Showing posts with label 1960s. Show all posts
Showing posts with label 1960s. Show all posts

Friday, March 1, 2024

Bob Gomel: Eyewitness at Alta Arts, Houston

 Via Alta Arts

March 1, 2024

Bob Gomel: Eyewitness Exhibition Opening Reception

March 7, 2024 - 6:30 pm - 9:00 pm

black and white photograph of Cassius Clay (Muhammad Ali) with Malcolm X leaning over his shoulder while at the victory party following his defeat of Sonny Liston, Miami, 1964


The triumphs and tragedies of the 1960s provided photographer Bob Gomel extraordinary opportunities to help advance American photojournalism. As the images in Eyewitness demonstrate, when history was made, Gomel often was there, making iconic and innovative images of world leaders and events, athletes and entertainers, and great moments in contemporary history — including President John F. Kennedy, the Beatles, Muhammad Ali and Malcolm X, and Marilyn Monroe.

This exhibition, presented by Alta Arts and sponsored by the Briscoe Center for American History at The University of Texas at Austin, and in conjunction with the 2024 Fotofest Biennial, serves as a retrospective of Gomel’s work and includes photographs from his personal collection that are featured for the first time in a public showing.

Born in New York in 1933, Gomel earned a journalism degree from New York University in 1955 and then served as a U.S. Navy aviator. Gomel joined LIFE in 1959 and shot for the immensely popular magazine for a decade. He later freelanced for Sports Illustrated, Newsweek, Fortune and Forbes magazines, and shot national advertising campaigns for Audi, Bulova, GTE, Merrill Lynch, and Shell Oil, among others.

Eyewitness also features selections from the Bob Gomel Photographic Archive, part of the extensive photographic holdings of the Briscoe Center. The center’s photojournalism archives have flourished over the past two decades into a renowned collection of national-level importance. Gomel’s archive at the Briscoe Center ranges from 1959 to 2014 and includes film negatives, contact sheets, and exhibit prints.


Curated by Bob Gomel.

Contact Monroe Gallery of Photography for fine art print information.


Installation team:  J.P. Zenturo Perez and Alexander Uribe of Alta Arts.

Alta Arts

5412 Ashbrook Drive

Houston TX 77081

Friday, February 9, 2024

60 Years Ago Today: The Beatles on Ed Sullivan




Via The Ed Sullivan Show -- At 8 o’clock on February 9th 1964, America tuned in to CBS and The Ed Sullivan Show. But this night was different. 73 million people gathered in front their TV sets to see The Beatles’ first live performance on U.S. soil. The television rating was a record-setting 45.3, meaning that 45.3% of households with televisions were watching. That figure reflected a total of 23,240,000 American homes. The show garnered a 60 share, meaning 60% of the television’s turned on were tuned in to Ed Sullivan and The Beatles.

Ed opened the show by briefly mentioning a congratulatory telegram to The Beatles from Elvis and his manager, Colonel Tom Parker and then threw to advertisements for Aero Shave and Griffin Shoe Polish. After the brief commercial interruption, Ed began his memorable introduction:

“Now yesterday and today our theater’s been jammed with newspapermen and hundreds of photographers from all over the nation, and these veterans agreed with me that this city never has witnessed the excitement stirred by these youngsters from Liverpool who call themselves The Beatles. Now tonight, you’re gonna twice be entertained by them. Right now, and again in the second half of our show. Ladies and gentlemen, The Beatles! Let’s bring them on.”

At last, John, Paul, George and Ringo came onto the stage, opening with “All My Loving” to ear-splitting screeches from teenaged girls in the audience. The Beatles followed that hit with Paul McCartney taking the spotlight to sing, “Till There Was You.” During the song, a camera cut to each member of the band and introduced him to the audience by displaying his first name on screen. When the camera cut to John Lennon, the caption below his name also read “SORRY GIRLS, HE’S MARRIED.” The Beatles then wrapped up the first set with “She Loves You,” and the show went to commercial. Upon return, magician Fred Kaps took the stage to perform a set of sleight-of-hand tricks.

Concerned that The Beatles’ shrieking fans would steal attention from the other acts that evening, Ed Sullivan admonished his audience, “If you don’t keep quiet, I’m going to send for a barber.”

As hard as Ed tried to protect them, the other acts that night suffered from the excitement surrounding The Beatles. Numbered among those performers were impressionist Frank Gorshin, acrobats Wells & the Four Fays, the comedy team of McCall & Brill and Broadway star Georgia Brown joined by the cast of “Oliver!”

The hour-long broadcast concluded with The Beatles singing two more of their hits, “I Saw Her Standing There” and “I Want to Hold Your Hand” to the delight of the fans in attendance and those watching at home.

The show was a huge television success. As hard as it is to imagine, over 40% of every man, woman and child living in America had watched The Beatles on Sullivan.


Related: Bill Eppridge: 1964 The Beatles and Their Cameras
 

Friday, July 14, 2023

An Evening with Bob Gomel and screening of the film Bob Gomel: Eyewitness

Via MATCH Houston 


When history was made, Bob Gomel was there.

Graphic advertisement for movie screening of "Bob Gomel Eyewitness" with text over black and white photograph of Bob Gomel holding his camera


Bob Gomel: Eyewitness is a documentary that examines the stories behind the stories of some of the most significant events in the 20th century. Hear and see the history unfold from the perspective of a legendary LIFE Magazine photographer. Join us for An Evening with Bob Gomel - The theatrical premier of the documentary Bob Gomel: Eyewitness, including 14 additional minutes of previously unseen material. There will be a Q/A session with Bob Gomel and director David Scarbrough following the showing. 

Thursday, July 20 at 7:30 PM


Q & A Immediately following the screening

with Bob Gomel and David Scarbrough 

Tickets: $10


How the documentary came to be:

Bob Gomel and David Scarbrough share a love of storytelling through photography.


During the past decade the two men and their spouses, Sandy Gomel and Mary Scarbrough, became friends. Bob’s shot of The Beatles in poolside lounge chairs hangs in the Scarbroughs’ home. It was Mary’s birthday gift to David for his 60th birthday.

David said, “The history Bob witnessed is important. So are the effort and creativity necessary to make extraordinary images of these historic moments. Many of the images are made even more powerful by Bob’s perspective on how they were created. ”David convinced Bob to reflect on his work for LIFE magazine in the 1960s and his subsequent career.

Over dinner one evening, the Scarbroughs proposed making a documentary of Bob’s career. Bob said, “David offered a compelling idea to consider. After a few days, I said, ‘Let’s do it.’”

The documentary project came together quickly. A small studio was set up in Scarbrough’s retail computer electronics shop in Houston. Sessions were shot on Sundays when the shop was closed and outside noise was minimal. As many filmmakers do now, David chose to record the videos in 4K on two iPhones in a two-shot setup. A MacBook Pro and Adobe Premier Pro were be used to edit the video.

The recordings began with a discussion of the Cassius Clay and Sonny Liston fights. The project quickly gained momentum as David executed his vision for the project, and the stories of more of the epic photos came to life.

“The challenge was to balance Bob’s unique ability to talk about the images and history, and to ensure the viewer remained immersed in the image itself,” David said. “I hope the viewer can briefly live in the moment of the images.”

Bob said, “The decade of the 1960s was historically powerful. We witnessed so much — from the terrific to the terrible. I’m grateful that David remains interested in the history of the 1960s and that his documentary helped share my perspective on the extraordinary events of the decade and on my life as a photographer.”

A headline in a recent Albuquerque Journal article read: “Bob Gomel’s Photographs Compel Even after 40 Years.” The renowned LIFE photographer has documented many of the great moments and personalities of contemporary history. Articles and books have chronicled Bob’s adventures, including Art Buckwald’s “Leaving Home”, Yoko Ono’s “Memories of John Lennon”, “Arnold Palmer: A Personal Journey,” “Malcolm X”, by Thulani Davis, and Dick Stolley’s “Our Century in Pictures”. His work is exhibited at The Monroe Gallery, Santa Fe.

Bob is a founding member of the Houston chapter of ASMP, the American Society of Media Photographers. ASMP is the leading professional organization for photographers and videographers working in the visual marketplace. The core mission of ASMP is to advocate, educate, and provide community for image makers — fostering thriving careers, a strong sense of professional ethics, and an unshakable belief in the power of images.


Forthcoming exhibition and Gallery Talk with Bob Gomel: October 6, 2023. Details soon!

Wednesday, December 21, 2022

‘Andy Warhol and Friends’: Steve Schapiro’s Intimate Photos of Warhol, the Velvet Underground and Edie Sedgwick

Via Rolling Stone

December 21, 2022

black and white photograph of Andy Warhol swooning at Edie Sedwick at a party in  1965

Warhol at a New York party with Edie Sedgwick, 1965. “In the years that I photographed Andy, I never saw him out of his ‘character’ — except in this one photo,” Schapiro writes in the book. “He looks so charmed by his friend Edie. I find this picture to be very endearing. I call this image Andy Loves Edie.”


By 1965, Andy Warhol had already revolutionized the art world with his depictions of soup cans, Marilyn Monroe, and Brillo boxes. His interests grew to include rock & roll — he started managing the Velvet Underground and eventually produced their debut, The Velvet Underground & Nico — and he began making even more films, which starred members of his retinue including Edie Sedgwick, Gerard Malanga, and Mary Woronov, among others. Seeing how he fascinated the world, Life magazine hired photojournalist Steve Schapiro to document Warhol's cultural ascension. Ultimately, the magazine never published the story.

Schapiro, who died earlier this year after a long and distinguished career which also included many well-known images from the Civil Rights Movement, excavated the negatives from his Life shoot for a book that's just been released. Andy Warhol and Friends: 1965 – 1966 includes many never-before-seen documents of a pivotal time in Warhol's life as he helped shape popular culture for decades to come. Included are scenes from the artist's Silver Clouds exhibition in L.A. and many shots of the Velvet Underground at work, as well as an essay and captions by Warhol biographer Blake Gopnik. What follows are some of Schapiro's eye-opening images from Andy Warhol and Friends.


Full slide show here


Monday, October 10, 2022

Bill Eppridge’s Vibrant Portrait of America in the 1960s: A new exhibition charts the legacy of a photojournalist who chronicled the nation during a turbulent era.

screen shot of Blind magazine article on Bill Eppridge wth mourners holding "Goodbye Bobby" signs as the RFK funeral train passes, 1968

 Via BLIND Magazine

October 10, 2022


“A journalist does not necessarily imply ‘artist’ but you are not going to make your point if you cannot make a picture that people will stop and explore,” said Bill Eppridge (1938 – 2013). As one of the most accomplished photojournalists of the 20th century, Eppridge chronicled the breaking stories of his day, helping to shape the way in which the nation navigated a tumultuous era. Whether documenting the Vietnam War, Woodstock, and the Civil Rights Movement or bearing witness to the tragic end to Senator Robert Kennedy’s presidential campaign, Eppridge brought a humanistic approach to reporting. (click for full article with photographs)


The Legacy of Bill Eppridge is on exhibit through November 20, 2022

Sunday, June 19, 2022

Monroe Gallery exhibit looks at history through Life’s photographs

 Via The Albuquerque Journal

By Kathaleen Roberts    June 19, 2022

black and white photograph of The Beatles lounging on pool chairs at swimming pool in Miami, 1964

The Beatles, Miami 1964,” at a private residence after their appearance on “The Ed Sullivan Show.” (Courtesy of Bob Gomel)

SANTA FE – When Sidney and Michelle Monroe stepped into the workplace of the great photojournalist Alfred Eisenstaedt decades ago, they were more than intimidated.

“There’s a picture of Hitler and Mussolini shaking hands in his office,” Michelle Monroe said. “We’re not peers.

“Honestly, we could barely catch our breath, we were so star-struck.”

That meeting in New York’s Time-Life building would launch a career of exhibiting some of the most pioneering photojournalists in the country. Monroe Gallery will celebrate the glory days of Life magazine with about 40 images by such photographic luminaries as Eisenstaedt, Margaret Bourke-White, Bob Gomel and Bill Ray through June 26.

Known as the father of photojournalism, Eisenstaedt is best recognized for his image of a sailor kissing a nurse in a dance-like dip during Times Square’s V-J celebration in 1945. When the Monroes approached him, he had never shown his work in a gallery before.

In 1963, Life assigned the photographer a photo essay on life in Paris.

“He didn’t know what he could do that Henri Cartier-Bresson hadn’t done,” Sidney Monroe said.

While he was walking the streets, Eisenstaedt spotted a playground with a puppet show of “St. George and the Dragon.” He crawled under the stage and began shooting the crowd from beneath the drape. The photographer captured the children in the audience, their facial expressions tumbling from delight into fear and horror.

“It’s almost timeless, aside from their clothing, it could be any time,” Sidney said. “It’s a great example of what a photographer does.”

Gomel was already in Miami to shoot the Muhammad Ali-Sonny Liston fight when his editors asked him to photograph the Beatles. The foursome had flown south to relax immediately after their 1964 “Ed Sullivan Show” debut. Gomel shot them sunbathing at a private home.

“The editor of Life was really interested in the world of pop culture,” Sidney said. “The Beatles would sell so many magazines.”

Carl Mydans had been captured by the invading Japanese when the Philippines fell during World War II. He was freed during a prisoner exchange in 1943.

In 1945, Mydans photographed the Japanese formal surrender on the deck of the battleship USS Missouri in front of Gen. Douglas MacArthur.

Mydans had also shot the famous image of MacArthur wading onto a Philippines beach.

“When news came of the formal surrender, it was bedlam,” Sidney Monroe said. Mydans approached a MacArthur aide to make sure he gained entry to the ship.

The photographer captured the iconic moment while he was straddling a cannon. As soon as he shot the photo, a sailor pulled him off.

“The U.S. officials came in wearing their day-to-day khakis, much to the displeasure of the Japanese,” Sidney Monroe said.

Bourke-White was the first photographer hired by Life.

When she photographed Mahatma Gandhi in 1946, he insisted she learn to spin in order to have an audience with him.

“He had no time to digress from his campaign to free India from British oppression,” Sidney said. “She needed him and he knew he needed her.”

Founded by Henry Luce, publisher of Time magazine, Life was long one of the most popular and imitated of American magazines, selling millions of copies a week. Published weekly from 1936 to 1972, it emphasized photography.

“They’re all in their very defining moments,” Sidney Monroe said. “The moments are in our heads because they’re part of our history.”

If you go

WHAT: “The LIFE Photographers”

WHERE: Monroe Gallery of Photography, 112 Don Gaspar, Santa Fe

WHEN: Through June 26

CONTACT: monroegallery.com, 505-992-0800

Saturday, June 26, 2021

Amalie R. Rothschild, photographer at Fillmore East, recalls brief but legendary run

 Via Fox 5 New York

June 24, 2021

Photographer at Fillmore East recalls brief but legendary run



NEW YORK - Sunday marks the 50th anniversary of the last shows performed at the legendary Fillmore East music hall where the likes of The Grateful Dead and the Beach Boys once played. 

The Fillmore is now a bank but its heyday- as a prime music venue- is remembered by resident photographer Amalie Rothschild.

I was a fly on the wall," said Rothschild. "I really didn’t want to be hit on. I wasn’t looking to hook up and my cameras were shields. I was serious. I was an artist. A photographer. I didn’t have the kind of confidence as a young woman yet, but I had the right mentality."

During its’ brief but legendary three-year run from 1968 – 1971, the roughly 2,600 seat Fillmore East in the East Village played host to a who’s who of legendary performers. Elton John, Crosby, Stills, Nash and Young, The Who, and the Allman Brothers just to name a few. 

Rothschild was, in essence, the venue’s house photographer.

"When the Fillmore opened. The tickets were $3, $4 and $5. And when they closed it was $3.50, $4.50 and $5.50, said Rothschild.

Tickets to similar see bands with similar star power today would cost $500.

"And the first tickets to sell out were the last four rows in the balcony, in the top of the balcony," added Rothschild.

Rothschild, who has enjoyed a long successful career as a photographer and filmmaker, captured some of her most famous photos during a Thanksgiving Day Rolling Stones Show in 1969 at Madison Square Garden. Ike and Tina Turner opened and Janis Joplin made an unexpected cameo onstage.

black and white photo of Janis Joplin and Tina Turner, Madison Square Garden,
Amalie R. Rothschild


"Before they went on, Janis was just standing at the side of the stage with a few friends and right as I pulled the shutter I saw someone walk into the frame and when I developed the film and developed the contact sheet, I went ‘oh" because the person who walked in was Jimi Hendrix," said Rothschild.

Historical in more ways than one. Once bands like the Rolling Stones made their leap to arenas, making more money playing fewer shows to bigger audiences, the days of smaller theaters like the Fillmore were numbered.

In April of 1971, promoter Bill Graham announced he was shutting the venue.

"No one had any clue. It was a terrible shock for the staff to take in. He could’ve kept it going for a few more years but it wouldn’t be the same," said Rothschild.

The final show was a sendoff for the ages. A June 27 1971 all-night show headlined by the house favorites, the Allman Brothers.

"As you know no one wanted it to end.. and one of my favorite pictures of the Beach Boys is that I was able to catch all of them onstage with Bill Graham behind a speaker column watching them onstage.... it went until dawn and we walked out and the sun was out and everybody was crying and we went to Ratner’s for breakfast and it was a real tear-jerker and real difficult.'

Saturday, March 6, 2021

History through the camera lens: A Houston man's life work documents some of the biggest moments of the 20th century

 Via KHOU-11

Author: Mia Gradney

Published:  March 5, 2021


Bob Gomel is now 87 years old and describes himself as a travel photographer, but for decades, he documented some historic moments in history.


 


HOUSTON — A recent movie release, "One Night In Miami," is a fictional account of one incredible evening shared by four icons of the civil rights movement, but a Houston man was actually there that night to capture it all with his camera.

Bob Gomel is a famous and award-winning photographer. Gomel is now 87 years old and describes himself as a travel photographer, but for decades, he documented some historic moments in history.

"The '60s were an iconic decade," Gomel said. "We didn't know it at the time, but look what we had besides Ali. We had the Beatles. We had John Kennedy. My goodness, at the time, this was just normal. But when you look back on it, wow! So much had happened."

Gomel, a photojournalist for the legendary LIFE magazine, took photographs of monumental moments involving icons.

His first cover was in 1964 of a young African-American boxer, Muhammad Ali, then known as Cassius Clay, on the eve of his career defining fight against Sonny Liston. Gomel met up with Ali in Miami for training, the fight and more. He was there to also experience and document the victory celebration that included another iconic figure Malcolm X.

The photograph that captured Ali and Malcolm X together is now part of the Library of Congress. More recently it's been reimagined in a new movie, one Gomel has seen for himself. But who needs to see it when you were there?

Gomel describes part of the excitement of that night, saying, "Malcolm, who was a devoted amateur photographer, was behind the counter taking pictures of Ali. And this prompted me to climb up on top of the counter to get an overview of what was going on. I couldn't be at the same level to do that properly. So I'm standing on top of the counter and photographs. And then what happened is that Ali proceeded to entertain the crowd. He pretended to be a matador with his arm gestures like he was holding a, you know, curtain and he was, of course, his lyrics in his rhyming was superb."

"It was quite a show he put on for his crowd," Gomel said. "At some point, Malcolm came around, of course, from the counter and came behind to converse with Ali, whispered in his ear, and I have that photograph."

Gomel is now retired. Post pandemic he plans to resume his travels and his breathtaking photography from afar.

He's recently been featured in a documentary, "Bob Gomel: Eyewitness to History," available on Amazon's Prime Video.


View Bob Gomel's collection of available fine art prints here.




Friday, December 18, 2020

"Bob Gomel has been a witness and participant in it all, albeit with a front row seat to history and the perspicacity of a seasoned observer."

 


Bob Gomel was the go-to photojournalist for LIFE magazine in our state in the 60s, covering The Beatles on their first U.S. tour and then Cassius Clay on the night that he became Muhammad Ali.


Via Naples Florida Weekly
December 17, 2020
By Evan Williams

PHOTOGRAPHY HAS LONG BEEN A mass medium, but absent the cost of developing film or making prints, the digital revolution allows people now to practice it almost as freely as writing. Debates continue to percolate about the qualities of a phone camera compared to compact cameras and more expensive tools of the trade, with a resurgence of film formats that counter a growing digital revolution, not to mention the social ones.

Bob Gomel has been a witness and participant in it all, albeit with a front row seat to history and the perspicacity of a seasoned observer. A photographer for LIFE magazine from 1959 to 1969, his iconic images of presidents, sports stars and mop-topped pop singers are among many others in a storied career.

In October on a webinar in Houston to announce a new documentary about his career, “Bob Gomel: Eyewitness,” he was asked about the equipment he has been using and how technology has made the art form more democratic than ever.

The Houston, Texas resident, age 87, shoots digital these days.


The Beatles on the beach in Miami, Florida


Photographer Bob Gomel covered The Beatles’ first appearance in the United States, capturing this photo of Paul, Ringo, George and John in Miami Beach in 1964. COURTESY PHOTO / © BOB GOMEL


“I think talent will prevail,” Mr. Gomel said. “There is a lot more competition out there and a lot more outlets (for photographers). But there are still exceptionally wonderful examples of the best photojournalism available, and I see every day pictures that I would have been proud to call my own. The technology allows more capability perhaps than we had with film. However, it is still the mind of the artist that is the governing factor, not the equipment.”

He added that a well-known writer he had worked with once asked him what type of camera he was using.

“I answered him by saying I had read his most recent article and I was curious about what typewriter he used to tell that story,” Mr. Gomel said, “and I think he got the point right away.”

Some of his favorite photographs appear in his old hometown paper, The New York Times, which he still reads regularly, and National Geographic. Mr. Gomel spoke more about his life and career with Florida Weekly on a phone call in October.


President Kennedy walking in suit at Cape Canaveral

Photographer Bob Gomel traveled with President Kennedy and his inner circle along the Florida coast, making this image. COURTESY PHOTO / © BOB GOMEL


End of an era

In a pre-internet world, the gushing firehose of content that floods our sightlines on social media now was narrowed to a relative handful of prestigious print newspapers and magazines: the gatekeepers of content and culture in the 20th Century United States of America.

The era was a world of its own. And when it came to photojournalism, LIFE magazine was at the pinnacle, even if photojournalism was shunned by fine art galleries. That line still exists even as it continues to blur.

“The entire journalistic landscape has just changed dramatically since that era,” said Sid Monroe, co-owner of the Monroe Gallery in Santa Fe, N.M., which has mounted several solo and group exhibitions of Mr. Gomel’s work.

“You had institutions in that time like LIFE and even Walter Cronkite for the TV news, they were just seen as the towers of information. It is almost like rolling all the social media into one package because (LIFE) covered politics, it covered disasters, it covered if there was a hurricane, if there was a society wedding; it would cover the latest Hollywood movies, it would cover the Royal family; and it would go to the ends of the earth to cover stories that normally people wouldn’t be exposed to.”


black and withe photograph of Bob Gomel with cameras

Photographer Bob Gomel remembers covering events in Florida, and discusses his experiences in the documentary “Bob Gomel: Eyewitness,” available on Amazon Prime for viewing. COURTESY PHOTO / © BOB GOMEL

The San Francisco Chronicle reported that Mr. Gomel is among fewer than 100 men and women who worked for the weekly magazine during its heyday, from 1936 to 1972. LIFE is now an online only archive.

Mr. Gomel jokes, but truthfully, that the average age of a LIFE staffer these days is “deceased.”

“It’s the end of an era, a very wonderful era,” he said.

The job at LIFE was as competitive and demanding as you might expect. In the 1960s, Mr. Gomel traveled with President Kennedy and his inner circle along the Florida coast, visiting Cape Canaveral, before later ending up at Rice University in Houston.

Muhammad Ali with Bob Gomel's son, Corey, on his lap

Photographer Bob Gomel became friends with boxing legend Muhammad Ali, who he found to be funny and gracious. He is shown photographed here with Gomel’s son Corey as a toddler on the boxer’s lap. Many of his photos ran on the covers of LIFE, Newsweek and Sports Illustrated, below. COURTESY PHOTO / © BOB GOMEL

“We choose to go to the moon in this decade and do the other things, not because they are easy, but because they are hard,” the President famously said there.

Mr. Gomel recalled the scene when JFK would get off at a local stop along the way.

“So I’m three feet in front of the President, walking backwards,” he said, “and the local guys are saying, ‘give us a break.’ But I couldn’t do that because God forbid something happened in that moment and I missed it. I certainly respected my fellow professionals but I didn’t give any ground either. I felt obligated to stay, to the best of my ability.”

In August the year after President Kennedy was assassinated, Mr. Gomel found himself at the 1964 Democratic National Convention in Atlantic City, N.J., photographing the keynote speaker, Senator John O. Pastore of Rhode Island. In doing so, he blocked the view of an annoyed spectator and famous actor.

“I was just a few feet step down from where (the Senator) was and I wouldn’t take my eye off him for one second, looking for a great expression,” Mr. Gomel said. “And who was sitting behind me but Paul Newman. And he said, ‘sit down already, get out of my sight,’ and I did not. And Newman ended up throwing his program at me. I still didn’t back off … It might seem callous and rude and an amateur wouldn’t do that. But my boss at LIFE said to me one time early on in my career he didn’t want any excuses, ‘come back with the picture.’ And I never forgot.”

His picture of Senator Pastore later won best news photo of the year from the University of Missouri School of Journalism.

In Miami

February 1964: LIFE sent Mr. Gomel from his Long Island home in Merrick to Miami to photograph The Beatles during the band’s first appearance in the United States. Nine days later, he was watching Cassius Clay (Ali) make good on his promise to “float like a butterfly, sting like a bee” as he beat Sonny Liston to win the heavyweight boxing title.

On Feb. 16, The Beatles performed in front of more than 70 million viewers for The Ed Sullivan Show at the Deauville Hotel in Miami Beach — a reprise of their U.S. television debut on the show in New York on the Feb. 9.

Mr. Gomel photographed them in the days that followed, first at a private residence with a pool. The Beatles were in their early 20s, pale, skinny and uncertain, but enjoying Florida with its balmy weather and palm trees.

“That was just like paradise because we’d never been anywhere with palm trees,” Paul McCartney says in a video from the time on YouTube.

The most well-known Bob Gomel picture of The Beatles depicts the four lads in chaise lounge chairs catching some rays.

“They were very willing to cooperate finally when we got to the pool and they wanted to know what to do,” Mr. Gomel said. “So my reaction was ‘go have fun,’ and that’s exactly what happened. And I found myself just recording them doing cannonballs and silly things.”

The next day they headed for North Miami Beach for another shoot.

“It was chaotic,” he remembers. “We thought we’d go in an area where they had some peace and quiet. But these young ladies spotted them and pretty quickly a crowd formed and it was mayhem until escorts, police escorts were able to extricate them and get them back to the hotel. But it was a fun experience, and I was very moved by that phone call many, many years later from one of the young ladies’ parents.”

That young lady was Ruth Ann Clark, age 16 that day on North Beach when she planted a kiss on Paul McCartney’s cheek. Mr. Gomel captured the moment but those pictures would not be published for another 51 years.

“The editor of LIFE, God bless him, he did not care much for the Beatle phenomenon,” Mr. Gomel said.

Later that year, Clark moved with her family from Miami to Portland. She died in 2005 in Elkton, Ore.

Her parents were never convinced of her story about meeting The Beatles. When some of the photographs finally appeared in Closer magazine in 2015, they were surprised to find out the truth. Mr. Gomel ended up providing the family with additional photographs from that time.

On Feb. 25, after shooting the heavyweight title fight at Convention Hall on Miami Beach, Mr. Gomel traveled with the fighter and crew back to the historic Hampton House, which was in the so-called Green Book, a list of motels in the U.S. where Blacks were allowed to stay.

The party got to the hotel close to midnight, Mr. Gomel recalls, and he was the only member of the press in attendance. Ali was hamming it up and the whole crew was pushed into the hotel café, where Mr. Gomel jumped up on the counter and took his best-ever selling photograph: Ali’s close friend, Black Muslim leader Malcolm X, snapping a photo of a celebratory Ali.

“Funny things you remember,” Mr. Gomel said. “Rahmin, his (Ali’s) brother is sitting off to Ali’s left and Rahmin is having a glass of milk. I think in my frame in the far right corner there’s a glass of milk. You can’t see Rahmin, he was chopped out.”

It was in the first few hours of the next day when Mr. Gomel returned to his hotel. The picture of the two icons would later end up selling more than any of his other photographs through an art gallery that promoted the work.

But like those shots of the Beatles, LIFE chose not to publish it. A few of Mr. Gomel’s favorite shots of JFK were initially overlooked as well.

“We shot hundreds of pictures every day and they were sent up to the main office,” Mr. Gomel said, “and there was editing or deadlines and such and a lot of things were deemed not appropriate or fitting at that moment to those editors.”

He too remains uncertain why that picture of Ali and X rose to greater fame than so many other pictures in a career full of powerful and iconic moments.

“I am still hard pressed to understand why this picture outshines everything else that I’ve done from the point of view of sales.”

Mr. Gomel got to know Ali, who he found to be funny and gracious, and photographed his son Corey as a toddler on the boxer’s lap. Many years later, Corey went to a conference in Houston where Ali would appear, to get the picture autographed. This time Ali was ravaged by Parkinson’s Disease. As the family story goes, he looked at the now grownup Corey and quipped, “You still ugly.”

Woke

Mr. Gomel can pinpoint the moment in grade school when he awoke to the medium. He was looking at a picture but there was nothing overtly special about it. Just a pigeon and a manhole cover.

“It was taken by my teacher and his name I remember to this day was Mr. Fields,” Mr. Gomel said. “He was an amateur photographer, obviously, but fortunately he printed his pictures. And this particular print he referred to was sepia toned and truth be told I can see that in my mind’s eye as if I’m looking at it right now. I was smitten by the power of that image… I knew from that moment on that photography would be my calling, that’s how it started.

“On my travels these many, many years later in retirement so to speak, I found a pigeon on a manhole cover and I made that photograph. It became a full circle from the inspiration that started my (career) to finding something very, very similar in India.”

He continues to draw inspiration from many photographers. He described street photographer Henri Cartier-Bresson’s iconic book “The Decisive Moment” as “one of the most exciting visual experiences I can think of.”

Some of LIFE’s early photographers also became mentors.

He recalls one lesson learned from Yousuf Karsh, a portrait photographer who took a famous picture of Winston Churchill.

With just 15 minutes to achieve the striking portrait he was after, Karsh unexpectedly reached out and yanked the cigar right out of Churchill’s mouth, Mr. Gomel said:

“Churchill’s expression was as stern as could possibly be. Now that particular photograph was the inspiration for England to persevere against that horrible bombing they went through night after night. He knew exactly what he was after and he figured out a way he could achieve those results. And that’s what I try to do before I pick up that camera.”

Getting the job at LIFE

Mr. Gomel was born in 1933 in Manhattan. His father was an optometrist and his mother taught history and civics in the New York City Public School System. He had one brother, five years his junior.

The first inklings that he was interested in images came in the form of drawing on a roll of wrapping paper that he and his mother put up in their hallway.

“I remember very clearly using pastel crayons to do the pictures of what I imaged the Pilgrims would be like, perhaps meeting the Indians, and that was my first expression of any kind of artistic interests.”

His family had one of the famous Kodak Eastman Brownie cameras, known for introducing “the snapshot to the masses,” Wikipedia says. One winter he delivered groceries to buy his first camera with full controls. His family agreed to let him turn a closet into a darkroom to develop film.

At New York University, he earned a degree in journalism in 1955. He found mentors in the New York press core at college home games at Madison Square Garden, third-shift photographers he would follow on assignment at night, emulating some of their techniques.

After college he became an aviator in the Navy, stationed in Japan on an aircraft carrier during the Korean War. On the weekends he enjoyed driving out into the country and taking pictures, but flying was frightening. It required high competency in mathematics, a challenge for the journalism major, who was behind his classmates in that regard.

“My classmates were really sharp and I tried like hell to keep up with them,” he said. “It required after lights out, I would go into the bathroom where there was still light to continue studying to keep up with these guys.

“Let me tell you this, night landings at 400 miles per hour out at sea when there is radio silence was as scary a business as exists. That whole operation caused me to be a cigarette smoker for the first time in my life and eventually a rum drinker.”

After coming home he got high-paying job offers from airlines, but he wanted to distance himself from aviation. He was determined to work for one of the picture magazines.

At the time, his brother was seriously injured in a car crash. Mr. Gomel documented his family during a time of crisis, convincing doctors at the hospital to let him in the room as they removed his brother’s lung. When he got the opportunity for an interview at LIFE, that work was strong enough that they offered him a commission to complete the story, Mr. Gomel said — the beginning of his career.

And as it turned out, after his experience in the Navy, photographing famous, powerful people for a national publication seemed almost relaxing in comparison.

Eyewitness

The director of “Bob Gomel: Eyewitness,” David Scarbrough is a photographer and owner of Expirimax, a franchise specializing in pre-owned Apple equipment and repairs.

When Mr. Gomel came in to his Houston store one day, Mr. Scarbrough didn’t immediately recognize him.

He asked a co-worker, who identified him: Bob Gomel, who has remained active in the local photography community and is a superstar to media photographers who know of him, Mr. Scarbrough said:

“He’s a good looking guy, he dresses very well and he’s got this million-dollar smile. You could tell when he walked in the room he was somebody special.”

After they became friends, Mr. Scarbrough inquired about filming a documentary to capture some of the amazing stories that would often come up in casual conversation.

“My point of view on it is the stories are as interesting as the pictures,” Mr. Scarbrough said. “The pictures are just timeless, right? But the story of the (President) Nixon portrait and the Ali thing with the kid sitting on his lap; the way he did the (President) Eisenhower funeral picture; this is groovy stuff, this is great stuff.”

The documentary was filmed in 2019. Mr. Scarbrough took a paired down approach, filming with a pair of iPhone 10s and letting his subject tell the stories behind his groundbreaking career. The film was released this year on Amazon Prime.

Picture by picture, it delves into how Mr. Gomel persevered through his approach to making momentous images at key moments, whether calling back President Nixon’s office after a botched photo shoot or his (at the time) controversial use of double-exposure to depict a 1965 blackout in New York City.

“He did what it took to get the shot and nothing was out of the question,” Mr. Scarbrough said. “That’s what I hoped to capture with this.”

After LIFE, Mr. Gomel’s work was published in Sports Illustrated, Newsweek, Fortune and the New York Times, among many other publications. He went on to focus on commercial photography for companies like Audi, Volkswagen and Merrill Lynch.

In 1977, he moved to Houston, where he lives with his wife Sandra. They have three sons, the youngest of which died at age 32, leaving behind two grandchildren as well.

Advice

This October, Mr. Gomel’s frequent travels were on hold during the pandemic. Although he suffers from atrial fibrillation, he still continues his lifelong habit of swimming, which he practiced competitively in high school and college, he said, “although not nearly with the quality and speed I had as a younger person.”

At home he found himself not shooting pictures even though he remained ready if inspiration should strike. One day he pulled out some of his cameras and recharged batteries that had been sitting idle.

“My motivation these days is all oriented around the trips that we make and that’s when I’m back in my own shooting mode with cameras around my neck,” he said. “These days it’s not the same.

“My interest is now and really always has been in the lifestyle of people, particularly those cultures that are not very well known in the general public. I had the good fortune after leaving my career as a journalist to travel to far flung places.”

He enjoys the high quality images and lighter camera bodies that technology allows these days; “The lighter they are the more I like them.”

One picture for “Eyewitness” shows him holding a new high-definition Nikon digital camera. But he often uses his phone camera as well.

“I use my cell camera quite a lot because it’s always with me,” he said. “We were (in Ethiopia) covering an important religious festival and there was so much going on that I used up my memory cards in my digital camera. I had my cell phone, and the best pictures after eight to 10 hours of shooting from early morning to darkness, I got on my cell phone. And you know what? I was able to make beautiful 16-by-20 prints from those pictures. The technology is just fantastic. Again, it’s not about the tool, it’s the person behind the equipment taking advantage any way he can.”

As an amateur photographer now, his approach is still informed by the lessons honed during his career.

“I think I approach my subjects with knowledge of what had come before, what had been done prior and previously, and wondered and thought about how I could do it better and differently,” he said. “And that basically was how I approached everything. I didn’t want to be part of the pack. I wanted something above that, at a different level.

“I wanted to always create images that would make the viewer look at them and say, ‘Wow.’”

His wife Sandra has joined him in his enthusiasm for photography and he offers some of the same advice he gave her:

“Move in close, work the situation until you have exhausted every possible thing you can think of. Don’t just take a snap and walk away but explore the angles. What about the lighting? What about the time of day or night? All those things you should explore and work until you absolutely, positively cannot think of another thing to do and then you go home and hope you’ve got it. If not, come back tomorrow and try again.”

Afterlife

Now, Mr. Gomel’s work has found new life in another context: displayed on the walls of The Monroe Gallery in Santa Fe.

“It is extremely rewarding as a gallerist to sort of be a fly on the wall as people view, enjoy, experience Bob’s photographs,” the gallery’s co-owner Mr. Monroe said. “We could do another 20 exhibits of Bob’s work and still not have shown the full range of what he’s done.”

The pictures take on new meaning in the gallery, where they loom large to be examined more closely for their formal artistic attributes as well as historical resonance.

“We have people crying in the gallery because the pictures hit you emotionally,” Mr. Monroe said. “Even if you weren’t alive in that moment you are aware of the importance of history and what was possible and what was extinguished. And that translates to so many of his pictures.”

He adds, “Just everyday pictures take on a great emotional meaning when seen in the gallery.”

The top photojournalists of Mr. Gomel’s generation were often excluded from the world of fine art compared to other image makers like landscape pioneer Ansel Adams or Helmut Newton, Mr. Monroe said. He added that for many of those old-school photojournalists, they never envisioned their work in galleries either.

“There was almost a disregard for it because it was just sort of seen as news photography or magazine photography,” Mr. Monroe said. “So for the photojournalist, it’s been a long time coming for their recognition in the art world.”

Mr. Gomel’s work can also be found at The Museum of Fine Arts in Houston and in many books. Four years ago, he donated his archives, including negatives, contact sheets and prints from 1959 to 2014, to The University of Texas at Austin, Briscoe Center for American History. 


Bob Gomel Eyewitness is available from Amazon Prime here.

View a selectionof Bob Gomels fine art prints here.


Saturday, November 7, 2020

Library of Congress Magazine: Great Photographs

 



Via Library of Congress magazine
November/December 2020



photo of then-Cassius Clay at lunch counter surrounded by fans with Malcolm X taking a picture in Miami, 1964
Bob Gomel. “Black Muslim Leader Malcolm X Photographing Cassius Clay Surrounded By 
Fans After He Beat Sonny Liston For The Heavyweight Championship, Miami, February, 1964.” Gelatin Silver Print. © Bob Gomel, Used By Permission. 



Malcolm X and Cassius Clay

Memorable photographs often capture historic moments, such as this meeting of two consequential figures.

On Feb. 25, 1964, Cassius Clay defeated Sonny Liston to become the heavyweight boxing champion of the world. Afterward, Clay’s family and friends gathered for a victory celebration at a diner in Miami. They were accompanied by Life magazine photographer Bob Gomel and Clay’s own photographer, Howard Bingham.

Gomel climbed up on the counter to record Malcolm X, civil rights activist and a leader of the Nation of Islam, aiming his camera at a tuxedo-clad Clay. The next day, Clay announced his conversion to Islam.

He would adopt a new name, Cassius X, which later changed to Muhammad Ali.

—Beverly Brannan and Adam Silvia



Monroe Gallery of Photography was honored to work with the Library of Congress on their acquisition for their permanent collection  of Bob Gomel's iconic photograph.

Tuesday, October 13, 2020

PBS program "Driving While Black: Race, Space and Mobility in America" features Bill Eppridge's photograph of the Chaney Family

 

Via PBS

Driving While Black logo on photograph of young black boy in car
The key art for the new PBS film "Driving While Black" features Bill Eppridge's photograph of the Cheney family driving to James Chaney's funeral in Meridan, Mississippi, August, 1964


Discover how the advent of the automobile brought new mobility and freedom for African Americans but also exposed them to discrimination and deadly violence, and how that history resonates today.

A ground-breaking, two-hour documentary film by acclaimed historian Dr. Gretchen Sorin and Emmy–winning director Ric Burns– will air on PBS on Tuesday, October 13, 2020 at 9:00 p.m. ET

   



View the full film here

 View the full press release here

View Bill Eppridge's photography here.

Wednesday, September 23, 2020

BOB GOMEL: EYEWITNESS NOW AVAILABLE

 

Bob Gomel Eyewitness cover photo, Bob with camera


When history was made, Bob Gomel was there. This documentary examines the stories behind the stories of some of the most significant events in the 20th century. Hear and see the history unfold from the perspective of a legendary LIFE Magazine photographer.

Now available from Amazon Prime


View a selection of available Bob Gomel prints.

Saturday, July 25, 2020

The Story Behind TIME's Commemorative John Lewis Cover






'It's a Picture of Someone Who Knows Who He Is.' 
The Story Behind TIME's Commemorative John Lewis Cover

Via TIME
By Okivia B. Waxman
July 21, 2020


In 1963, Steve Schapiro, then 28, was on assignment for LIFE magazine, photographing prominent civil rights activists, from James Baldwin to Fannie Lou Hamer. One day, while following Jerome Smith, a participant in the Freedom Rides that raised awareness of interstate bus segregation, he went to Clarksdale, Miss., to document one of the many training sessions that were taking place in church basements across the South. In those meetings, volunteers studied how to react to the racism they would encounter in their work. That day in Clarksdale, as Schapiro watched a line of ministers file into the church, he noticed among the group another well-known Freedom Rider, in a tie and button-down shirt: John Lewis. He asked Lewis if he could take his photo, and the young man agreed.

Weeks later, Lewis would become the youngest person on the speakers’ slate at the March on Washington for Jobs and Freedom, addressing some 250,000 people from the Lincoln Memorial as the chairperson of the student arm of the 1960s civil rights movement, the Student Nonviolent Coordinating Committee (SNCC). Lewis, then 23, went on to represent Atlanta in Congress for three decades until July 17, when he died at the age of 80 after a battle with cancer. The picture Schapiro shot more than half a century ago is featured on the cover of the Aug. 3-10 issue of TIME, which dives into Lewis’s life, career and legacy.

“You can feel the determination in him to be who he is,” Schapiro tells TIME, reflecting on the photograph. “In this picture, you see he’s looking forward with an enormous amount of strength, in terms of how he sees the future. It’s a picture of someone who knows who he is, knows what he has to do, and for the rest of his life, after this picture, he did it.”


After that moment, Schapiro kept following the civil rights movement, too. He would go on to cover the March on Washington and voter registration efforts throughout the South. He covered the march from Selma to Montgomery, Ala., photographing Martin Luther King, Jr., Ralph Abernathy, Andrew Young and Rosa Parks. LIFE also sent him to Memphis to cover the aftermath of Martin Luther King Jr.’s assassination on April 4, 1968. In recent years, Schapiro, now 85 and living in Chicago, has covered the Black Lives Matter movement.

Schapiro says Lewis saw the photo in 2014, after the Monroe Gallery exhibited it, and Schapiro sent Lewis a signed copy. Then, in 2015, Schapiro saw the Congressman in person for the first time since 1963. As the nation marked the 50th anniversary of the march from Selma to Montgomery, the two saw each other at different events where veterans of the 1960s civil rights movement gathered. Lewis told Schapiro that 1963 image was one of his favorite photos of himself; Schapiro says that earlier this year, aides to Lewis reached out to him requesting a version of the photo for a belated birthday party for the Congressman.

Schapiro hopes the TIME cover will inspire young people to pick up Lewis’ lifelong fight for racial equality and human rights.

“This is who he was in his time,” the photographer says. “Let’s see who you are in your time.”







Friday, June 21, 2019

Art Shay Photography Exhibit Illustrates 1960s Civil Rights Movement



Via The University of Memphis


Art Shay
Martin Luther King speaking at Soldier Field in Chicago during a large "freedom rally" which focused on housing discrimination, 1966




June 20, 2019 - The Benjamin L. Hooks Institute for Social Change at the University of Memphis and the Art Museum of the University of Memphis (AMUM) will co-host an opening reception for the exhibit If I Had A Camera - Art Shay: Activism, Civil Rights and Justice Sunday, June 23, at the AMUM from 2-5 p.m.

The exhibition will be open to the media at the opening reception. Media will be permitted to photograph and/or film portions of the exhibit for broadcast purposes.

About the Exhibition

The exhibition, which is open to the public from June 24-Oct. 5, features the photographs of Art Shay (1922-2018), a Chicago-based freelance photographer whose work appeared in Time, Life, Sports Illustrated and many other national publications. In the 1960s, Shay photographed America’s landmark civil rights movement, reflecting a struggle that is not only history but also continues today.

The exhibition includes photographs depicting the 1965 voter registration effort in Fayette County, Tennessee, and the 1968 assassination of Dr. Martin Luther King Jr. in Memphis.

In addition to the series on the civil rights movement, the exhibition includes photographs of celebrities and historical figures such as Robert Kennedy, James Baldwin and Richard Nixon, and historical events such as the protests surrounding the 1968 Democratic Convention.


Regular museum hours are Monday through Saturday, 9 a.m.-5 p.m.




View Art Shay's photography here.

Tuesday, April 23, 2019

EXHIBITION: BOB GOMEL


Black Muslim Leader Malcolm X Photographing Cassius Clay Surrounded by Fans After He Beat Sonny Liston for the Heavy Weight Championship, Miami, February, 1964


 Opening reception with LIFE magazine photographer Bob Gomel

Friday, April 26  5-7 pm


The triumphs and tragedies of the 1960s provided photographer Bob Gomel and his LIFE magazine colleague’s extraordinary opportunities to advance American photojournalism. "LIFE was the world's best forum for photojournalists. We were encouraged to push creative and technical boundaries. There was no better place to work in that extraordinary decade." The exhibition includes images of presidents John F. Kennedy, Richard Nixon, The Beatles, Marilyn Monroe, Malcolm X, and sports figures such as boxer Muhammad Ali, baseball legend Sandy Koufax, and golfer Arnold Palmer. Several unpublished images - including one of 90 heads of state gathered around the catafalque at the Kennedy funeral and another of John F. Kennedy emerging from America's first space capsule at the Johnson Space Center in Houston - are in the exhibition.



Also featured is Gomel's perhaps most known photograph: of then 8 - year old John F. Kennedy Jr. standing solemnly at the funeral ofhis uncle, Robert Kennedy, in front of St. Patrick’s Cathedral in New York. This photograph appeared in a two-page spread in the June 1968 “Special Kennedy Issue” of LIFE magazine.



Bob Gomel was born (1933) and raised in New York City. After serving four years in the U.S. Navy, he was promptly offered a job at the Associated Press. But by then, he had changed his mind about what he wanted to do. “I just felt one picture wasn’t sufficient to tell a story,” he explains. “I was interested in exploring something in depth. And, of course, the mecca was Life magazine.”He turned down the offer from AP, and began working for LIFE in 1959, producing many memorable images. When LIFE ceased being a weekly in the early 1970s, he began making photographs for other major magazines. Also in the 1970s, he branched out into advertising photography. Among other accounts, he helped introduce Merrill Lynch’s Bullish on America campaign.



Bob says, “Each time I raised a camera to my eye I wondered how to make a viewer say, “wow.” What followed were the use of double exposures to tell a more complete story; placing remote cameras where no human being could be; adapting equipment to reveal what could not ordinarily be captured on film. My goal with people was to penetrate the veneer, to reveal the true personality or character. The ideal was sometimes mitigated by circumstances, a lack of time or access. But more often than not what the mind conceived could be translated into successful photographic images. Life Magazine in the 60s sold 8,000,000 copies a week. It was a great honor to be a part of that information highway.”

Monday, February 18, 2019

New Chicago Work: Photographs by Steve Schapiro





Via Gage Gallery at Roosevelt University


Opening Reception and Q & A with Steve Schapiro and WBEZ’s Jason Marck, Thursday, February 21st, 5-7pm. (Q & A begins at 5:30). Exhibition continues through May 9, 2019

Free and open to the public

This is the second of two exhibitions showcasing the historical and contemporary work of internationally acclaimed photographer Steve Schapiro. The first exhibition that closed on December 22, 2018, was devoted to his contact sheets from the civil rights era. This second exhibition highlights his current photographs from the Black Lives Matter and anti-violence protest movements in Chicago. A smaller exhibition featuring his photographs from Chicago’s Misericordia Heart of Mercy home will also be on display.

American photojournalist Steve Schapiro has documented six decades of American culture, from the assassination of Martin Luther King, Jr. and the presidential campaign of Robert F. Kennedy to Andy Warhol’s Factory and the filming of The Godfather trilogy. He has published a dozen books of his photographs, has exhibited his work in shows from Los Angeles to Moscow, and is represented in the permanent collections of the Smithsonian Institution, the Metropolitan Museum of Art, and the J. Paul Getty Museum, among others.

Sponsored by The College of Arts and Sciences, Roosevelt University with generous financial support from Susan B. Rubnitz, and Elyse Koren-Camarra, along with a donor who wishes to remain anonymous.

A companion exhibition, “Activists and Icons: The Photographs of Steve Schapiro”, is on display at the Illinois Holocaust Museum & Education Center in Skokie through June 23, 2019.

The exhibition features iconic as well as never-before-seen photos of the Civil Rights Movement and cultural and political change-agents of recent history. For more information, visit ilholocaustmuseum.org.


Friday, February 2, 2018

1968: It Was Fifty Years Ago Today

Art Shay: "Welcome Democrats", Conrad Hilton Hotel, Chicago, August, 1968



Monroe Gallery of Photography, 112 Don Gaspar, is pleased to present “1968: It Was Fifty Years Ago Today”, a major exhibition featuring more than 50 photographs from one of the most tumultuous years in United States history. The exhibition opens Friday, February 2 and will continue through April 15


The year 1968 marked many changes for the United States. It signaled the end of the Kennedy-Johnson presidencies, the pinnacle of the civil rights movement, the beginning of Women's rights and Gay rights, and the beginning of the end of the war in Vietnam. More than that, it meant a change in public attitudes and beliefs. Photojournalism had a dominating role in the shaping of public attitudes at the time. Now, the exhibition comes amid a time of heightened awareness from political, racial, and social tensions.

The year started with the Viet Cong opening the Tet Offensive by attacking major cities of South Vietnam, a move that triggered President Lyndon B. Johnson's call for peace negotiations. Johnny Cash recorded "Live at Folsom Prison", Eddie Adams photographs a Viet Cong officer as he is executed by Nguyen Ngoc Loan, a South Vietnamese National Police Chief. This photograph made headlines around the world, eventually winning the 1969 Pulitzer Prize, and sways U.S. public opinion against the war. On March 16, the Mai Lai massacre further shocks the nation, and on March 31st, President Lyndon B. Johnson surprised the nation by choosing not to run for reelection. On April 4th, civil rights leader Martin Luther King, Jr. was shot and killed in Memphis, Tennessee, leading to riots in Washington, D.C. and other cities. In late April, student protesters at Columbia University in New York City take over administration buildings and shut down the university, only one of many college protests that would unfold across the county.

In June, Robert F. Kennedy, former U.S. attorney general and U.S. senator from New York, was assassinated in Los Angeles while campaigning for the Democratic Presidential nomination, and Bill Eppridge records a lone busboy trying to comfort Kennedy as he lays sprawled on the kitchen floor of the Ambassador Hotel. In August, the Democratic National Convention in Chicago was marred by clashes between Vietnam War protesters and Mayor Daley's police force. At Mexico City's Summer Olympic Games, African American sprinters Tommie Smith and John Carlos won gold and bronze medals, then bowed their heads and raised clenched fists during the playing of the U.S. national anthem in protest of U.S. racism. And in November, as the Beatles' "White Album" is released Richard Nixon was elected President with running mate Spiro Agnew, making one of the most extraordinary political comebacks in U.S. history. Finally, in December, Elvis Presley's "1968 Comeback Special" airs on NBC television and Apollo 8 enters orbit around the moon.

In culture, Barbarella, Funny Girl, 2001: A Space Odyssey, Planet of the Apes, Rosemary's Baby, and Yellow Submarine dominate the box office; the Fillmore East opens in New York, Hair opens on Broadway, and "Hey Jude" by the Beatles and "Jumpin' Jack Flash by The Rolling Stones top the music charts.