Monday, November 28, 2011

"To see, and to show, is the mission now undertaken by a new kind of publication”

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Life photographer Bill Eppridge, 2011

Via Hunger TV

A picture’s worth is often only realised through the eye of time – yet the photographers of Life knowingly captured history in seconds. Life’s second incarnation – its first was as a magazine dedicated to light entertainment and humour – was launched by American publisher Henry Luce. Henry had pedigree, having already founded Time and Fortune. A staunch anti-communist, he was far from blindly conservative. He was trying to change the world with his political theories and intent on revealing the truth, with little worry about – as is the habit of press barons – rubbing some people up the wrong way. “Show me a man who claims he is objective and I’ll show you a man with illusions,” he once said.

Life was the first photojournalism magazine of its kind in America, and couldn’t have arrived on newsstands at a more appropriate time. It was 1936, and America was trudging through the Great Depression, nervously witnessing Adolf Hitler, Francisco Franco and Benito Mussolini settling into their European thrones. Henry purchased the magazine for $92,000 – he was paying for the name more than anything else – and on November 23rd 1936, the first issue was launched. Its purpose? “To see life; to see the world; to eyewitness great events; to watch the faces of the poor and the gestures of the proud; to see strange things – machines, armies, multitudes, shadows in the jungle and on the moon; to see our work – our paintings, towers and discoveries… Thus to see, and to be shown, is now the will and new expectancy of half of humankind. To see, and to show, is the mission now undertaken by a new kind of publication.”

Read the full story, and interviews with five Life photographers – Bill Eppridge, John Shearer, John Loengard, Burk Uzzle and Harry Benson – in Issue One of The Hunger, on sale now.

America In Pictures: The Story of Life Magazine, part of BBC Four’s American Season, is shown at 9pm on 1 December 2011

Friday, November 25, 2011


 Henri Cartier-Bresson sketching in the Bois de Boulogne, Paris, 1987
Henri Cartier-Bresson sketching in the Bois de Boulogne, Paris, 1987

New book and show is an ode to the art form and its history

November 25, 2011
By Kate McGraw
For the Journal


Anyone intuiting that famed photographer John Loengard chose the name “Age of Silver” for his new book and show opening today at Monroe Gallery because it referred to a development process for photographs would be ... entirely correct.

“Any lens can form an image, but the way to make the picture permanent was a mystery for centuries,” Loengard said in an email interview. “In the 1830s two men, independently, discovered that using the chemistry of silver was the solution. Television, of course, is electronic photography, but silver remained the basis of still photography until the start of the 21st century. I wanted to pay tribute to silver and to a few of those who have made fabulous use of it.”

His new book is an ode to the art form  to which Loengard has dedicated his life. The exhibition of photographs opens with a reception and book signing today and continues through Jan. 29.

“I hope my enthusiasm for my subjects comes through. I got interested in photography when I was 11 years old, so I’ve spent 66 years taking pictures,” Loengard said. “Some of these photographers were my idols; some are my colleagues. I’ve edited the work of others, and I’ve hired some to take pictures. I’m immersed in photography. It’s a human occupation that I love.”

Loengard was born in New York City in 1934 and received his first assignment from LIFE magazine in 1956, while still an undergraduate at Harvard. He joined the magazine’s staff in 1961 and in 1978 was instrumental in its re-birth as a monthly, serving as picture editor until 1987.

Under Loengard’s guidance in 1986, LIFE received the first award for “Excellence in photography” given by the American Society of Magazine Editors. In 1996, Loengard received a Lifetime Achievement Award “in recognition of his multifaceted contributions to photojournalism” from Photographic Administrators, Inc.

Richard Avedon, New York, NY 1994
Richard Avedon, New York, NY 1994

 In “Age of Silver,” Loengard has focused his lens on some of the most important photographers of the last half-century, including Annie Leibovitz, Ansel Adams, Man Ray, Richard Avedon, Sebastiao Salgado, Alfred Eisenstaedt, Henri Cartier-Bresson, Harry Benson and others. Loengard caught them at home and in the studio, posed portraits and candid shots of the artists at work and at rest. It is the work of 40 years. 

Alfred Eisenstaedt holds his negative of VJ-day celebrants New York City, 1992
Alfred Eisenstaedt holds his negative of VJ-day celebrants New York City, 1992

“Photographers already knew it but, suddenly in the 1970s, everyone else began to consider photography an art,” he said. “Magazines started to treat photographers as artists — Ansel Adams was on the cover of Time in 1979. In the 1980s and early 1990s, I photographed a number of photographers because they had a new book or were old enough to be finishing their careers and worthy enough to notice. Working on assignment, as I did for half these pictures, had an advantage. A subject would understand why a publication like LIFE, in its great wisdom, had recognized his or her importance. We all like to be noticed. They showed themselves to the camera with an energy that might be missing otherwise. It was not vanity; they’d been asked to show themselves off.”

Far from an attempt to put forth a singular definition of modern photographic practice, this beautifully printed book instead presents evidence of the unique vision and extremely personal style of every artist pictured.

Loengard has published a half-dozen books, including “Pictures Under Discussion,” which won the Ansel Adams Award for book photography in 1987; “Celebrating the Negative,” and “Georgia O’Keeffe at Ghost Ranch.”

His book “LIFE Photographers: What They Saw” was named one of the year’s top 10 books for 1998 by The New York Times. Loengard wrote an extensive introduction for the major book “The Great LIFE Photographers,” published in 2004. “As I See It,” a monograph of his photography, was published by Vendome Press in 2005. “Image and Imagination,” a book of photographs of Georgia O’Keeffe paired by O’Keeffe paintings, was published by Chronicle Books in 2008.

His interest in O’Keeffe originally was sparked by the fact that she had been married to the photographer Alfred Stieglitz, but he grew interested in the artist herself, especially her calm attraction to the camera.

“When I photographed the painter Georgia O’Keeffe, in 1966, the fact that she was the widow of the great photographer Alfred Stieglitz was what intrigued me most,” he said. “Of course, she didn’t want to talk about him — except, maybe, a funny story about being in charge of the Stieglitz family laundry during summers in the Adirondacks at Lake George — but she had learned how she looked to the camera from the scads of photographs he’d taken of her. She was the most perfect model I have ever photographed.”

Georgia O'Keeffe climbs on roof, Abiqui, 1967
Georgia O'Keeffe on roof, Abiquiu, 1967

 Monroe Gallery of Photography was founded by Sidney S. Monroe and Michelle A. Monroe and is celebrating its 10th anniversary this year.

“Time flies,” Sidney Monroe said. “We keep thinking we’re new, but all of a sudden we realize we’re 10 years old.” He said they regard the Loengard exhibition as a perfect celebration of 10 years in Santa Fe.

 If you go:

WHAT: “Age of Silver,” photographs and book by John Loengard

WHEN: Today through Jan. 29 WHERE: Monroe Gallery of Photography, 112 Don Gaspar

CONTACT: 505-992-0800;  

Thursday, November 24, 2011

"Things To Be Thankful For"

Via Joe McNally's Blog:

"I’m thankful Ernst Haas made a book called The Creation. At the end of a tough day in the field, just looking at it is like taking a shower....

I’m thankful I’ve been around long enough to have known Eisie, Gordon, Carl, and Mr. Mili. And to still know John Loengard, Ralph Morse, Jim Stanfield, David Douglas Duncan, Neil Leifer, Walter, Johnny I, and so many, many legends who have taken up a camera over time. Their work is the bedrock on which we all stand."

We add:   Thank you to all photographers.

Wednesday, November 23, 2011

NYPD orders officers not to interfere with press

Breaking News Via the Associated Press:

Nov 23, 6:53 PM EST

NYPD orders officers not to interfere with press

"Thanksgiving Table With Turkey": The Carbro Process

"Daughter Linda At Thanksgiving Table With Turkey, Saturday Eve". Dick shot this image of his daughter Linda as a one-shot Carbro print that was built into the final cover for the Post. Dick did this by making multiple shots and carbros of various items such as the turkey, cranberry sauce and tableware, cutting and pasting the images together and re-shooting and reprinting the final carbro. Because that image became the first photograph to displace Norman Rockwell on the cover of the Saturday Evening Post, when Dick told Paul Hesse, who had tried unsuccessfully for years to sell the Post a cover, Paul said that Dick was lying, since he believed that it was impossible to sell the Post a photograph. But Dick wasn't lying and it became a cover in 1941, launching Dick's commercial carreer.

"Daughter Linda At Thanksgiving Table With Turkey, Saturday Eve". Dick shot this image of his daughter Linda as a one-shot Carbro print that was built into the final cover for the Post. Dick did this by making multiple shots and carbros of various items such as the turkey, cranberry sauce and tableware, cutting and pasting the images together and re-shooting and reprinting the final carbro. Because that image became the first photograph to displace Norman Rockwell on the cover of the Saturday Evening Post, when Dick told Paul Hesse, who had tried unsuccessfully for years to sell the Post a cover, Paul said that Dick was lying, since he believed that it was impossible to sell the Post a photograph. But Dick wasn't lying and it became a cover in 1941, launching Dickís commercial career.

The Carbro Process by Paul Martineau

Over a decade before the 1935 introduction of Kodachrome colour film by Eastman Kodak, a subtractive colour process was developed that made it possible to create vivid prints from black & white negatives. The tricolour carbro transfer printing process - or carbro - demanded strict technical control but produced highly-saturated and permanent colour prints.

BECAUSE OF its complexity and high expense (some practitioners reported a finished print took about 10 hours to produce at a cost of $125), the carbro process was rarely the province of the amateur. By 1937, full colour illustrations made from direct colour prints were being used regularly in the big subscription magazines such as Ladies’ Home Journal, Vogue, Vanity Fair, and House Beautiful. Colour photography in the form of carbro prints was also being shown in museums and in popular touring exhibitions. In the United States, photographers Anton Bruehl, Nickolas Muray, Paul Outerbridge, Edward Steichen, and H.I. Williams, among others, became identified with the quality and artistry of their carbro prints through a participation in these publications and exhibitions. The demand for colour advertising photography was such that a few of the top photographers regularly commanded prices ranging from $300 to $1000 per print. Continue reading here.

Tuesday, November 22, 2011

Happy 75th Birthday, Life Magazine

75 years of Life magazine

Life Magazine was first published 75 years ago tomorrow, November 23.

The magazine, once criticised as being "for people who can't read," became an instant hit in 1936 and went on to feature defining images of the Second World War, natural disasters, the lives of Hollywood movie stars and the turbulent events of the 1960s. At its peak in the 1940s it sold 13.5 million copies a week.

The magazine was last published in 2007 and it is now a website. The website editors looked back over more than 2,200 cover photographs to chose their 75 favourites, which included portraits of Winston Churchill, Marilyn Monroe and a notoriously racy cover of Sophia Loren.

The magazine's place in the history of  photojournalism is considered its most important contribution to publishing.

The 75 Best LIFE Covers of All Time   

The 75 Best LIFE photographs

The Connecticut Post: Ridgefield man brought LIFE magazine to life

Related: Visit Monroe Gallery of Photography to view original prints by Margaret Bourke-White, Robert Capa, Alfred Eisenstaedt, Bill Eppridge, Carl Mydans, and many other great LIFE photographers.

Saturday, November 19, 2011

The Sports Photography of Neil Leifer

Photo Finish: The Sports Photography of Neil Leifer

Concourse level
On exhibit through August 12, 2012

WASHINGTON — Experience some of the greatest moments in sports history through the lens of legendary sports photographer, Neil Leifer.

The exhibit, "Photo Finish: The Sports Photography of Neil Leifer," includes 50 images from the prolific career of a man who began taking pictures as a teenager and went on to become one of the most celebrated sports photographers in history.

The exhibit opens Nov. 18 and features Leifer's best-known photos, including one of the most famous sports photographs of all time: boxer Muhammad Ali standing over Sonny Liston after knocking him out in the first round of their 1965 title fight.

Each photograph in the exhibit is accompanied by the story behind the image, told in Leifer's own words. The exhibit also includes an original Newseum-produced video in which the photographer talks about his photos and his subjects.

This exhibit was created in collaboration with Sports Illustrated.

Slide show here

"We are alarmed at the arrests of working news professionals..."

Mayor Michael Bloomberg
City Hall

Commissioner Raymond Kelly
1 Police Plaza
November 18, 2011

Dear Mayor Bloomberg and Commissioner Kelly:

As faculty members of the Columbia University GraduateSchool of Journalism, we are alarmed at the arrests of working news professionals during the ongoing Occupy Wall Street protests, and deeply concerned that the NYPD blocked reporters' and photographers' access to Zuccotti Park during the recent eviction of the Occupy Wall Street encampment.

The NYPD has had a distinguished track record in cooperating with news professionals in the coverage of demonstrations in New York City. For this reason we are greatly disappointed by what appears to be a pattern of arrests of credentialed journalists over the last two months, most recently a reporter and a photographer from The Associated Press, a reporter from The Daily News and a photographer from DNAInfo, all arrested at the Trinity Church lot during a demonstration on November 15.

We are equally troubled by the consistent blocking of reporters' access to the Zuccotti Park eviction earlier that morning. Numerous journalists attempting to monitor the actions of police and protestors, and to capture images of an important news event, have reported how they were forced away from the scene and prevented from doing their jobs.

We are particularly disturbed that at least one journalist reportedly had his press credentials seized by officers, and some other journalists have reported themselves or colleagues being physically assaulted by police. Such intimidation is in flagrant violation of the First Amendment and runs counter to the best traditions of New York City.

The First Amendment guarantee of a free press has long been understood to embrace a robust presence for news professionals reporting on public protests, among other events. In the case of Occupy Wall Street, both the protests themselves and the actions of police are matters of intense local, national and international public interest. The arrests of credentialed journalists and the blocking of news access to the clearing of Zuccotti Park impeded journalists' ability to gather independent information, and substantially curtailed the public's right to assess the actions of public officials and protestors alike. This is a blunt infringement on the First Amendment and does not contribute to public safety.

As Occupy Wall Street and related protests continue, we urge you to ensure that working journalists receive the full respect and support of the NYPD, included unfettered access to cover events as they unfold. Charges against journalists arrested in recent actions should be dismissed, and the circumstances of the arrests of news professionals should be fully investigated. We urge that commanders and rank-and-file officers be reminded of, and held accountable for, their Constitutional responsibility to protect and respect the First Amendment rights and privileges of journalists covering this important and ongoing story.


Emily Bell, Professor of Professional Practice; Director, Tow Center for Digital Journalism

Helen Benedict, Professor

June Cross, Associate Professor

John Dinges, Lowell Cabot Professor of Journalism

Josh Friedman, Director, Maria Moors Cabot Prize for Journalism in the Americas

Todd Gitlin, Professor and Chair, PhD Program

Bill Grueskin, Dean of Academic Affairs; Professor of Professional Practice

LynnNell Hancock, H. Gordon Garbedian Professor of Journalism; Director, Spencer Fellowship Program

Michael Hoyt, Executive Editor, Columbia Journalism Review

Marguerite Holloway, Professor and Director, Science and Environmental Journalism

Judith Matloff, Adjunct Professor

Arlene Morgan, Associate Dean, Prizes and Programs

Victor Navasky, George T. Delacorte Professor in Magazine Journalism

Edward Schumacher-Matos, James Madison Visiting Professor

Bruce Shapiro, Executive Director, Dart Center for Journalism and Trauma

Paula Span, Adjunct Professor

Alisa Solomon, Associate Professor; Director, Arts Concentration, M.A. Program

Duy Linh Tu, Professor of Professional Practice; Coordinator, Digital Media Program

Andie Tucher, Associate Professor; Director, Ph.D. Program

Betsy West, Associate Professor of Professional Practice

2950 Broadway New York, NY 10027

Friday, November 18, 2011


Henri Cartier-Bresson sketching in the Bois de Boulogne, Paris, 1987
John Loengard: Henri Cartier-Bresson sketching in the Bois de Boulogne, Paris, 1987

Monroe Gallery of Photography, 112 Don Gaspar, is pleased to announce an exhibition of photographs by John Loengard celebrating his new book, "Age of Silver", an ode to the art form to which he dedicated his life. The exhibition opens with a reception and book signing on Friday, November 25 from 5 to 7 PM. The exhibition continues through January 29, 2011. Signed copies of the new book will be available throughout the exhibit.

La Lettre de la Photographie: John Loengard  Age Of Silver

Life: John Loengard's 'Age of Silver'

David Schonauer's "The Big Picture": Books: Loengard’s Ode to the Age of Silver

Wall Street Journal Gift Guide: Photography Books

Thursday, November 17, 2011


The market for fine photography has had a pretty spectacular week in France. Last Friday night at Christie's 100 photographs by the legendary Henri Cartier-Bresson hit the auction block, sold by the Henri Cartier-Bresson Foundation and netting a hefty €2 million ($2.8 million). Ninety-one lots sold, and a 1946 silver print of "Derrière la Gare Saint-Lazare" ("Behind the Saint-Lazare Train Station") achieved an artist's record when it soared to €433,000 ($590,455), more than doubling its high estimate of €180,000. This sale was followed the very next day by a sale of 51 Irving Penn photographs from a private French collection, which achieved a rare 100 percent sell-through rate and totaled €2.1 million ($2.9 million).

During the Cartier-Bresson sale, an anonymous telephone bidder won a five-way bidding war for "Derrière la Gare Saint-Lazare," which was one of the photographer's first silver prints. A 1999 print of "Alberto Giacometti à la Galerie Maeght, 1961" fetched the impressive price of €75,400 ($102,818), five times its low estimate of €15,000. An anonymous European collector purchased the photo, which shows the sculptor in blurred movement, looking very much like his "Walking Man" sculpture, which is in the foreground. A 1957 print of "Coronation of George VI, Trafalgar Square, London, 12 May 1937" sold for €70,600 ($96,273), and "Sringar, Kashmir, India, 1948" achieved the same price. Most of the buyers were European collectors, though an Asian buyer snapped up "Ubud, Bali, Indonesia, 1949" for €63,400 ($86,455). (The proceeds of the sale are go towards the Cartier-Bresson Foundation's move to a larger space in the Marais near the Pompidou Center.)

As for the Irving Penn sale, it may not have set any records, but it did mark the second-highest price ever for a Penn photo. The 1951 print, "Woman in Moroccan Palace (Lisa Fonssagrives-Penn)," sold for €361,000 ($492,273), surpassing its high estimate of €300,000. (Penn's auction record was set at Christie's New York in April 2008, when his 1948 photo "Cuzco Children" fetched $529,000. ) While all the Cartier-Bresson images except for the top lot sold for less than €100,000, two other Penn photographs reached six figures. A 1979 print of "Harlequin Dress (Lisa Fonssagrives-Penn") sold for €265,000 ($361,364) and "Poppy, Glowing Embers, New York, 1968" achieved a price of €193,000 ($263,182).

Tuesday, November 15, 2011

"Hard-Boiled Photog Blends the Old With the New"

Be sure to check out the just-posted article about photojournalist Bill Eppridge on Raw File.

"Bill Eppridge knows the rules of photography have changed. The ways of the ’60s, when he was a staff photographer at LIFE magazine, are long gone: Staff photo positions are near extinct, everyone with an iPhone now claims to be a photographer and film seems to be a four-letter word of antiquity.

That said, Eppridge, who has shot many of the historic events of the last half-century, believes the power of documentary photography will always live on, no matter how many photos are out there in however many formats.

“The best still images, they just nail you, you remember them,” he says, as is evidenced by his iconic work."

Full post here.

Slide show here.

Monday, November 14, 2011

Bob Gomel: “Photography is all about having something to say before you pick the camera up to your eye and push the button”

A Thousand Words
Malcolm X photographs Cassius Clay on February 25, 1964, the night the boxer knocked out Sonny Liston to become heavyweight champion. The next day Clay revealed that he was a member of the Nation of Islam.

Via New York University Alumni Magazine

Former Life photographer Bob Gomel reflects on the many American stories told with his camera

by Andrea Crawford

A brash 22-year-old dancing around the ring, his gloved fists raised in victory as he proclaims himself “the king of the world”: This may be the most famous image of Muhammad Ali when he was still Cassius Clay—and had just defeated heavyweight champion Sonny Liston in one of boxing’s most stunning upsets. Bob Gomel was there shooting photos for Life magazine, having journeyed to Miami Beach in February 1964 to shadow Clay in the days leading up to the bout. But it was an image Gomel (STERN ’55) captured during the afterparty—of Malcolm X snapping a photo of the new world champion—that the Library of Congress deemed worthy of acquiring last year. From behind the bar, the former Nation of Islam spokesperson smiles broadly as he holds the camera to his face. The seated Clay wears a tuxedo and bow tie, his hands resting in loose fists on the counter. He appears to mug for the camera.

It’s a moment of connection between friends, revealing a playful side of two powerful men whose public personas were often serious, angry, or in Clay’s case, downright crazy. The photograph also bares a secret between them: The boxer had been persuaded by promoters not to announce his conversion to Islam before the fight. The following day, he would make the announcement to the world.

Getting behind the scenes and using photographs to tell a story was what Life did best, and it was what attracted Gomel to the picture magazines. As a young man, he turned down other journalism jobs and went without work for nearly a year waiting to break in. When the chance came, Gomel made the most of it. From 1959 to 1969—the magazine’s last decade as the country’s premier newsweekly—he photographed a long, impressive list of world leaders (John F. Kennedy, Richard Nixon, Nikita Khrushchev, Patrice Lumumba, David Ben-Gurion, Jawaharlal Nehru), actors (Marilyn Monroe, Warren Beatty, Joan Crawford), athletes (Arthur Ashe, Willie Mays, Sandy Koufax, Arnold Palmer, Joe Namath), and other personalities of the era (Jane Jacobs, Robert Moses, Benjamin Spock). When President-elect Kennedy took a walk with 3-year-old Caroline on the day her brother, John Jr., was born; when Martin Luther King Jr. gave his speech at the March on Washington; when the Beatles appeared on The Ed Sullivan Show; Gomel captured it all on film.

top: Perhaps Gomel’s most famous photograph was this bird’s-eye image of Dwight D. Eisenhower’s casket lying in state at the Capitol Rotunda in 1969. Gomel rigged strobe lights around the 200-foot dome, strung a wire with a pulley to place the camera in the middle, and ran a zip cord—to trigger the camera—to where he would be standing with the rest of the press. The resulting photograph appeared on the cover of Life magazine. above left: This image of President John F. Kennedy inspecting the space capsule in 1962 remains one of Gomel’s favorites. “It’s John Kennedy, but it’s not the way we anticipate seeing him,” Gomel says. “It’s just one of those off-guard moments that nobody focuses on.” above right: Marilyn Monroe attends a party for Broadway’s The Sound of Music in 1961, one year before her death.
Like any enduring image, says Ben Breard, who featured many of Gomel’s works in an exhibition earlier this year at Afterimage Gallery in Dallas, the photographs are important not only because of their historical and cultural significance. “Of course, there’s an element of being at the right place at the right time to capture the moment, but then you’ve got to do it artistically,” Breard says. The images reveal the photographer’s sense of humor and humanity. “There’s a positive feel to his work,” Breard adds. “It’s uplifting. Even though those were hard times the country went through, [there’s] a hopeful aspect to everything.”

Born in Manhattan and raised in the Bronx, Gomel discovered photography as a boy, struck by an image taken by his teacher hanging in his classroom at the Ethical Culture School on Central Park West. It was a black-and-white picture of a manhole cover on a cobblestone street with some pigeons around it. “I sat next to that picture, and I was just entranced by it,” he says. Gomel joined the teacher’s photography club and began learning on a borrowed camera. When World War II ended, he got a job delivering groceries by bicycle to buy his first camera and soon convinced his parents—his father was an optometrist; his mother, an NYU graduate, was a teacher—to let him appropriate a closet for his darkroom.

top: John Lennon cannonballs into a pool in 1964 as his fellow Beatles Paul McCartney (center) and Ringo Starr brace for the inevitable splash. the band was in miami for their second live performance on the ed sullivan show—which was watched by 70 million americans.above Left: Famed pediatrician Dr. Benjamin Spock—best-selling author of the common sense book of baby and child care—is entertained by two young patients during an examination in September 1962.above right: After filming concluded, but before the release of The Graduate, Gomel spent a day with Dustin Hoffman—hanging out with his girlfriend, posing for a sculptor, and, as seen here, picking up his unemployment check.
When Gomel arrived at his mother’s alma mater in 1950, he began working for student publications, covering basketball games, which NYU then played at Madison Square Garden. There, he befriended “the fellows who worked the night shift” for the Daily Mirror, the Daily News, the Associated Press, and UPI (then called ACME Newspictures), and he started tagging along on their assignments. After graduating from NYU and 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.
At Life he was able to shoot the stories that appealed to him, and the recent exhibition included some of his favorites. For one photo-essay, he documented what happens to the family dog when the children return to school, highlighting one forlorn basset hound, in particular. For another series, he arranged for humorist Art Buchwald to go back to Marine boot camp incognito for a week, to relive his days as a recruit. The humor and power of these images endure, even for those too young to know Art Buchwald.
Gomel, who later worked in advertising shooting national campaigns for clients such as Volkswagen, Pan Am, Merrill Lynch, and Shell Oil, also tested technological and creative boundaries at Life. His image of the Manhattan skyline during a blackout in November 1965 is striking, with a full moon illuminating the dark sky. But from his vantage point on the Brooklyn waterfront that night, the moon was behind him. “It occurred to me that the only way we’re all getting along this evening is because we have a full moon,” he says. “I wanted to tell that…in a single picture.” So he rewound his film, changed lenses, turned around and clicked, placing the glowing orb just where he wanted it to be in the dark quadrant of the frame. After a long debate, Gomel says, the editors decided to run it—the first double-exposure Life used in a news story.
Gomel believes photographers have the responsibility to be truthful reporters but also must be clear about what story they’re trying to tell. “Photography is all about having something to say before you pick the camera up to your eye and push the button,” he says. “Are you happy about something, displeased about something? And if so, how are you going to express that on a piece of film?”

More of Bob Gomel's photographs here.


Slideshow Presentation
and Q&A with John Maloof

Friday, November 18, 6:30–8:30 p.m.
Tickets $5 click here to buy tickets

The powerHouse Arena ·

37 Main Street (corner of Water & Main St.) · DUMBO, Brooklyn
For more information, please call 718.666.3049

Exhibitions: Howard Greenberg Gallery December 15 - January 28, 2012
Monroe Gallery of Photography February 3 - April 22, 2012

Saturday, November 12, 2011

"We Are Journalists"

I have known what I wanted to do since I was 17. Since then, I have been shot at by the police, I have run from them so that they wouldn’t confiscate my cameras. I have been punched, spit on, yelled at and threatened while doing my job. I love what I do and think I have never worked a day in my life. I am distrustful of authority. I loathe being referred to as a papparazi. I can count on one hand the number of celebrities I have photographed. I hate taking pictures of people like that. My job has taken me to Central America, the Middle East, and all over the United States. Since most of America does not like to go to places like Mississippi post-Hurricane Katrina (or even the bad neighborhoods in their own city), I choose to go for them, so that they might see the condition of their fellow man. People always talk of the sacrifices that journalists make. It isn’t a sacrifice; it is a choice. I chose this path in life, and still choose it, for better or worse. I believe that my camera is a powerful tool to combat injustice. Some of my pictures, in a small way, helped shut down a reform school where children were being abused. I will be proud of that for the rest of my life. I am now 30. I hope I am still doing this in some capacity when I am 60. Hopefully by that time I can afford to move out of my garage apartment.
I am a newspaper photojournalist.

We just discovered a great new Tumblr blog, "We Are Journalists". Happy to recommend.

"I have known what I wanted to do since I was 17. Since then, I have been shot at by the police, I have run from them so that they wouldn’t confiscate my cameras. I have been punched, spit on, yelled at and threatened while doing my job. I love what I do and think I have never worked a day in my life. I am distrustful of authority. I loathe being referred to as a papparazi. I can count on one hand the number of celebrities I have photographed. I hate taking pictures of people like that. My job has taken me to Central America, the Middle East, and all over the United States. Since most of America does not like to go to places like Mississippi post-Hurricane Katrina (or even the bad neighborhoods in their own city), I choose to go for them, so that they might see the condition of their fellow man. People always talk of the sacrifices that journalists make. It isn’t a sacrifice; it is a choice. I chose this path in life, and still choose it, for better or worse. I believe that my camera is a powerful tool to combat injustice. Some of my pictures, in a small way, helped shut down a reform school where children were being abused. I will be proud of that for the rest of my life. I am now 30. I hope I am still doing this in some capacity when I am 60. Hopefully by that time I can afford to move out of my garage apartment.

I am a newspaper photojournalist."


Tuberculosis Ward, Statue of Liberty, Island 3
Stephen Wilkes: Tuberculosis Ward, Statue of Liberty, Island 3, Ellis Island

November 12 marks the 57th anniversary of the closing of Ellis Island, a facility that will forever be linked to the concept of the American dream. From 1892 to 1954, over 12 million immigrants passed through Ellis Island. They came from Ireland, England, Germany, Italy, and many other countries, and together they formed the backbone of America.

beginning in 1998,  Stephen Wilkes immortalized the remaining ruins in his epic "Ellis Island: Ghosts of Freedom" project.

For the anniversary, has a slideshow "Faces of Ellis Island".

The Most Expensive Photo in the World

Christie’s, Andreas Gursky/Associated Press) - This 1999 photograph provided by Chrisitie’s shows the Rhine river by German artist Andreas Gursky. Titled “Rhein II,” the chromogenic color print face-mounted to acrylic glass was sold for $4.3 million Tuesday, Nov. 8, 2011, at Christie’s in New York City, setting a record for any photograph sold at auction.

Via BBC:

Glass-mounted panoramic colour print Rhein II, created in 1999, is one of an edition of six works.

Others hang at New York's Museum of Modern Art and London's Tate Modern.

It beat the previous record of $3.9m (£2.5m) achieved by an untitled 1981 colour print by Cindy Sherman, who is the subject of all her own works.

"The viewer is not invited to consider a specific place along the river but rather an almost 'platonic' ideal of the body of water as it navigates the landscape” -- Christies

Gursky's print had a pre-sale estimate of $2.5m-$3.5m (£1.6m-£2.2m).

Rhein II is the largest of the six photographs, which are produced in various sizes.

As well as in New York and London, other photographs in the edition are housed in Munich's Pinakothek der Moderne and Glenstone art museum in the US.

Gursky has spoken of "a particular place with a view over the Rhine which has somehow always fascinated me, but it didn't suffice for a picture as it basically constituted only part of a picture".

He said he "carried this idea for a picture around with me for a year-and-a-half".

"In the end I decided to digitalise the pictures and leave out the elements that bothered me," he added.

Christie's said the viewer was "not invited to consider a specific place along the river, but rather an almost 'platonic' ideal of the body of water as it navigates the landscape."

After last year's Fall aucton season, we posted "The just-completed Contemporary sales totaled over $1 BILLION dollars in sales (with Andy Warhol accounting for over $200 million alone); the Impressionist/Modern sales about another half - BILLION; and almost as an afterthought a Qianlong-dynasty vase sold for $85.9 MILLION dollars. The Fall photo auctions in New York brought in $16 million."

No matter how you look at it, the prices for the "masters" of photography are a fraction of the prices for the masters of art.  The reaction to the Gursky sale seems to be "Really? $4.3 Million for That Photo?"

Here are just a few reactions:

@jmcolberg many shocked tweets at Gursky's photo price tag. Would people be so shocked if it were a painting that sold for $4M? Difference?

Raw File is asking " Really? $4.3 Million for That Photo? Let us know what you think in the comments or tweet us @rawfileblog." So far, there are more than 80 comments.

Seattle Post Intelligencer:   Here’s the world’s most expensive (and boring?) photo
via The Atlantic Wire:  "Gursky's photo is also the reason you should have become an art broker, like yesterday", with comments.

Related: Wall Street Journal: "New Art Drives $1 Billion Fall Auctions"

Thursday, November 10, 2011

How will you remember?

Washington, DC, 2006
Eric Smith: Washington, DC, 2006

Remembering the wounded via Nina Berman: Purple Hearts

Need help, or someone to talk to? Real Warriors

J. Paul Getty Museum acquires seventy-two photographs by Andreas Feininger

Andreas Feininger, Stockholm (Shell sign at night), 1935. Gelatin silver print. 17.4 x 24.2 cm. © Estate of Gertrud E. Feininger. The J. Paul Getty Museum, Los Angeles, Gift of the Estate of Gertrud E. Feininger.


LOS ANGELES, CA.- The J. Paul Getty Museum announced the acquisition of 72 photographs by 20th century photographer Andreas Feininger (American, born Paris, 1906–1999). Son of the Expressionist painter, printmaker, caricaturist, and Bauhaus instructor Lyonel Feininger (American, 1871–1956), Andreas Feininger is best known for his work for LIFE magazine, which spanned 20 years, and his considerable work in nature photography.

The gift from the Andreas Feininger Estate represents a range of subjects from Feininger’s long photographic career, which spanned seven decades, and includes work made in Germany and Stockholm in the late 1920s and early 1930s, most notably several nude studies and experiments with printing techniques. The donation also includes examples from Feininger’s 1942 documentation of weapons factories for the U.S. Office of War Information, his views of New York in the 1940s and 1950s, and his nature photographs, including studies of shells and trees from the 1960s and 1970s. Prior to this acquisition, the Getty held thirteen photographs by Andreas Feininger, as well as 56 photographs by his younger brother Theodore, nicknamed T. Lux (American, born Germany, 1910–2011).

“We are very pleased to accept this gift from the Andreas Feininger Estate,” said Judith Keller, senior curator in the Getty Museum’s Department of Photographs. “His contributions to the art of photography are significant, and this gift enhances our collection of photographs from the Bauhaus, in particular those by his brother T. Lux, as well as our strong holdings of depictions of New York.”

Born in Paris in 1906 and raised in Berlin, Feininger did not live in the United States until the age of 33. He studied architecture in Weimar, where his family moved when his father was appointed to teach at the Bauhaus, Germany’s innovative school for design, art, and architecture. Feininger took up photography at this time, setting up a darkroom with T. Lux in the family residence when the Bauhaus moved from Weimar to Dessau in 1926. After a brief career in architecture, Feininger turned increasingly to photography, setting up a studio for architectural photography in Stockholm in 1934. He moved to New York City in 1939, and took at position with LIFE magazine, where he completed 430 assignments over the span of 20 years. After leaving LIFE in 1962, he dedicated himself to the documentation of nature, focusing on the interrelatedness of natural forms as well as the potential for photographs of nature to inspire environmental action. Throughout his career, Feininger also wrote numerous technical manuals and essays about photography

In 1966, the American Society of Media Photographers (ASMP) awarded Feininger its highest distinction, the Robert Leavitt Award, and in 1991 the International Center of Photography awarded Feininger the Infinity Lifetime Achievement Award.

Feininger’s photographs reside in several museum collections, including those of the Metropolitan Museum of Art and the Museum of Modern Art in New York, the George Eastman House in Rochester, New York, the National Gallery of Art in Washington, D.C., and the Victoria and Albert Museum in London.

Photographs by Lyonel and T. Lux Feininger, as well as those by other masters and students at the Bauhaus are included in the exhibition Lyonel Feininger: Photographs, 1928–1939, on view through March 11, 2012 at the Getty Center.

Wednesday, November 9, 2011

BBC Four explores the cultural legacy of 20th century America

America In Pictures


From Hopper to Hollywood, Mississippi mud pies to music, Steinbeck and more, controller of BBC Four Richard Klein has announced an ambitious America Season, a collection of thought-provoking programming for Autumn/Winter 2011 which will explore the rich cultural heritage of 20th-century America.

The season will feature a broad range of American culture across visual arts, music, movies, gastronomy, photography and popular culture.

Programming ranges from Andrew Graham-Dixon on the Art Of America to Melvyn Bragg on Steinbeck; Rankin on the photography of Life Magazine to Rick Stein on food and blues in Mississippi; and from a series looking at African-American music legends of the Eighties to a documentary on diners.

America In Pictures (1x60-minute)

Established in 1936, LIFE was an iconic weekly magazine that specialized in extraordinarily vivid photojournalism. Through America's most dynamic decades – the 40s, 50s and 60s – read by over half the country, the magazine's influence on American people was unparalleled.

No other magazine in the world held the photograph in such high esteem; LIFE allowed the pictures, not the words, to do the talking.

As a result, at LIFE, the photographer was king.

In this film, the UK's leading fashion photographer, Rankin, looks at the work of LIFE's legendary photographers, including distinguished photographers Bill Eppridge, John Shearer, John Loengard, Burk Uzzle and Harry Benson, who between them have shot the biggest moments in American history from the assassination of Robert F Kennedy, the Civil Rights struggle and Vietnam to behind the scenes at the Playboy mansion and the greatest names of Hollywood.

Rankin discovers these photographers pioneered new forms of photojournalism like embedding – living with their subjects for weeks – and the Photo Essay, enabling them reveal intimate and compelling aspects of ordinary American life too; like 'The Small Town' or the life of 'The Country Doctor'. Rankin concludes that LIFE not only tells the story of America in pictures, but also taught America how to be American.

Tuesday, November 8, 2011

Video Shows Oakland Police Shooting Photographer

 Via PDN Pulse:

Video Shows Oakland Police Shooting Photographer

Yesterday we posted a story suggesting that the police are under pressure to respect constitutional rights, now that so many people are photographing their activities (especially at protests.)

But along comes this video of an Oakland policeman shooting the photographer for no obvious reason. The photographer, identified by the San Jose Mercury News as Oakland resident Scott Campbell, was filming the line of riot police last Thursday from a distance of about 50 feet. The police had moved in after Occupy Oakland protesters had defaced a nearby building, but the scene photographed by Campbell appears mostly calm.

As Campbell walked parallel to the line of police, the camera’s audio recorder picks up his voice asking, “Is this OK?” After about 30 seconds, one of the police fires a non-lethal projectile at Campbell, hitting him. As he falls, he cries out in pain and then says, “He shot me!” before the video cuts off.

Read more here.

Via San Jose Mercury News:  Experts in police use of force shocked by Oakland video

Monday, November 7, 2011

Photographic Truths and Other Illusions

Image copyright: Henry Aragoncillo, 2008


"Photographic Truths and Other Illusions”
Society for Photographic Education
2011 SPE Southwest Regional Conference: November 11-13, 2011
School of Arts & Design, Santa Fe Community College
Santa Fe, New Mexico

Details and information here.

Sunday, November 6, 2011


Photo by David Marks

On Friday evening, Bill Eppridge, one of the most accomplished photojournalists of the Twentieth Century, presented an eyewitness account of some of the most significant moments in American history he has covered: wars, political campaigns, riots, civil rights murders, heroin addiction, the arrival of the Beatles in the United States, Vietnam, Woodstock, the summer and winter Olympics, and perhaps the most dramatic moment of his career - the assassination of Senator Robert Kennedy in Los Angeles.

After a brief blackout Saturday morning, Bill returned to the gallery to sign copies of his book "A Time It Was: Bobby Kennedy in the Sixties" and meet with gallery viewers of the current exhibition celebrating his 2011 Lucie Award for Achievement in Photojournalism.

We will be posting highlights of Bill's conversations here in the near future. The exhibition continues through November 20, 2011

YouTube: Robert Kennedy's Last Days in Pictures by Bill Eppridge

Friday, November 4, 2011

History, Lived and Documented

The Beatles at the Plaza Hotel, February 7, 1964.
The Beatles at the Plaza Hotel, February 7, 1964 Bill Eppridge

©The Albuquerue Journal North
on Fri, Nov 4, 2011

Ignorance of history, like many omissions, happens effortlessly and silently in the contemporary barrage of day-to-day life. The photojournalism of Bill Eppridge is a sobering reminder of the necessity of a common history to a civilized society. The Monroe Gallery is presenting three major Eppridge photo essays from the tumultuous ’60s when he was on assignment for Life magazine (1961-1972), plus a smattering of individual iconic images up to 2007.

One of the most striking aspects of Eppridge’s work is his impeccable instinct for orientation. Eppridge’s photographs bear witness to his ability for in capturing powerful images by constantly honing and adjusting his physical and ethical compass. He not only finds the right place to frame the uncertainties of life unfolding in front of him, but he does this by continually refining the right frame of mind. This holds true whether he might be hanging out of a helicopter with his editor holding onto his ankles, or “sticking with” the Beatles on their first 1964 American tour, or whether he could keep his bearings in the most extreme and devastating situation – Robert Kennedy’s assassination on June 5, 1968.

Bobby Kennedy’s extraordinary vitality and traumatic death were clearly defining experiences for Eppridge, who never accepted another political assignment after the senator’s death. His first assignment with Bobby Kennedy was in 1966 when the young politician was testing the waters for a presidential bid in 1968. During this grueling eight-month campaign Eppridge took thousands of photographs in both black-and-white and color, always “staying close” to the candidate every single day and night.

Robert F. Kennedy in front of a poster of his brother, Columbus, Ohio, 1968
Robert F. Kennedy in front of a poster of his brother, Columbus, Ohio, 1968
Bill Eppridge ©Time Inc.

The access, rawness and intimacy of Eppridge’s photos are hard to comprehend while immersed in today’s packaged news. As the photographer has noted, “The press is controlled in such a way today that you almost never see the real person you are photographing. You’re taking pictures of what their handlers want you to see.”

Everywhere Bobby Kennedy campaigned he insisted on a convertible to greet the eager crowds. Looking at his exposure and absence of security, the question arises: How could he do this after his brother John’s death in Dallas from a sniper while riding in a convertible? Yet, here are images of Bobby’s courage and enthusiasm for meeting his supporters. His hands and arms reach for them with an appetite as strong as theirs reaching for him. In a time when politicians demonstrate so much disdain for the average voter, these photographs are riveting proof of mutual openness, respect, even admiration.

The Kennedy campaign travels through the Watts section of Los Angeles on the last day before the primary, 1968
The Kennedy campaign travels through the Watts section of Los Angeles on the last day before the primary, 1968

For anyone who lived through the ’60s and the repeated blows of the assassinations of John Kennedy, Martin Luther King and Bobby Kennedy, their bankrupt slaughter still reverberates. Bobby was shot on the last night of his campaign, the evening he won the all-important California primary and when exhausted he left the press of the crowd by way of the Ambassador Hotel kitchen, where Sirhan Sirhan shot him and five others. Only 12 feet away, and almost certainly unhinged by the mayhem, Eppridge’s eye was steady and he remembers thinking: “You are not just a photojournalist; you’re a historian.” His photograph of the wounded senator is often described as a modern Pieta. It cannot be seen too often.

This is also true of Eppridge’s photo essay “Mississippi Burning: The James Chaney Funeral.” James Chaney was the one black civil-rights worker along with two young white civil rights workers who were kidnapped and murdered during “Freedom Summer” by the Ku Klux Klan on June 21, 1964. They were investigating the burning of Mt. Zion Methodist Church, a civil-rights training site. After an intense 44-day search, the bodies of Chaney, Andrew Goodman, and Michael Schwermer were found under 25 feet of dirt at a nearby earthen dam.

The dignity and sorrow that seep from Eppridge’s photos of the Chaney family bespeak wounds that can’t be healed. Suffused with an unflinching, upright gravitas, gallery viewers are noticeably stilled as they process through this deeply affecting black-and-white series: they whisper and stand taller. Not only is there the great graveside photo of Ben Chaney, the younger brother, shedding a tear in the embrace of his mother, there is an especially eerie photo of a troubled Ben looking straight at the camera, all alone with his grief in the middle of the image, bracketed by his parents and three sisters steeped in their own thoughts. Because of death threats, the Chaneys left Meridian, Miss., for New York City, and by 1969 Ben Chaney had joined the Black Panther Party. After 13 years in jail, he was paroled and has since established a foundation in his brother’s honor and worked as a legal clerk for former U.S. Attorney General Ramsey Clark, who secured his parole. As the gallery text notes, only one of the 10 men responsible for the murders was prosecuted and incarcerated by the state of Mississippi, and that was in 2005.

Mrs. Chaney and young Ben, James Chaney funeral, Meridian, Mississippi, 1964
Mrs. Chaney and young Ben, James Chaney funeral, Meridian, Mississippi, 1964
©Bill Eppridge

Eppridge has written eloquently about his craft and his art, including the unimaginable freedom his generation of photographers had to pursue truth during the 1960s golden era of photojournalism, inserting such anecdotes of a robust participant/observer as the perfect, unchoreographed ballet of a three-man CBS crew filming the Bobby Kennedy motorcade while in motion.

Looking back, the ’60s were terrible and wonderful, and certainly fulfilled the Chinese adage “May you all live in interesting times.” History is always in the making, but there aren’t always visual historians of Eppridge’s highly developed sensibilities to frame resonant and crucial junctures for posterity.

On Oct. 24, Bill Eppridge, born Guillermo Alfredo Eduardo Eppridge in Buenos Aires, Argentina, to American parents, was awarded the 2011 Lucie Award for Achievement in Photojournalism at Lincoln Center in New York. He is currently visiting Santa Fe and will be at the Monroe Gallery for a discussion of his work from 5 to 7 p.m. tonight.

If you go WHAT: Bill Eppridge
WHERE: Monroe Gallery of Photography, 112 Don Gaspar
WHEN: Through Nov. 20.
HOURS: 10 a.m.-6 p.m. Monday-Saturday and 10 a.m.-5 p.m. Sunday.
Gallery discussion with Bill Eppridge 5-7 p.m. tonight. Limited seating on a first-come, first-served basis.
CONTACT: 505-992-0800 or

Thursday, November 3, 2011


Paris Photo will celebrate its 15th anniversary at the Grand Palais — a major step ahead for the renowned international event.

117 galleries from some 23 countries will present the best of 19th century, modern and contemporary photography in the heart of the French capital. To complete this panorama of worldwide photography, a selection of 18 publishers will have a dedicated space in the fair.

Paris Photo will celebrate African photography from Bamako to Cape Town, unveiling the creative wealth of historic and contemporary African artists.

These exciting developments put forward the new energy that Paris Photo is displaying by reinventing itself. Four programmes will articulate Paris Photo's new identity: Institutions' recent photography acquisitions, the platfrom, Private Collection from Artur Walther, focus on the Photography Book and launching of the Paris Photo - Photo Book Prize.

>>> Buy your ticket online in advance and avoid waiting queue

Paris Photo website here.

Wednesday, November 2, 2011


Monroe Gallery of Photography, 112 Don Gaspar, is honored to welcome Bill Eppridge, recipient of the 2011 Lucie Award for Achievement in Photojournalism, to Santa Fe for a gallery discussion of his work. The discussion takes place on Friday, November 4, from 5 to 7 PM. Seating is limited and will be on a first-come basis.

Bill Eppridge is one of the most accomplished photojournalists of the Twentieth Century and has captured some of the most significant moments in American history: he has covered wars, political campaigns, heroin addiction, the arrival of the Beatles in the United States, Vietnam, Woodstock, the summer and winter Olympics, and perhaps the most dramatic moment of his career - the assassination of Senator Robert Kennedy in Los Angeles. Over the last 50 years, his work has appeared in numerous publications, including National Geographic, Life, and Sports Illustrated; and has been exhibited in museums throughout the world.

Currently on exhibition: many of Eppridge's most important photo essays, including The Beatles arrival in America, Mississippi Burning: The James Cheney Funeral, and The Robert F. Kennedy 1968 presidential campaign and assassination; continues through November 20, 2011.

Gallery hours are 10 to 5 every day, Monday through Sunday. Admission is free. For further information, please call: 505.992.0800; E-mail:

The Radical Camera: New York's Photo League, 1936-1951

The Photo League students take their camera anywhere . . . they want to tell us about New York and some of the people who live there . . . there was almost a sense of desperation in the desire to convey messages of sociological import.”
Beaumont Newhall, 1948

Via The Jewish Museum
In 1936 a group of young, idealistic photographers, most of them Jewish, first-generation Americans, formed an organization in Manhattan called the Photo League. Their solidarity centered on a belief in the expressive power of the documentary photograph and on a progressive alliance in the 1930s of socialist ideas and art. The Radical Camera presents the contested path of the documentary photograph during a tumultuous period that spanned the New Deal reforms of the Depression, World War II, and the Cold War.

Sid Grossman, Coney Island, c. 1947

Jerome Leibling: Butterfly Boy, New York, 1949
Jerome Liebling, Butterfly Boy,
New York
, 1949
Photographing the City
Members rejected the prevailing style of modernism in order to engage the gritty realities of urban life. Leaguers focused on New York, and this meant looking closely at ordinary people. That impulse spurred the group to explore neighborhoods, street by street, camera at the ready.

The League and Its Legacy
A unique complex of school, darkroom, gallery, and salon, the League was also a place where you learned about yourself. One of its leading members was Sid Grossman who pushed students to discover not only the meaning of their work but also their relationship to it. This transformative approach was one of the League’s most innovative and influential contributions to the medium. By its demise in 1951, the League had propelled documentary photography from factual images to more challenging ones--from bearing witness to questioning one’s own bearings in the world.

Mason Klein
Curator, The Jewish Museum, New York

Catherine Evans
Curator, Columbus Museum of Art, Ohio

Jack Manning: Elks Parade, Harlem, 1938Jack Manning (American, 1920-2001)
Elks Parade, 1939, from Harlem Document, 1936–40
Gelatin silver print
10 1/16 x 13 in. (25.6 x 33 cm)
The Jewish Museum, New York
Purchase: Horace W. Goldsmith Foundation Fund, 2008-95
© Estate of Jack Manning

Sid Grossman (American, 1913-1955)
Coney Island, c. 1947
Gelatin silver print
9 3/8 x 7 7/8 in. (23.8 x 20 cm)
The Jewish Museum, New York
Purchase: The Paul Strand Trust for the benefit of Virginia Stevens Gift, 2008-62
© Howard Greenberg Gallery, NYC

Jerome Liebling (American, 1924-2011)
Butterfly Boy, New York, 1949
Gelatin silver print
9 1/2 x 9 1/2 in. (24.1 x 24.1 cm)
The Jewish Museum, New York
Purchase: Mimi and Barry J. Alperin Fund, 2008-90

The Radical Camera: New York's Photo League, 1936-1951 has been organized by The Jewish Museum, New York and the Columbus Museum of Art, Ohio.

The exhibition is made possible by a major grant from the Phillip and Edith Leonian Foundation, with generous support from the National Endowment for the Arts and Betsy Karel.
National Endowment for the Arts

The exhibit opens November 4, and runs through March 25, 2012 and will then travel to the Columbus Museum of Art, the Contemporary Jewish Museum in San Francisco, and the Norton Museum of Art in West Palm Beach, Florida.

See related article here

Tuesday, November 1, 2011

Palace of the Governors Photo Archives Wins Award for Excellence

Palace of the Governors Photo Archives Wins the Edgar L. Hewett Award for Excellence

 New MexicoAssociation of Museums to present the honor on Nov. 4

Santa Fe—Citing its many resources and online accessibility, the New Mexico Association of Museums will bestow its Edgar L. Hewett Award for Excellence on the Palace of the Governors Photo Archives at its annual business meeting in Farmington on Friday, Nov. 4.

“The staff of the Photo Archives has worked diligently to make the state’s visual record readily available to people in any part of the state and even the world,” said Dr. Frances Levine, director of the New Mexico History Museum/Palace of the Governors. “These resources will prove especially valuable as we prepare to enter our Centennial year as a state. We’re honored by this award.”

The History Museum as a whole received the Hewett Award in 2009, the year it opened on a campus that includes the Palace of the Governors, Photo Archives, Fray Angélico Chávez History Library, Palace Press, and Native American Artisans Program. The award is named for the first director of the Museum of New Mexico, Edgar Lee Hewett, who led the agency from 1909 until his death in 1946. He also taught anthropology at the University of New Mexico and was instrumental in encouraging the development of small museums throughout the state.

“The Palace of the Governors Photo Archives is a rich and tenured resource in our state that promotes preservation and scholarship through a unique collection of historic photographs, films, glass plate negatives, photo postcards, and other visual imagery,” said Laurie Rufe, president of NMAM and director of the Roswell Museum and Art Center. “Recipients of this award illustrate exemplary leadership in the field, and the Palace of the Governors Photo Archives, with its multitude of resources and online presence, serves a community of scholars, authors, researchers, and the general public on an international level.”

The archives hold an estimated 800,000 items dating from 1843 to 2011. Included among them are historic photographic prints, cased photographs, glass plate negatives, film negatives, stereographs, photo postcards, panoramas, color transparencies, lantern slides, and more than 1,500 books on photography. More than 16,000 images have been digitized and can be keyword-searched by clicking here. Other images can be searched in person. Nearly all are available as high-quality digital scans and prints, for editorial reproduction, and use in advertising, publishing, media projects, and TV news media stories at nominal cost.

Research into what the archives already hold is ongoing. Just last year, Archivist Daniel Kosharek discovered a rare, ca. 1870s photograph of famed Navajo war chief Manuelito. The image, now on display in the History Museum, was among photographs, glass-plate negatives and other photographic ephemera in the archives’ Henry T. Hiester/Melander Brothers Collection. Most recently, staff and volunteers have been processing and digitizing 5,000 early 20th-century images of Santa Fe and northern New Mexico taken by Jesse Nusbaum.

Some of the most important 19th- and 20th-century photographers of the West are represented in the Photo Archives’ collections, and the subject matter spans the history and people of New Mexico, anthropology, archaeology, and ethnology of Hispanic and Native American cultures. Smaller collections document Europe, Latin America, the Far East, Oceana, and the Middle East.

The archives are widely used by researchers, authors, publications and the public. More than 1,000 people visit the archives each year to conduct research, and several thousand more submit direct research queries, photograph orders, and permission requests each year from the website.

The collection continues to expand, and long-range preservation and conservation projects are underway. To inquire about donating historical or contemporary photographs, contact Daniel Kosharek, Palace of the Governors Photo Archives, 120 Washington Ave., Santa Fe, NM 87501; (505) 476.5092; or

Image above: "Hispanic family, New Mexico," 1949, by Anacleto (Tito) G. Apodaca. From the Tito Apodaca "Mi Gente" Collection, Palace of the Governors Photo Archives, #142320.

Media contact: Kate Nelson, Public Relations and Marketing
 New Mexico History Museum/Palace of the Governors
 (505) 476-1141; (505) 554-5722 (cell)

The New Mexico History Museum is the newest addition to a campus that includes the Palace of the Governors, the oldest continuously occupied public building in the United States; Fray Angélico Chávez History Library; Palace of the Governors Photo Archives; the Press at the Palace of the Governors; and the Native American Artisans Program. Located at 113 Lincoln Ave., in Santa Fe, NM, it is a division of the Department of Cultural Affairs.