Showing posts with label Vietnam war. Show all posts
Showing posts with label Vietnam war. Show all posts

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

Wednesday, June 8, 2022

'Napalm Girl' at 50: The story of the Vietnam War's defining photo

Via CNN
June 8, 2022

Oscar Holland, CNN

In Snap, we look at the power of a single photograph, chronicling stories about how both modern and historical images have been made.

The horrifying photograph of children fleeing a deadly napalm attack has become a defining image not only of the Vietnam War but the 20th century. Dark smoke billowing behind them, the young subjects' faces are painted with a mixture of terror, pain and confusion. Soldiers from the South Vietnamese army's 25th Division follow helplessly behind.

Taken outside the village of Trang Bang on June 8, 1972, the picture captured the trauma and indiscriminate violence of a conflict that claimed, by some estimates, a million or more civilian lives. Though officially titled "The Terror of War," the photo is better known by the nickname given to the badly burned, naked 9-year-old at its center: "Napalm Girl".

The girl, since identified as Phan Thi Kim Phuc, ultimately survived her injuries. This was thanks, in part, to Associated Press photographer Nick Ut, who assisted the children after taking his now-iconic image. Fifty years on from that fateful day, the pair are still in regular contact -- and using their story to spread a message of peace.

"I will never forget that moment," Phuc said in a video call from Toronto, where she is now based.





Thursday, January 18, 2018

The Marines and Tet: The Battle That Changed the Vietnam War



On January 25 photojournalist John Olsen will speak as panelist at an evening program as part of the Newseum’s newest exhibit opening, Marines And Tet. More information may be found here.


©John Olsen


John Olsen's photograph "U.S.  Marines at the Battle of HuĂȘ" is featured in Monroe Gallery of Photography's forthcoming exhibition "1968: It was 50 years ago today", opening February 2 and continuing through April 15, 2018.

Saturday, July 8, 2017

EDDIE ADAMS: BIGGER THAN THE FRAME





Book Signing and Reception Friday, July 14, 5-7 pm

Best-known for Saigon Execution, his Pulitzer Prize–winning photograph that forever shaped how the world views the horrors of war, Eddie Adams was a renowned American photojournalist who won more than five hundred awards. Eddie Adams: Bigger Than The Frame presents a career-spanning selection of the photographer's finest work from the 1950s through the early 2000s.  In addition to his much-praised Vietnam War photography, the book includes images that uncannily reflect world and domestic issues of today, including immigration, conflict in the Middle East, and the refugee crisis. All of them attest to Adams's overwhelming desire to tell people's stories. As he once observed, "I actually become the person I am taking a picture of. If you are starving, I am starving, too." Adams's widow, Alyssa Adams, will be present and signing copies of the new book.


Open Daily
 112 DON GASPAR SANTA FE, NM 87501
505.992.800      F: 505.992.0810
                     e: info@monroegallery.com  www.monroegallery.com

Monday, March 9, 2015

Pennsylvania Historical and Museum Commission to place historical marker to honor Pulitzer Prize-winning photojournalist Eddie Adams



Eddie Adams covers action in South Vietnam Eddie Adams covers action in South Vietnam in 1965 for The Associated Press.
Associated Press

Eddie Adams covers action in South Vietnam in 1965
for The Associated Press 


Via The Pittsburgh Post Gazette
Three Western Pennsylvania historical sites were among 22 selected by the Pennsylvania Historical and Museum Commission to receive the familiar blue and gold commemorative roadside markers.

Markers will be placed at or near the site of George Westinghouse’s gas wells in Point Breeze, in New Kensington to honor Pulitzer Prize-winning photojournalist Eddie Adams and in Erie to memorialize the iconic “Don’t Give Up the Ship” battle flag from the War of 1812.

Dates for installation and precise locations of the markers are not determined until local interests have raised money to pay for the markers, said Howard Pollman, spokesman for the commission. The cost ranges from $1,400 to $1,875.

“They are usually placed as close as possible to the place where the event took place or the person lived,” he said.

Mr. Westinghouse began to experiment with natural gas extraction in the 1880s, when he also was pioneering electricity generation. He drilled four wells at the site of his Point Breeze estate.

“At the time the fuel was unsafe and dangerous to use,” the commission said. “Over the next few years, Westinghouse patented over 30 inventions for the distribution, safe use and metering of natural gas. His work was instrumental in the expansion and availability of natural gas as an important widespread energy source.”

Mr. Adams is best-known for a photograph, taken in 1968 during the Vietnam War, of a Vietnamese police chief firing a bullet into the head of a Viet Cong prisoner from arm’s length range on a Saigon street. The image appeared worldwide, including on the front page of The New York Times, and galvanized opposition to the war in the U.S.

The Pulitzer Prize he won for the image was one of about 500 photography awards he received during a career that saw him cover 13 wars.

The commission said Mr. Adams got his start as a photographer in his hometown of New Kensington, shooting photographs for his high school yearbook and as a staff photographer for the local newspaper. He died in 2004 and was buried at Greenwood Memorial Park in Lower Burrell.

Seven Erie women created a battle flag in the summer of 1813 for Oliver Hazard Perry to fly on his ship, the Lawrence, in the Battle of Lake Erie.

The slogan was from the last words of Capt. James Lawrence and became a rallying cry for the ship’s crew, which helped to defeat the British in the pivotal battle.

Replica flags with “Don’t Give Up the Ship” are displayed throughout Erie, which held a yearlong celebration of the battle’s bicentennial in 2013.

Mr. Pollman said the marker likely will be placed near the Erie Maritime Museum, home to a full-sized replica of the Brig Niagara, which also took part in the battle.

The commission selected the 22 markers from a pool of 50 applications. Currently, nearly 2,300 historical markers are in place throughout the state.

More information on the Historical Marker Program, including application information, is available online at www.pahistoricalmarkers.com.


Monroe Gallery of Photography will host a major exhibition of Eddie Adams' photographs in Spring, 2016, in conjunction with a new book of Adams' Vietnam photographs by the University of Texas Press .

Saturday, February 1, 2014

Today in Photographic History: Eddie Adams’ Pulitzer Prize Image of the Vietnam War



Eddie Adams©AP: Street Execution of a Viet Cong Prisoner, Saigon, 1968


This Week in Photography History: Eddie Adams’ Pulitzer Prize Image of the Vietnam War
by Julius Motal on 02/01/2014
Via The Phoblographer


On February 1, 1968, General Nguyen Ngoc Loan fired a gun at the head of Nguyen Van Lam early on in the Tet Offensive. Lam was a member of the National Liberation Front, also known as the Viet Cong, and went by the alias Bay Lap. Gen. Loan executed Lam on a street in Saigon and that moment was sealed in time when Eddie Adams photographed it. Adams was covering the Vietnam War for the Associated Press, and that image won the Pulitzer Prize and World Press Photo. The image soon became a sore point for Adams. (click for pull post)



Related: Alyssa Adams is currently beginning a new book on Eddie’s work with the University of Texas Press, where Eddie’s archives are housed. Details will be forthcoming.




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Thursday, September 5, 2013

"In a digital world, the pre-eminence of Vietnam-era photography is unlikely ever to be duplicated"


Street Execution of a Viet Cong Prisoner, Saigon, 1968
Eddie Adams/©AP Street Execution of a Viet Cong Prisoner, Saigon, 1968
 


Via The New York Times:


"Perhaps even more viscerally even than on television, America’s most wrenching war in our time hit home in photographs, including these three searing prize-winning images from The Associated Press newsmen Malcolm W. Browne, Eddie Adams and Nick Ut. They are the subject of retrospectives now, in a new book and accompanying exhibitions.
      
No single news source did more to document the bitter and costly struggle against North Vietnamese Communist regulars and Vietcong insurgents, and to turn the home front against the war, than The A.P."  Full article here.

Wednesday, September 21, 2011

"There are many historically crucial artworks at the Instanbul Biennial"

Street Execution of a Viet Cong Prisoner | Photo by Cemre Mert
Street Execution of a Viet Cong Prisoner | Photo by Cemre Mert

Via Instanbul The Guide

The 12th Istanbul Biennial came in much secrecy but it was totally worth the anxious wait. In the press opening, curators Jens Hoffmann and Adriano Pedrosa stated that the reason for the secrecy was to prevent pre-consumption of the artists and their works. This year, it was not only the secrecy that was new but also the decision in limiting the exhibition spaces. The show used to be scattered around the city, taking advantage of its intricate urban structure; however, this time around the curators chose to house the exhibitions in two large warehouses in Tophane, famously known as Antrepo 3 and Antrepo 5.

When: September 17–November 13

The Venue
Having cut down on the exhibition spaces, the curators commissioned the Office of Ryue Nishizawa to design the interior. The unique architecture clearly reflects some aspects of Istanbul. Rooms of different sizes leading one into passageways, shortcuts, and multiple rooms create distinct interior-exterior relationships. The architecture, thus, manages to create the city structure that it borrows from Istanbul, while adding a touch of Gonzales-Torres’s minimal and elegant approach to art.

The Concept
The Cuban American artist Felix Gonzalez-Torres (1957–1996) is the point of departure of the 12th Istanbul Biennial. Gonzalez-Torres was one of those artists who constantly demonstrated that the personal is political. As in previous years, the twelfth edition of the Biennial delves into the relationship between art and politics. There are both politically outspoken works, and formally innovative and curious art pieces. One of the refreshing aspects of the Biennial is its balanced use of diverse artistic mediums.

The Sections
The venue houses 5 group exhibitions and 50 solo shows. Each of the group exhibitions are marked by gray walls, occupying a room for each subdivision: Untitled (Death by Gun), Untitled (Ross), Untitled (History), Untitled (Passport), and Untitled (Abstraction). Marked by white walls, the solo shows are situated around the group exhibitions. All continents are represented in the show but there is a special focus on Latin America and the Middle East.

The Works
There are many historically crucial artworks at the Biennial. For instance, in the section Untitled (Death by Gun), there is Street Execution of a Viet Cong Prisoner taken in three frames by the American photojournalist Eddie Adams in 1968. As shocking and gruesome as they were, these photographs brought a much-needed discussion around the Vietnam War.


Bullet Hole | Photo by Cemre Mert
Bullet Hole | Photo by Cemre Mert
 

Thursday, August 25, 2011

2011 Lucie Awards: Bill Eppridge is Honoree for Achivement in Photojournalism

9th Annual Lucie Awards


The Lucie Awards is the annual gala ceremony honoring the greatest achievements in photography. The photography community from countries around the globe will pay tribute to the most outstanding photography achievements presented at the Gala Awards ceremony. Each year, the Advisory Board nominates deserving individuals across a variety of categories who will be honored during the Lucie Awards ceremony. Once the nominations have been received, the votes are tallied and an honoree in each category is identified.

The 2011 Honoree for Achievement in Photojournalism is Bill Eppridge.

Bill Eppridge already owned a Kodak Brownie Star Flash 620 camera when one day an itinerant photographer with a pony stopped by his house in Richmond, Virginia and asked to photograph Bill and his younger sister. Eppridge was only eight but it was then that he decided he wanted to be a photographer - he could have a big camera, travel, meet lots of interesting people, and have his own pony. That was just the hint of a lifelong career in photojournalism covering some of the most important people and events in history.

Born in Buenos Aires in 1938, Eppridge spent his early childhood in Virginia, and Tennessee. The family moved to Delaware when he was 14. A self-taught photographer, he began shooting for his school newspaper and yearbook, and then sports for the Wilmington Star newspaper. Eppridge was only fifteen, but this early exposure to a real newsroom gave him a taste for journalism.

Eppridge grew up during World War II looking at Life magazine. He was entranced by the work of their war photographers, and later influenced by Gordon Parks and Leonard McCombe. Their pictures looked effortless, as if they just happened in front of the camera and the photographers grabbed them. It was that style of photography that fascinated him –an entire story was told with one significant image.

In 1960 Eppridge graduated from the University of Missouri, Journalism program headed by Clif Edom who had begun the famous Missouri Photojournalism Workshop with Roy Stryker of the Farm Security Administration. While still a student, Eppridge was accepted into that workshop twice during his college years. He got a career boost when his photograph of a white horse against a tornadic sky won first prize for pictorial in the NPPA Pictures of the Year competition in 1959. He was twice named NPPA College Photographer of the Year and awarded internships at Life magazine.


Eppridge’s first professional assignment after graduation was a nine-month documentary trip around the world for National Geographic magazine. After that, he began shooting for Life. During the year 1964 while on a contract basis with the magazine, Eppridge was there when the Beatles first stepped off the plane in the United States, and chronicled their effect on this country. He spent several days photographing a young Barbra Streisand on the verge of stardom, covered Pete Seeger and Bob Dylan who was to sing at his first Newport Folk Festival, and immediately afterward he was sent to Mississippi where the bodies of slain civil rights workers Chaney, Goodman, and Schwerner had been found buried in an earthen dam. Eppridge stayed for several days and photographed the solemn funeral of James Chaney. He soon earned a place on the masthead of Life.

As a Life staff photographer for most of the 1960s, until that magazine folded in 1972, Eppridge worked alongside many of the legends he had admired while growing up – Alfred Eisenstadt, Gordon Parks, Carl Mydans, Ralph Morse, and Larry Burrows.

Eppridge’s unique style of photojournalism brought him history-making assignments - he covered Latin American revolutions, the Vietnam war, and Woodstock. Eppridge was the only photographer admitted into Marilyn Lovell’s home as her husband, Jim, orbited the moon in the crippled Apollo 13 spacecraft. His landmark photographic essay on drug use, “Needle Park- Heroin Addiction” won the National Headliner’s Award. He was given unprecedented access to the 50th anniversary of the Russian Revolution in Leningrad and photographed the entire Baltic fleet as it was assembled in the Neva River, something that no westerner had ever seen.

One of Eppridge’s most memorable and poignant essays was his coverage of Senator Robert F. Kennedy, first in 1966, and then again on the road with RFK during the 1968 presidential campaign. His photograph of the wounded Senator on the floor of the Ambassador Hotel kitchen seconds after he was shot has been described as a modern Pieta.

After Life ceased publication in 1972, Eppridge joined Sports Illustrated where he continued to use his photojournalist talent to cover both Winter and Summer Olympics; America’s Cup sailing; the environmental disasters of the Mount St. Helen’s volcanic eruption, and the devastating Exxon Valdez oil spill and aftermath. His sporting essays and wildlife photography took him around the world to the Arctic, Africa, Asia, and the Alps.

Eppridge has received some of the highest honors his profession bestows – the NPPA Joseph A. Sprague Award, and The Missouri School of Journalism Medal of Honor. He has been a respected force in training a new generation of photojournalists for more than twenty years at both the Missouri Photojournalism Workshop, and the Eddie Adams Photography Workshop. His photographs have been exhibited at the Smithsonian Museum of American History; The High Museum of Art; San Francisco Museum of Modern Art; Visa Pour L’Image, and in galleries and museums around the world.

Eppridge currently lives in Western Connecticut with his wife Adrienne and his cat "Bear". After nearly six decades as a photojournalist he is, even now, never without his camera, and is currently photographing several projects including an essay about the new American farmers - but he still doesn’t own a pony.

Several of Bill Eppridge's historic photographs are featured in the exhibition "History's Big Picture" through September 25. A major solo exhibition celebrating Eppridge's Lucie Award will feature many of his most significan photo essays, and will open at Monroe Gallery of Photography September 30 and continue through November 20, 2011.

Wednesday, April 27, 2011

44 YEARS AGO: MUHAMMAD ALI STRIPPED OF HEAVYWEIGHT CHAMPIONSHIP



Bon Gomel: Heavyweight boxer Cassius Clay, aka Muhammad Ali, posing outside the Alvin theater where "The Great White Hope" is playing, New York, 1968

Clay Refuses Army Oath; Stripped of Boxing Crown

The New York Times
By ROBERT LIPSYTE


Houston, April 28 (1967)--Cassius Clay refused today, as expected, to take the one step forward that would have constituted induction into the armed forces. There was no immediate Government action.

Although Government authorities here foresaw several months of preliminary moves before Clay would be arrested and charged with a felony, boxing organizations instantly stripped the 25-year- old fighter of his world heavyweight championship.

"It will take at least 30 days for Clay to be indicted and it probably will be another year and a half before he could be sent to prison since there undoubtedly will be appeals through the courts," United States Attorney Morton Susman said.

Statement Is Issued

Clay, in a statement distributed a few minutes after the announcement of his refusal, said:
"I have searched my conscience and I find I cannot be true to my belief in my religion by accepting such a call." He has maintained throughout recent unsuccessful civil litigation that he is entitled to draft exemption as an appointed minister of the Lost-Found Nation of Islam, the so- called Black Muslim sect.

Clay, who prefers his Muslim name of Muhammad Ali, anticipated the moves against his title in his statement, calling them a "continuation of the same artificially induced prejudice and discrimination" that had led to the defeat of his various suits and appeals in Federal courts, including the Supreme Court.

Hayden C. Covington of New York, Clay's lawyer, said that further civil action to stay criminal proceedings would be initiated. If convicted of refusal to submit to induction, Clay is subject to a maximum sentence of five years imprisonment and a $10,000 fine.

Mr. Covington, who has defended many Jehovah's Witnesses in similar cases, has repeatedly told Clay during the last few days, "You'll be unhappy in the fiery furnace of criminal proceedings but you'll come out unsinged."

As a plaintiff in civil action, the Negro fighter has touched on such politically and socially explosive areas as alleged racial imbalance on local Texas draft boards, alleged discriminatory action by the Government in response to public pressure, and the rights of a minority religion to appoint clergymen.

Full-Time Occupation

As a prospective defendant in criminal proceedings, Clay is expected to attempt to establish that "preaching and teaching" the tenets of the Muslims is a full-time occupation and that boxing is the "avocation" that financially supports his unpaid ministerial duties.

Today, Clay reported to the Armed Forces Examining and Entrance Station on the third floor of the Federally drab United States Custom House a few minutes before 8 A.M., the ordered time. San Jacinto Street, in downtown Houston, was already crowded with television crews and newsmen when Clay stepped out of a taxi cab with Covington, Quinnan Hodges, the local associate counsel, and Chauncey Eskridge of Chicago, a lawyer for the Rev. Martin Luther King, as well as for Clay and others.

Half a dozen Negro men, apparently en route to work, applauded Clay and shouted: "He gets more publicity than Johnson." Clay was quickly taken upstairs and disappeared into the maw of the induction procedure for more than five hours.

Two information officers supplied a stream of printed and oral releases throughout the procedure, including a detailed schedule of examinations and records processing, as well as instant confirmation of Clay's acceptable blood test and the fact that he had obeyed Muslim dietary strictures by passing up the ham sandwich included in the inductees' box lunches.

Such information, however, did not forestall the instigation, by television crews, of a small demonstration outside the Custom House. During the morning, five white youngsters from the Friends World Institute, a nonaccredited school in Westbury, L.I., who had driven all night from a study project in Oklahoma, and half a dozen local Negro youths, several wearing Black Power buttons, had appeared on the street.

Groups Use Signs

Continuous and sometimes insulting interviewers eventually provoked both groups, separately, to appear with signs. The white group merely asked for the end of the Vietnam war and greater efforts for civil rights.

The Negro eventually swelled into a group of about two dozen circling pickets carrying hastily scrawled, "Burn, Baby, Burn" signs and singing, "Nothing kills a nigger like too much love." A few of the pickets wore discarded bedsheets and table linen wound into African-type garments, but most were young women dragged into the little demonstration on their lunch hours.

There was a touch of sadness and gross exaggeration throughout the most widely observed noninduction in history. At breakfast this morning in the Hotel America, Clay had stared out a window into a dingy, cold morning and said: "Every time I fight it gets cold and rainy. Then dingy and cool, no sun in sight nowhere."

He had shrugged when Mr. Hodges had showed him an anonymously sent newspaper clipping in which a photograph of the local associate counsel had been marked "Houston's great nigger lawyer."

Sadly, too, 22-year-old John McCullough, a graduate of Sam Houston State College, said: "It's his prerogative if he's sincere in his religion, but it's his duty as a citizen to go in. I'm a coward, too."

46 Called to Report

Then Mr. McCullough, who is white, went up the steps to be inducted. He was one of the 46 young men, including Clay, who were called to report on this day.

For Clay, the day ended at 1:10 P.M. Houston time, when Lieut. Col. J. Edwin McKee, commander of the station, announced that "Mr. Muhammad Ali has just refused to be inducted."

In a prepared statement, Colonel McKee said that notification of the refusal would be forwarded to the United States Attorney General's office, and the national and local Selective Service boards. This is the first administrative step toward possible arrest, and an injunction to stop it had been denied to Clay yesterday in the United States District Court here.

Clay was initially registered for the draft in Louisville, where he was born. He obtained a transfer to a Houston board because his ministerial duties had made this city his new official residence. He had spent most of his time until last summer in Chicago, where the Muslin headquarters are situated, in Miami, where he trained, or in the cities in which he was fighting.

After Colonel McKee's brief statement, Clay was brought into a pressroom and led into range of 13 television cameras and several dozen microphones. He refused to speak as he handed out Xeroxed copies of his statement to selected newsmen, including representatives of the major networks, wire services and The New York Times.

The statement thanked those instrumental in his boxing career as well as those who have offered support and guidance, including Elijah Muhammad, the leader of the Muslims; Mohammed Oweida, Secretary General of the High Council for Islamic Affairs, and Floyd McKissick, president of the Congress of Racial Equality.

The statement, in part, declared:

"It is in the light of my consciousness as a Muslim minister and my own personal convictions that I take my stand in rejecting the call to be inducted in the armed services. I do so with the full realization of its implications and possible consequences. I have searched my conscience and I find I cannot be true to my belief in my religion by accepting such a call.

"My decision is a private and individual one and I realize that this is a most crucial decision. In taking it I am dependent solely upon Allah as the final judge of these actions brought about by my own conscience.

"I strongly object to the fact that so many newspapers have given the American public and the world the impression that I have only two alternatives in taking this stand: either I go to jail or go to the Army. There is another alternative and that alternative is justice. If justice prevails, if my Constitutional rights are upheld, I will be forced to go neither to the Army nor jail. In the end I am confident that justice will come my way for the truth must eventually prevail.

"I am looking forward to immediately continuing my profession.

"As to the threat voiced by certain elements to 'strip' me of my title, this is merely a continuation of the same artificially induced prejudice and discrimination.

"Regardless of the difference in my outlook, I insist upon my right to pursue my livelihood in accordance with the same rights granted to other men and women who have disagreed with the policies of whatever Administration was in power at the time.

"I have the world heavyweight title not because it was 'given' to me, not because of my race or religion, but because I won it in the ring through my own boxing ability.

"Those who want to 'take' it and hold a series of auction-type bouts not only do me a disservice but actually disgrace themselves. I am certain that the sports fans and fair-minded people throughout America would never accept such a 'title-holder.'"

Clay returned to his hotel and went to sleep after the day's activities. He is expected to leave the city, possibly for Washington, in the morning.