Jul 29, 2017
Yesterday the New York Times brought news that famed photo editor John Morris died at the age of 100. Morris was the photo editor of the New York Times during the Vietnam War and made the decision to publish two of the most famous images of the war on the newspaper’s front page--the informally titled “Napalm Girl” by Huỳnh Công Út and Eddie Adams's "Saigon Execution." He made sure that these images appeared on the top fold of the paper, which meant they were seen even by people who didn't build the Times. He was Robert Capa’s photo editor for many years and the founding photo editor for Magnum Photo. You can read the Times’s obituary of John Morris here. They've also made a nice video tribute.
John was a long time friend of my parents. I believe they met him through their friends Nicole Ewenczyk and Gilles Perrin--my father collaborated on a book with them a few years ago. Last summer, while I was visiting them in Paris, I had the pleasure of attending one of his lectures. John’s talk focused on his century of experience as a photo editor. He spoke about his commitment to pacifism and his belief that photo editing could be a kind of anti-war activism. The selection of images that highlighted the horrors of war, he hoped, could engender empathy for the victims of violence and inspire people to oppose their government’s involvement in international conflicts.
After John’s lecture we all had dinner at the little bistro across the street from his studio. I was seated next to him and we talked about the civil war in Syria. A few years ago I penned a piece for the Huffington Post arguing against military intervention after the Assad government used chemical weapons. I have since had some ambivalence about the question of military intervention and come to support, in principle, the Kurdish anarchist movement, Democratic Union Party. I have never been convicted of absolute pacifism and, as in the case of my longstanding support for the Zapatistas, believe that organized violent resistance to various forms of fascism and totalitarianism can sometimes be the only way to arrest them.
John did not agree. After his experiences in World War II, he felt that violence always beget further violence. Any support of a military movement in Syria, he believed, would only extend the conflict and cause further suffering. I suspect that his position was also tempered by his Quakerism.
Unfortunately, the bistro was too loud for us to converse more in-depth. Nonetheless, it was a memorable experience. It deepened my already deep respect for the photographers, and their editors, who strive to document our world as political and ethical acts. Social documentary photography is an art form and art in all its forms can be a powerful act of resistance to the viciousness of human brutality.