies.
Photographer: John Margolies
Publisher: Dwell
Format: Print, Digital
Date: 2024/11/01

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The Frank Lloyd Wright–designed R.W. Lindholm Service Station in Cloquet, Minnesota, made of Wright’s signature cement blocks, is still in operation. Photograph by John Margolies / Library of Congress
Texaco’s Hat n’ Boots gas station operated from the mid-1950s into the ’80s. Photograph by John Margolies / Library of Congress

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

“What’s the Deal, Hummingbird?” by Arthur Krystal

Fiction: “How do you know what you’ve forgotten? He knew only that he was a case of nerves between two eternities.”
Photographer: Saul Leiter
Publisher: The New Yorker
Format: Print, Digital
Date: 2022/01/07

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Photograph by Saul Leiter / © Saul Leiter Foundation / Courtesy Howard Greenberg Gallery

the art of the hollywood memoir

Accounts of life in Tinseltown reveal as much as they seek to hide.
Photographer(s): Various
Publisher: The New Yorker
Format: Digital
Date: 2021/07/30
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Louise Brooks. Photograph from Getty
Esther Williams.
Cybill Shepherd. Photograph from Shutterstock 
Julia Phillips. Photograph by Chris Cuffaro / AUGUST
Carrie Fisher. Photograph by Michel Delsol / Contour / Getty
Shelley Winters. Photograph by Evan Hurd / Alamy 
Lauren Bacall. Photograph by Ralph Crane / The LIFE Picture Collection / Shutterstock
Bette Davis.
Eartha Kitt. Photograph from Getty
Pam Grier. Photograph from Michael Ochs Archive / Getty
Gloria Swanson. Photograph by Bert Six / Getty

My Life as a Film Critic

From 1994: Writing for The New Yorker from 1967 to 1991, Pauline Kael changed the way people talk about movies. But it wasn’t always easy.
Photographer: Richard Avedon
Publisher: The New Yorker
Format: Digital
Date: 2021/03/15 (originally published 1994/03/13)

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Photograph by Richard Avedon / © The Richard Avedon Foundation

"The Swimmer" by John Cheever

Fiction, from 1964: “Making his way home by an uncommon route gave him the feeling that he was a pilgrim, an explorer, a man with a destiny.”
Photographer: H. Armstrong Roberts
Publisher: The New Yorker
Format: Digital
Date: 2021/02/16 (originally published 1964/07/10)

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Photograph by H. Armstrong Roberts / Getty

“Dream Pictures” by Kenzaburo Oe

Fiction, from 1998: During a typhoon, a father and his young son, who suffers from seizures, think about death and dreaming.
Photographer: Unknown
Publisher: The New Yorker
Format: Digital
Date: 2021/02/08 (originally published 1998/07/05)

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Photograph from Getty

Corky Lee’s Photographs Helped Generations of Asian-Americans See Themselves


His simple passion to document took him everywhere.
Photographer: Corky Lee
Publisher: The New Yorker
Format: Digital
Date: 2021/01/30

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Lee’s photography, which he viewed as an extension of his activism, helped Asian-Americans recognize their shared yearnings and struggles. Photograph by Corky Lee
Lee took some of the only photos that survive of Chinatown back when it was a nexus of activism: protests against the Vietnam War, or police brutality, or miserly bosses and cruel landlords. Photograph by Corky Lee
Lee referred to moments such as when, in 2014, he and a group of Asian-Americans from around the country, including direct descendants of the Chinese railroad workers, reënacted the Promontory Summit photo, as “photographic justice.” Photograph by Scott Sommerdorf / The Salt Lake Tribune / AP
Participants of the 1991 protest in support of the TV anchor Kaity Tong. Photograph by Corky Lee
Lee holds a postcard of Chinatown against the background of the neighborhood. Photograph by Corky Lee

"Something You'll Remember Always" by Shirley Hazzard

Fiction, from 1979: After their parents are drowned in a capsized ferry, two sisters in Australia move with their half sister, Dora, to a house by the sea.
Photographer: Sophie Chivet
Publisher: The New Yorker
Format: Digital
Date: 2021/01/29 (originally published 1979/09/09)

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Photograph by Sophie Chivet / Agence VU’ / Redux

“Hack Wednesday” by Margaret Atwood


Fiction, from 1990: A columnist at a Canadian newspaper dreams about babies as the holidays draw near.Photographer: Leon Neal
Publisher: The New Yorker
Format: Digital
Date: 2020/12/14 (originally published 1990/09/09)

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Photograph by Leon Neal / Getty

The Case of the Scattered Dutchman

From 1955: A. J. Liebling’s recount of the mysterious torso found floating in the East River, in 1897, and the race among the decade’s star reporters to crack the case.
Photographer: Unknown
Publisher: The New Yorker
Format: Digital
Date: 2020/11/23 (originally published 1955/09/16)

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Photograph from The New-York Historical Society / Getty

“A Reunion in Paris” by Alexander Woollcott


Shouts & Murmurs, from 1932: An uncommon coincidence restores order to the universe.Photographer: Henri Cartier-Bresson
Publisher: The New Yorker
Format: Digital
Date: 2020/09/25 (originally published 1932/07/22)

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Photograph by Henri Cartier-Bresson / Magnum

The Day Malcolm X Was Killed


At the height of his powers, the Black-nationalist leader was assassinated, and the government botched the investigation of his murder.
Photographer: Various
Publisher: The New Yorker
Format: Digital
Date: 2020/08/27

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A photograph shows the bullet holes in the back of the stage where Malcolm X was shot. Photograph by Stanley Wolfson / New York World-Telegram & Sun / Library of Congress
Malcolm X, in 1964. Photograph by Herman Hiller / New York World-Telegram & Sun / Library of Congress
Crowds outside of Macolm X’s funeral, in 1965. Photograph by Orlando Fernandez / New York World-Telegram & Sun / Library of Congress

Life as a Look

From 1998: Hilton Als profiles the performance artist and fashion designer Leigh Bowery, whose personal aesthetic was his principal form of rebellion—his massive body both his weapon and his shield.
Photographer: Janette Beckman
Publisher: The New Yorker
Format: Digital
Date: 2020/08/23 (originally published 1998/03/22)

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Friends still complain vociferously about Bowery’s bad behavior, but then burst out laughing or use words like “exhilarating” or “cathartic” to describe his escapades. Photograph by Janette Beckman / Getty

“The Lottery” by Shirley Jackson

Fiction, from 1948: “The people had done it so many times that they only half listened to the directions; most of them were quiet, wetting their lips, not looking around.”
Photographer: Garrett Grove
Publisher: The New Yorker
Format: Print, Digital
Date: 2020/07/27 (originally published 1948/06/18)

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Photograph by Garrett Grove

Until Black Women Are Free, None of Us Will Be Free


Barbara Smith and the Black feminist visionaries of the Combahee River Collective.
Photographer: Ellen Shub
Publisher: The New Yorker
Format: Digital
Date: 2020/07/20

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Illustration by Palesa Monareng; Source photograph by Vivien Killilea / MAKERS / Getty
The members of the Combahee River Collective march down Massachusetts Avenue, Boston, at a 1979 memorial for murdered women of color. Photograph by Ellen Shub / Courtesy the Estate of Ellen Shub
At an event in late April, 1979, Barbara Smith, with megaphone, protests nine murders of women of color that took place in the first months of the year. Photograph by Ellen Shub / Courtesy the Estate of Ellen Shub

The Rise of Police-State America

From 1968: Richard Harris reports on Congress’s passage of the 1968 Crime Bill: “A piece of demagoguery devised in malevolence and enacted in hysteria.”
Photographer: Dick DeMarsico
Publisher: The New Yorker
Format: Digital
Date: 2020/07/15 (originally published 1968/12/06)

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Riots in Harlem in 1964, following the police killing of a fifteen-year-old boy, helped spur the drafting of the 1968 Crime Bill. Photograph by Dick DeMarsico / Getty

“Bullet in the Brain” by Tobias Wolff

Fiction, from 1995: On what “passes before” a literary critic’s eyes—“a phrase he would have abhorred”—when he is shot at the bank.
Photographer: Paolo Pellegrin
Publisher: The New Yorker
Format: Digital
Date: 2020/05/26 (originally published 1995/09/17)

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Photograph by Paolo Pellegrin / Magnum

"Mr. Preble Gets Rid of His Wife" by James Thurber

Fiction, from 1933: James Thurber’s fanciful story about a man who was in love with his secretary and decided to get rid of his wife in order to marry the secretary.
Photographer: Christian Bodlaj
Publisher: The New Yorker
Format: Digital
Date: 2020/05/22 (originally published 1933/02/24)

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Photograph by Christian Bodlaj / Alamy

Let’s Pretend

From 1991: Ingrid Sischy on the overlooked nineteenth-century artist Lady Clementina Hawarden, her modern counterpart Cindy Sherman, and photography that wholeheartedly gives into fantasy.
Photographer: Various
Publisher: The New Yorker
Format: Digital
Date: 2020/05/22 (originally published 1991/04/28)

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Photograph by Lady Clementina Hawarden / Corbis / Getty
Untitled #191, 1989. Photograph by Cindy Sherman / Metro Pictures
Untitled Film Still #48, 1979. Photograph by Cindy Sherman / Metro Pictures
Photograph by Lady Clementina Hawarden / Alamy
Photograph by Lady Clementina Hawarden / Corbis / Getty
Photograph by Lady Clementina Hawarden / Corbis / Getty

Why Did Lee Harvey Oswald Go to Moscow? 

From 1995: Norman Mailer on the former marine’s troubled marriage and his time spent under the observation of the K.G.B. before he assassinated John F. Kennedy, in 1963.
Photographer: Various
Publisher: The New Yorker
Format: Digital
Date: 2020/04/19 (originally published 1995/04/02)

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Lee Harvey Oswald with his wife, Marina, and their daughter, June. Photograph from National Archives / Getty
The passport that Oswald handed over to the American consul on October 31, 1959. Photograph from National Archives / Getty
Oswald, in dark glasses, with friends from the Horizon factory. “I meet many young Russian workers,” he wrote. “All wish to know about me.” Photograph from National Archives / Getty
A note, on Metropole Hotel stationery, that Lee took to the American Embassy.  Photograph from National Archives / Getty
Marina Oswald and her daughter, June. Photograph by National Archives / Getty
Lee with Ella Germann (top right) and Pavel Golovachev. Photograph from National Archives / Getty

A House Divided


From 1987: Judith Thurman’s review of Toni Morrison’s “Beloved.”
Photographer: Carl Mydans
Publisher: The New Yorker
Format: Digital
Date: 2020/03/20 (originally published 1987/10/25)

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Photograph by Carl Mydans / FSA / Library of Congress

"Arrangement in Black and White" by Dorothy Parker

Fiction, from 1927: A partygoer’s introduction to the guest of honor becomes a nervous attempt to deal with racism.
Photographer: H. Armstrong Roberts
Publisher: The New Yorker
Format: Digital
Date: 2020/02/28 (originally published 1927/09/30)

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Photograph by H. Armstrong Roberts / Getty

”Where Is That Voice Coming From?” by Eudora Welty

Fiction, from 1963: Depicting the murderous perspective of a white supremacist.
Photographer: Flip Schulke
Publisher: The New Yorker
Format: Digital
Date: 2020/01/26 (originally published 1963/06/28)

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Photograph by Flip Schulke / Corbis / Getty

American Revolution

From 1939: A review of John Steinbeck’s “The Grapes of Wrath” explores the novel’s radical depiction of life along Route 66.
Photographer: Dorothea Lange
Publisher: The New Yorker
Format: Digital
Date: 2020/01/24 (originally published 1939/04/07)

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Photograph by Dorothea Lange / FSA / Library of Congress

The Body Politic

From 1994: Bill T. Jones has spent decades challenging the boundaries of sex and race in America, on and off the stage.
Photographer: Anthony Barboza
Publisher: The New Yorker
Format: Digital
Date: 2019/12/18 (originally published 1994/11/20)

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Bill T. Jones: “My eroticism, my sensuality onstage is always coupled with a wild anger and belligerence.”Photograph by Anthony Barboza / Getty

Belafonte's Balancing Act

From 1996: Harry Belafonte was radical before it was chic and remained so long after it wasn’t, Henry Louis Gates, Jr., writes, in this profile of the Hollywood star.
Photographer: Jack Mitchell
Publisher: The New Yorker
Format: Digital
Date: 2019/12/10 (originally published 1996/08/18)

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Photograph by Jack Mitchell / Getty

Facts According to President Nixon

From 1973, Jonathan Schell on “fake news”: “It is a matter of record that Mr. Nixon does not waste his time over the morning papers.”
Photographer: Unknown
Publisher: The New Yorker
Format: Digital
Date: 2019/11/13 (originally published 1973/05/25)

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Photograph from Bettmann / Getty

The Day After Kerouac Died

Allen Ginsberg’s journal entries in the days immediately following Jack Kerouac’s death, fifty years ago.
Photographer(s): Various
Publisher: The New Yorker
Format: Digital
Date: 2019/10/20

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Kerouac in Tompkins Square Park, 1953. Courtesy Allen Ginsberg Collection
Photograph by Scott Keeler / Tampa Bay Times / Alamy
Photograph by Jerry Engel / New York Post Archives / Getty
Courtesy Allen Ginsberg Collection
Courtesy Allen Ginsberg Collection
Courtesy Allen Ginsberg Collection
Photograph by Lara Cerri / Tampa Bay Times / Alamy
Photograph from Library of Congress
Photograph by Peter van Agtmael / Magnum
Courtesy Allen Ginsberg Collection
Courtesy the Estate of Lida Moser / Alida Anderson Art Projects
Photograph by Philip Scalia / Alamy
Photograph by Cynthia Macadams / The LIFE Images Collection / Getty
Photograph by Gregory Corso / Courtesy Jerry Aronson, Life and Times of Allen Ginsberg

Reviving Venezuelan Punk, the Music of Revolution


In the eighties, the punk scene grew amid the country’s turmoil. Now, with the more recent political crisis, the movement is being revitalized.
Photographer: Guillermo de Yavorsky
Publisher: The New Yorker
Format: Digital
Date: 2019/10/20

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In the eighties, the punk scene grew amid Venezuela’s turmoil. Now, with the more recent political crisis, the movement is being revitalized. Photograph by Guillermo de Yavorsky

The Massacre at My Lai


From 1972: Seymour M. Hersh’s report on the mass killing of Vietnamese civilians—and its coverup.
Photographer: Ronald L. Haeberle
Publisher: The New Yorker
Format: Digital
Date: 2019/08/22 (originally published 1972/01/14)

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American troops landing in Son My, captured by former Sergeant Ronald L. Haeberle, who served as a photographer during the assault. Photograph by Ronald L. Haeberle / The LIFE Images Collection / Getty
The first and second platoons of Bravo Company spent the day marching south along the coast to the Tra Khuc River, burning every hamlet along the way. Photograph by Ronald L. Haeberle / The LIFE Images Collection / Getty
Many G.I.s recalled being told that nobody was supposed to be there. One soldier reported hearing, “If anybody is there, shoot them.” Photograph by Ronald L. Haeberle / The LIFE Images Collection / Getty

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