Thursday, July 9, 2020

Gallery Photographer Ryan Vizzions Work Included in Magnetic West: The Enduring Allure of the American West at Figge Museum

Via The Figge Museum

Organized by the Figge Art Museum, Magnetic West features over 150 photographs by some of the most renowned photographers of the 19th and 20th centuries. Picturing the west as a metaphor for promise and peril, the exhibition explores issues of identity, implications of living in a changing landscape, and the centrality of Native and immigrant communities to the essential dynamism of the region. Including images made by artists from the U.S. and abroad, the exhibition expands the dialogue of how our view of the west has evolved from the 19th century to today.

Assembled from many public and private collections, the exhibition includes important works by Robert Adams, Edward Burtynsky, Laura Gilpin, Zig Jackson, Elaine Mayes, Chandra McCormick, Cara Romero, Wendy Red Star, Victoria Sambunaris, Ryan Vizzions, Carleton Watkins, Wim Wenders and many others.  The exhibition will also appear at the Sioux City Art Center, Sioux City, Iowa October 24, 2020 to January 17, 2021.  A catalogue will be published in conjunction with the exhibition.

The exhibition features two of Ryan Vizzions iconic images from the NODAPL protest at Standing Rock. Please contact Monroe Gallery for print information.

“Defend The Sacred”: Standing Rock, Cannon Ball, North Dakota, 2016

Last Child Camp: Protesters face off with police and the National Guard on February 1, 2017,
 near Cannon Ball, North Dakota.

Monday, July 6, 2020

Monroe Gallery of Photography presents two exhibitions in the gallery concurrent with on-line viewing

Monroe Gallery of Photography presents two exhibitions in the gallery concurrent with on-line viewing at The exhibits are on view July 3 through September 13, 2020; the Gallery is open to the public with Covid-19 safe operating procedures. Private viewing appointments are available by reservation. 

Ryan Vizzions: : A church flooded by Hurricane Florence stands silently in its reflection
 in Burgaw, North Carolina, 2018


“Life on Earth” is a survey of 20th and 21st Century environmental and climate issues documented by photojournalists. Our world is changing faster – and in more ways – than we could have ever imagined. With social and economic disruption on a scale rarely seen since the end of World War II 75 years ago, the Covid-19 pandemic is also forcing us to completely rethink the notion of ‘business as usual’
The Earth’s climate is changing faster-and in more ways-than we previously imagined. This exhibit of climate related images hopes to promote awareness and motivate advocacy for the health of our planet. A narrated tour is available on our YouTube channel.

Tony Vaccaro: GThe Pink  Balcony, Puerto Rico, 1951


“Grit and Red Wine” is special exhibition of photographs by Tony Vaccaro which includes several new discoveries from his archive being exhibited for the very first time. Tony Vaccaro, now 97, is one of the few people alive who can claim to have survived the Battle of Normandy and COVID-19.  Tony was drafted into WWII, in June of 1944 he was on a boat heading toward Omaha Beach, fighting the enemy while also photographing his experience at great risk. After the war, Tony remained in Germany to photograph the rebuilding of the country for Stars And Stripes magazine. Returning to the US in 1950, Tony started his career as a commercial photographer, eventually working for virtually every major publication: Look, Life, Harper’s Bazaar, Town and Country, Newsweek, and many more. Tony went on to become one the most sought after photographers of his day. Tony attributes his longevity to “blind luck, red wine” and determination.

“To me, the greatest thing that you can do is challenge the world. And most of these challenges I win. That’s what keeps me going.” –Tony Vaccaro, May, 2020

Friday, June 26, 2020

Tony Vaccaro LIVE Saturday June 27 at the Virtual Collect and Connect Fair

Kiss of Liberation: Sergeant Gene Costanzo kneels to kiss a little girl during spontaneous celebrations in the main square of the town of St. Briac, France, August 14, 1944

Join us Saturday at 12 noon Pacific time for a live talk with the legendary Tony Vaccaro.

We are proud to represent Tony's vast archive and are exhibiting a selection of his photographs during the Virtual Collect and Connect fair hosted by photo la.

Tickets available here.

Tony Vaccaro, currently 97,  is one of the few people alive who can claim to have survived the Battle of Normandy and COVID-19. Tony Vaccaro survived WWII, fighting the enemy while also documenting his experience at great risk. Post war, he started his career as an editorial and commercial photographer and went on to become one the most celebrated photographers of his day.

Tuesday, June 16, 2020

Visit Us During Virtual Collect and Connect June 27-28

Monroe Gallery of Photography is pleased to exhibit at the Photo LA Virtual Collect and Connect Fair.

Join us online June 27th - 28th for our first-ever virtual photo fair. Photo LA has reimagined the traditional fair space to digitally connect galleries and private dealers, collectors, photographers and enthusiasts from around the globe.

No longer confined to four walls, the virtual photo fair will play host to over forty exhibitors via interactive, 3D booths accessed via the Whova app and on the photo l.a. website 

Monroe Gallery will exhibit an exciting range of classic and contemporary photojournalism. We will have live virtual meet the photographer events with Tony Vaccaro and Ryan Vizzions, including Q&A with your questions about their work and careers.

Full details can be found here. We hope to see you in our virtual booth!

UPDATE: We are pleased to have a limited # of FREE passes, first come, first served!

STEP 1. RSVP required: To claim VIP access to Collect+Connect, you must RSVP via photo l.a. Eventbrite page. 

STEP 2. Access virtual Collect+Connect through WHOVA app on June 27-28:
Follow Whova app download and access instructions in your Eventbrite confirmation email

Monday, June 1, 2020

NY Times Obituary: John Loengard, Life Photographer and Chronicler, Dies at 85

He shot compelling portraits of the Beatles, Georgia O’Keeffe and many others. He also celebrated photography, and Life magazine, in several books.

By Richard Sandomir
May 31, 2020

The longtime Life magazine photographer and photo editor John Loengard, as captured by his Life colleague Alfred Eisenstaedt in an undated photo. In 2005, American Photo magazine ranked Mr. Loengard 80th among the 100 most important people in photography  .Credit...Alfred Eisenstaedt/The LIFE Picture Collection, via Getty Images

When Life magazine sent John Loengard to Miami to photograph the Beatles in February 1964, he had a quirky idea: Pose them in a swimming pool, as a Fab Four of bobbing heads. But on a very chilly day, he could find only an unheated pool.

The Beatles were reluctant to take the dip, but their manager, Brian Epstein, urged them in, citing Life’s importance. “It was very, very cold, and they were turning blue, so after a minute or two we let them get out,” Mr. Loengard told The Guardian in 2005.

The picture caught John, Paul, George and Ringo smiling and singing in the water during their introduction to the United States. To Mr. Loengard, it was his most American picture in 11 years as one of Life’s leading photographers.

Mr. Loengard considered this 1964 shot of the Beatles (clockwise from back: George Harrison, Ringo Starr, John Lennon and Paul McCartney) his most American picture in 11 years as one of Life’s leading photographers.Credit...John Loengard

Mr. Loengard died on May 24 at his home in Manhattan. He was 85. His daughter Anna Loengard said the cause was heart failure.

From around age 11, when his father got him his first camera, a Kodak Brownie, Mr. Loengard (pronounced LOW-en-guard) understood that there was magic in photography, that images caught inside a box could endure forever.

At Life, where words were subservient to pictures, Mr. Loengard extended that magic and became one of the magazine’s most influential photographers, following in the path of Alfred Eisenstaedt, Margaret Bourke-White and W. Eugene Smith.

Working almost exclusively in black and white, Mr. Loengard photographed stars like Judy Garland and Jayne Mansfield, and heads of state like President John F. Kennedy, walking in Frankfurt with German officials in 1963, and Queen Elizabeth II on a trip to Ethiopia in 1965.

He captured Louis Armstrong spreading balm over his chapped lips. He created a portrait of grief in Myrlie Evers’s comforting of her 9-year-old son, Darrell, at the funeral in 1963 of her husband, the civil rights leader Medgar Evers, who had been murdered. He caught the poet Allen Ginsberg nearly hidden by a veil of cigarette smoke, its wisps seeming to extend from his hair.

In 1966 and 1967, Mr. Loengard went to New Mexico to photograph the modernist painter Georgia O’Keeffe. He did not want to depict her as other photographers had, among them her husband, Alfred Stieglitz, and Yousuf Karsh. He serendipitously found a new way to portray her when she told him about killing rattlesnakes on her property with a stick.

“As we were having lunch, she pulled out from the sideboard boxes of the rattles that she’d collected,” he recalled in “Life Photographers: What They Saw” (1998), a collection of 43 interviews he conducted (and one that someone else conducted of him). “I figured O’Keeffe would like to be known to the readers of Life magazine as a killer. I asked if I might take pictures at the table.

“‘Certainly,’ she said. “I photographed her hand moving the rattles around one of the little boxes, with a wooden match.”

The O’Keeffe photos, some of which appeared in Life, were included in a book, “Georgia O’Keeffe/John Loengard: Paintings and Photographs,” published in 2006.

Publishers Weekly said the side-by-side presentations of Ms. O’Keeffe’s paintings and Mr. Loengard’s photographs afforded “a rich viewing experience that elevates appreciation of both.”

After Life stopped publishing weekly in 1972, Mr. Loengard stayed at its parent company, Time Inc., with its magazine development group; he helped start People magazine in 1974 and served as picture editor for special editions of Life and of a monthly version of Life that began in 1978. He left in 1987 to freelance for various publications, including Life and People, and for corporate reports.

John Borg Loengard was born on Sept. 5, 1934, in Manhattan. His father, Richard, was an engineer and the president of United Chromium; his mother, Margery (Borg) Loengard, was a homemaker.

With his Brownie, young John took pictures of his family and friends and of local landmarks. With his father’s help, he developed his pictures in the bathroom.

“I’ve been hooked ever since,” he told Rfotofolio, a photography website, in 2016.

He took pictures for his high school newspaper. And while attending Harvard University, where he earned a bachelor’s degree in American history, he got his first assignment from Life, to photograph a tanker that had gone aground on Cape Cod.

The pictures never ran, but he got more assignments. He was hired by the magazine in 1961.

At Carnegie Hall that year, he took a dramatic photo of Judy Garland as she bent over to touch the hands of audience members. All eyes were riveted on her, including those of one man who seemed rapturous. It is an emotional picture, but Mr. Loengard said it was not a good one.

“I fudged details and relied only on strong form,” like her back and head and the open mouth of her ecstatic fan, he wrote in “As I See It” (2005), a retrospective of his work. “The camera’s veracity was not needed.” It might as well have been a painting, he added.

After leaving Life, Mr. Loengard became as renowned for his books as for his photography. He wrote about his own work in “Pictures Under Discussion” (1987) and “Moment by Moment” (2016); commented on evocative Life pictures of human expression in “Faces” (1991); paid homage to the photographic process in “Celebrating the Negative” (1994); and compiled his portraits of Annie Leibovitz, Richard Avedon, Henri Cartier-Bresson and other photographers in “Age of Silver: Encounters With Great Photographers” (2011).

When American Photo magazine ranked him 80th among the 100 most important people in photography in 2005, it described him as a “wonderful photographer” who had “turned his intimate knowledge and passion for Life into a remarkable career as a writer.”

In addition to his daughter Anna, Mr. Loengard is survived by another daughter, Jenna Loengard; his son, Charles; three grandchildren; and two step-grandchildren. His marriage to Eleanor Sturgis ended in divorce.

One of Mr. Loengard’s photographic heroes was Mr. Cartier-Bresson, the master of street photography, who had done his best for many years to avoid having anyone photograph him.

When Mr. Loengard asked him to pose for pictures that would accompany a Museum of Modern Art exhibition of his early work, Mr. Cartier-Bresson asked, “Can you take all the pictures from behind?”

No, he said, he could not.

“I felt the most important thing was to nail him down, as quickly as possible — get that face — and then he started taking pictures of me, and he went click-click,” Mr. Loengard said on the PBS show “Charlie Rose” in 2011, “and I had a motor on my camera, so I went ‘zeep-zeep,’ and we sounded like two insects getting interested in each other.

“He thought this was amusing, and he giggled.”

Tuesday, May 26, 2020

Bob Gomel : Eyewitness - When history was made, he was there

Via Bob Gomel Eyewitness

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

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

David said, “The history Bob witnessed is important. So are the effort and creativity necessary to make extraordinary images of these historic moments. Many of the images are made even more powerful by Bob’s perspective on how they were created.”

David convinced Bob to reflect on his work for LIFE magazine in the 1960s and his subsequent career. Over dinner one evening, the Scarbroughs proposed making a documentary of Bob’s career. Bob said, “David offered a compelling idea to consider. After a few days, I said, ‘Let’s do it.’”

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

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

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

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

Ray Macland, the LIFE Picture Editor in 1960, hired a group of young photographers he dubbed “The Young Lions”. There were 5 of us - 

Farrell Grehan, Ken Hyman, Bill Ray, John Loengard & myself.

"With John Loengard's passing on May 24, 2020, that leaves just me."

Monday, May 25, 2020

John Loengard 1934 - 2020

John Loengard: Brassai's Eye, Paris, 1981

LIFE magazine photographer John Loengard passed away May 24 in New York City at age 86.
John 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 College. 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 his guidance in 1986, LIFE received the first award for "Excellence in Photography" given by the American Society of Magazine Editors.
 After LIFE magazine suspended weekly publication in 1972, Loengard joined Time Incorporated’s Magazine Development Group as the picture editor of LIFE Special Reports. He was also picture editor of People magazine during its conception in 1973 and the first three months of its publication in 1974
In 2005, American Photo magazine identified Loengard as “One of the 100 most influential people in photography,” and in 2018 he was inducted into the International Photography Hall of Fame.
In 1996, Loengard received a Lifetime Achievement Award "in recognition of his multifaceted contributions to photojournalism," from Photographic Administrators Inc.

Loengard authored ten 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 ten top books for 1998 by the New York Times

John Loengard: Henry Moore's 'Sheep Piece", 1983

John Loengard: Georgia O'Keeffe with basket, 1966


Friday, May 15, 2020

Covid-19 Safe Operating Procedures

Monroe Gallery of Photography will reopen effective May 18, 2020 under state-mandated guidelines to ensure the safest gallery visit possible with your cooperation. The gallery will limit the number of visitors to approximately 10 people at a time. In accordance with mandated health guidelines face masks are required and visitors must maintain social distancing of at least 6 feet. The Gallery will be regularly cleaned and viewers will have a completely touch-free viewing of the exhibitions. The Gallery will provide hand sanitizer and all sales transactions will be contact-free.

In addition, we will be offering private access to the gallery for 30 minutes by reservation. You may optionally bring one additional guest to your private visit. Please reserve your private viewing request via email. All requests for private viewing will receive confirmation within 24 hours. Private appointments will have priority over our public access times.

These procedures may change at any time based on updated guidance from the state. We appreciate your patience as we all navigate this new situation. We extend our concern and gratitude to our community, near and far.

--Sidney and Michelle Monroe

Friday, May 8, 2020

Tony Vaccaro on VE Day - 'We Just Did Our Bit:' WWII Vets Recall War 75 Years Later

Photo by Maria Vaccaro

Via the New York Times
May 8, 2020

LONDON — Seventy-five years after World War II ended in Europe,
The Associated Press spoke to veterans who endured mortal danger,
oppression and fear. As they mark Victory in Europe Day on
 Friday, they also are dealing with loneliness brought on by the
coronavirus pandemic. Here is some of their testimony.


Tony Vaccaro is one of the few people alive who can claim to
 have survived the Battle of Normandy and COVID-19.

He was dealt a bad hand early, as his mother died during
childbirth a few years before tuberculosis claimed his father.
 By age 5, he was an orphan in Italy, enduring beatings from
an uncle. By World War II he was an American G.I.

Now, at age 97, he is recovering from COVID-19. He attributes
his longevity to “blind luck, red wine” and determination.

To me, the greatest thing that you can do is challenge the world,”
 he said. “And most of these challenges I win. That’s what keeps
me going.”

Vaccaro’s grit carried him into a lifetime of photography that
began as a combat infantryman when he stowed a camera and
captured close to 8,000 photographs.

One of his famous images,
Kiss of Liberation,” showed a U.S. sergeant kissing a French 
girl at the end of Nazi occupation.

Vaccaro documented the reconstruction of Europe and
returned to the U.S. where he worked for magazines
such as Look and Life and has fond memories of
photographing celebrities including Sophia Loren, J
ohn. F. Kennedy, Georgia O’Keefe and Pablo Picasso.

Vaccaro lives in Queens, the New York City borough ravaged
by the coronavirus, and next to his family.

He might have caught the virus in April from his son or in
their neighborhood, his daughter-in-law Maria said. He was in
the hospital two days and spent another week recovering.

“That was it,” she said. “He’s walking around like nothing happened.”

Sunday, May 3, 2020

Current Exhibition On-Line: LIFE: Defining Photography

We are unable to present our scheduled exhibitions in person. In this difficult time of social distancing, as a very small measure, we hope viewing our exhibits, current and past, on our website brings you enjoyment

The Albuquerque Journal
April 26, 2020

Life through the lens: Online exhibition showcases iconic imagery from the acclaimed magazine

"Mickey Mantle Having a Bad Day at Yankee Stadium, New York, 1965” by John Dominis/Life Picture Collection (Courtesy of Monroe Gallery)

Santa Fe’s Monroe Gallery of Photography is affirming that legacy while giving a nod to social distancing with the online exhibition “Life: Defining Photography” on view at

The Santa Fe New Mexican
May 1, 2020

The exhibition LIFE: Defining Photography includes work by Bill Ray, Alfred Eisenstaedt, and Margaret Bourke-White.

LIFE at Monroe

Bill Ray, Marilyn Monroe singing “Happy Birthday” to President John F. Kennedy, Madison Square Garden, New York, May 19, 1962 (1962), gelatin silver print

Monday, April 13, 2020

Send your greeting to Tony Vaccaro

UPDATE April 26, 2020 - Tony has recovered fromCovid-19 and is doing well, Thank you for your kind messages that helped Tony through his illness!

Tony Vaccaro survived World War II, fighting the enemy while also documenting his experience at great risk. After the war, Tony went on to become one the most sought after photographers of his day.  In recent years there has been a career renaissance for Tony with exhibits world-wide.  In addition to his beautiful family Tony’s great love has been meeting and sharing his work with you.

Having been isolated from both family and friends for his safety during the Covid-19 crisis, Tony’s spirit is suffering. Please take a moment to record a message or short video for Tony to let him know that he is important to you.

Send it to us and we will forward to our dear friend Tony:
by email
Card or letter: c/o Monroe Gallery of Photography, 112 Don Gaspar Ave, Santa Fe, NM 87501

Thank you.

Monday, March 30, 2020

Announcing Our YouTube Channel

We are pleased to announce our YouTube Channel. Watch for new videos in the coming days and weeks.

As a very small measure, we hope viewing our videos brings you enjoyment during this difficult time. You may also view our exhibits, current and past, on our website.

Wednesday, March 25, 2020


Ryan Vizzions: Protesters face off with police and the National Guard on February 1, 2017, 
near Cannon Ball, North Dakota.

Via Earth Justice

MARCH 25, 2020

Washington, D.C. — A federal court today granted a request by the Standing Rock Sioux Tribe to strike down federal permits for the controversial Dakota Access Pipeline.

The Court found the U.S. Army Corps of Engineers violated the National Environmental Policy Act when it affirmed federal permits for the pipeline originally issued in 2016. Specifically, the Court found significant unresolved concerns about the potential impacts of oil spills and the likelihood that one could take place.

For example, the Court criticized the Corps for failing to address the Standing Rock Sioux Tribe’s expert criticism of its analysis, citing issues like potential worst case discharge, the difficulty of detecting slow leaks, and responding to spills in winter. Similarly, the Court observed that DAPL’s parent company’s abysmal safety record “does not inspire confidence,” finding that it should have been considered more closely.

The Court ordered the Corps to prepare a full environmental impact statement on the pipeline, something that the Tribe has sought from the beginning of this controversy. The Court asked the parties to submit additional briefing on the question of whether to shut down the pipeline in the interim.

“After years of commitment to defending our water and earth, we welcome this news of a significant legal win,” said Standing Rock Sioux Tribe Chairman Mike Faith. “It’s humbling to see how actions we took four years ago to defend our ancestral homeland continue to inspire national conversations about how our choices ultimately affect this planet. Perhaps in the wake of this court ruling the federal government will begin to catch on, too, starting by actually listening to us when we voice our concerns.”

“This validates everything the Tribe has been saying all along about the risk of oil spills to the people of Standing Rock,” said Earthjustice attorney Jan Hasselman. “The Obama administration had it right when it moved to deny the permits in 2016, and this is the second time the Court has ruled that the government ran afoul of environmental laws when it permitted this pipeline. We will continue to see this through until DAPL has finally been shut down.”

In December of 2016, the Obama administration denied permits for DAPL to cross the Missouri River, and ordered a full environmental impact statement to analyze alternative pipeline routes and impacts on the Tribe’s treaty rights. Yet on his second day in office, Trump reversed that order, directing that permits be issued. Pipeline construction was completed by June of 2017.

The Standing Rock Sioux Tribe challenged the permits in court and won. The Court ruled then that the environmental analysis had been insufficient because it failed to account for consequences facing the Tribe, and ordered the U.S. Army Corps of Engineers to redo it. However, the judge declined to shut down the pipeline in the interim.

The Army Corps then redid its environmental analysis, but essentially shut the Tribe out of the review process, and concluded that its previous analysis had been sufficient and that nothing needed to change. In response, Earthjustice and the Tribe went back to court. In a motion for summary judgment filed last August, the Tribe asked the Court to shut down the pipeline and order the Corps to conduct a full environmental analysis.

The massive 2016 gathering of Tribes and allies defending Standing Rock Sioux territory from DAPL captured the world’s attention and attracted international media coverage. It helped give rise to a global movement of indigenous resistance to fossil-fuel infrastructure projects.

Sunday, March 15, 2020

UPDATED : Monroe Gallery Temporarily Closed

May 18 - 2020
The Gallery has reopened with modified Covid-19 Safety precautions

March 18, 2020

The health and safety of our community, patrons, and colleagues is of the utmost importance to us and in light of the New Mexico state government’s public health guidance, and to be responsible to our community by preventing unnecessary spread of Covid-19, the Gallery is currently closed. We are working remotely and are available by email and appointment.

Thank you for your understanding and support in these difficult times.
Updated information will be posted here and on our social media feeds.

Thank you.

Sid and Michelle Monroe

Wednesday, March 11, 2020

Monroe Gallery on Paris Photo New York Fair Postponement and COVID-19

March 11,2020

Today Paris Photo New York released the following statement concerning the scheduled first edition of the fair April 1-5, 2020:

"Paris, 10 March 2020 – After careful consideration and comprehensive discussions with galleries and partners, the inaugural edition of Paris Photo New York, organized by Reed Expositions France, will be postponed to a later date due to the growing concerns over public health and safety and the developing COVID-19 situation. A new date will be announced as soon as possible.  

Reed Expositions France, the Show Management of Paris Photo New York, together with AIPAD, Show Committee members, and the Selection Committee made the difficult decision in consultation with all stakeholders and in alignment with the advice from the US public health authorities regarding travel to and from impacted countries.  The Show Management takes the concerns of its exhibitors and supporters seriously and is convinced that the postponement is in the best interest of galleries, collectors and art enthusiasts alike.

Michel Filzi, President of Reed Expositions France, said: “With 178 exhibitors confirmed, this first edition has had an overwhelming welcome from the photo art galleries and editors. We were all very excited to launch this first edition of Paris Photo New York in March, and to build another bridge in the art scene between our two continents. However, the health and well-being of exhibitors, visitors, sponsors, media representatives, cultural institutions and our employees from around the globe is and will always be our first priority. We have therefore made the decision to postpone the Paris Photo New York event to a later date.”

“We fully understand and appreciate the level of planning that is required to participate in an event like ours.  Reed Expositions France will therefore be doing our utmost to help all our customers and their partners to prepare for the upcoming edition. On behalf of all of the Reed Exhibition teams, we truly thank all those involved for their trust, their hard work to date as well as their continued encouragement and support during this challenging time,” said Michel Filzi."


The health and safety of our community, patrons, and colleagues is of the utmost importance to us. Amid growing travel concerns surrounding COVID-19, we want to assure you we are taking preventive measures to keep our gallery safe and maintain a healthy environment. We are currently attempting to maintain normal business hours but recommend calling for the latest information. 

We are continuously making decisions on how the latest health mandates impact our daily operations. For the most up-to-date information on our exhibits and events, visit our website

Saturday, March 7, 2020

International Acclaim For the Exhibition "Ida Wyman: Life with a camera"

Ida Wyman: Man looking in wastebasket, Coney Island, New York, 1945

Today, March 7, would have been Ida Wyman's 94th birthday. The daughter of Jewish immigrants from Eastern Europe, Ida Wyman was born March 7, 1926 in Malden, Massachusetts. The family soon moved to New York, where her parents ran a small grocery store in the Bronx. Her parents bought her a box camera when she was 14, and she joined the camera club at Walton High School, honing her skills at taking and printing pictures. By the time Wyman was 16, she know that she wanted to work as a photographer.

Opportunities then were few for women photographers, but in 1943 Wyman joined Acme Newspictures as a mail room ‘boy’; pulling prints and captioning them for clients.

When the war ended, Acme's only female printer was fired so a man could have her job. Wyman set out on her own to begin free-lance work for magazines, and her first photo story was published in LOOK magazine the same year. By 1948 she was in Los Angeles, working on assignments for LIFE magazine. She would eventually cover over 100 assignments for LIFE.

For the next several years, Wyman covered assignments for LIFE, Fortune, Saturday Evening Post, Parade, and many other leading publications of the time. Ida Wyman passed away in July, 2019. Although not as famous as some of her contemporaries, Ida was one of the defining artists of early street photography that helped shape how we look at our world.

HUCK Magazine

The unsung photographer of the 20th century: Celebrating Ida Wyman

The Daily Mail

Ida Wyman: Life with a camera continues through April 19, and selection from the exhibit will be on view in our booth #A1 during Paris Photo New York Presented by AIPAD at Pier 94 in New York, April 2-5.

Monday, February 24, 2020

Exhibition examines Life Magazine's innovative role in shaping 20th-century photography

Via ArtDaily

Robert Capa, Hungarian, 1913–1954, Normandy Invasion on D-Day, Soldier Advancing through Surf,  1944. Gelatin silver print. Museum of Fine Arts, Boston, The Howard Greenberg Collection—Museum purchase with funds donated by the Phillip Leonian and Edith Rosenbaum Leonian Charitable Trust. Robert Capa © International Center of Photography. Photograph Courtesy Museum of Fine Arts, Boston.

PRINCETON, NJ.- From its groundbreaking launch issue in 1936 through the conclusion of its weekly run in 1972, Life magazine profoundly shaped how its readers viewed themselves – and the world. Life also had a transformative impact on the development of modern photography and on the artists and photojournalists who have employed the medium to tell their (and our) stories ever since. Drawing on unprecedented access to Life magazine’s picture and paper archives, Life Magazine and the Power of Photography features more than 150 objects, including an array of archival materials such as caption files, contact sheets and shooting scripts to provide new insights on the collaborative processes behind the magazine’s now-iconic images and photo essays. Unlike previous projects that have celebrated Life’s imagery and photographers, this exhibition and its extensive publication attempts something entirely different: an exploration of how Life’s contributors and staff championed and influenced photography through sophisticated visual storytelling.

Life Magazine and the Power of Photography is co-curated by Katherine A. Bussard, Peter C. Bunnell curator of photography at the Princeton University Art Museum; Kristen Gresh, Estrellita and Yousuf Karsh senior curator of photographs at the Museum of Fine Arts, Boston; and Alissa Schapiro, Ph.D. candidate in art history at Northwestern University. It premiered in Princeton Feb. 22-June 21, 2020, before traveling to the Museum of Fine Arts, Boston, Aug. 19-Dec. 13, 2020.

The organizers are the first museums to be granted complete access to the Life Picture Collection and among the first to delve deeply into the newly available Time Inc. Records Archive at the New-York Historical Society.

“The global reach, connective storytelling and visionary photo-essays of Life magazine substantially reshaped how Americans understood the role of photography in the 20th century,” notes James Steward, Nancy A. Nasher–David J. Haemisegger, Class of 1976, director, “and we are delighted to bring this to life through this exhibition.”

From the period of the Great Depression to the Vietnam War, the vast majority of the photographs printed and viewed in the United States appeared on the pages of illustrated magazines, including the photography showcased in Life magazine. During its 36-year run as a weekly (1936-72), Life became one of the most widely read and influential magazines of all time. At the height of its circulation, the magazine boasted 8.5 million weekly subscribers, and consistently reached approximately 25 percent of Americans. In the words of Life’s founder, Henry R. Luce, Life proposed “to scour the world for the best pictures of every kind; to edit them with a feeling for visual form, for history and for drama; and to publish them on fine paper, every week, for a dime.”

The work of photographers such as Margaret Bourke-White, Larry Burrows, Robert Capa, Henri Cartier-Bresson, Alfred Eisenstaedt, Charles Moore, Gordon Parks and W. Eugene Smith will be explored in the exhibition in the context of the magazine’s complex and highly collaborative creative and editorial processes. In addition, the exhibition explores the ways in which Life promoted a predominately white, middle-class perspective on politics and culture that reinforced the geopolitical prominence of the United States.

The accompanying 336-page catalogue, published by the Princeton University Art Museum and distributed by Yale University Press, examines Life’s groundbreaking role in mid-20th-century American culture and the history of photography by considering the complexity of the magazine’s image-making and publishing enterprise. The book includes essays and contributions by the curators and 22 additional scholars of art history, American studies, history and communication studies. 


Monroe Gallery was pleased to contribute several prints to the exhibitions, and will feature its own exhibition of LIFE magazine photographers April 24 - June 21, 2020

Saturday, February 15, 2020

Ida Wyman at Monroe Gallery of Photography

The Santa Fe New Mexican
Friday, February 14, 2020

       Ida Wyman, Boy with Inner Tube, Santa Monica, California (1949), gelatin silver print

Monroe Gallery of Photography, 112 Don Gaspar Ave., 505-992-0800,

Although her evocative images of everyday life have graced the pages of magazines such as Life, Business Week, Parade, and Fortune, Ida Wyman never achieved the fame afforded to her contemporaries. Now recognized for the quality of her street art, Wyman, who died in July, gets the recognition she deserves with her first posthumous retrospective at Monroe. The daughter of Jewish immigrants, she grew up in Massachusetts and New York and, at 16, was determined to become a photographer. At a time when there were few opportunities for female photographers in the United States, Wyman worked as a freelancer, garnering hundreds of assignments. Her work is known for its humanism and slice-of-life depictions of America at mid-century. The show, Ida Wyman: Life with a Camera, opens with a 5 p.m. reception on Friday, Feb. 14 (through April 12).

Friday, January 24, 2020

Monroe Gallery at the 2020 Photo LA Fair

We are pleased to again be exhibiting at the longest-running international photography fair on the West Coast, the Photo LA Fair. This year the fair takes place January 30 – February 2, at The Barker Hangar, 3021 Airport Ave, Santa Monica. Monroe Gallery will be located in booth #A02, just to the right of the main fair entrance.

The gallery will be exhibiting a selection from the just-concluded acclaimed exhibit “La Dolce Vita” that celebrated Tony Vaccaro’s 97th birthday alongside photographs by Ida Wyman (1926–2019), whose work for Life, Look, and other magazines went unrecognized for decades. A special exhibit will showcase work of the new wave of fearless frontline photojournalists that are covering 21st-century events.

The fair will feature photography from more than 60 local and international galleries and dealers, but will also welcome collectives, leading not-for-profits, art schools, and global booksellers. Moreover, the fair will present renowned lectures, panel discussions, special installations, and docent tours.
The Private Vernissage will take place on Thursday, January 30th, from 4 to 6 p.m, while the Opening Night Preview will be held from 6 to 9 p.m. The doors of the fair will be open to the public from 11 a.m. to 8 p.m. on Friday and Saturday and from 10 a.m. to 4 p.m. on Sunday.

Tickets and more information can be found here.

Saturday, January 18, 2020

Bill Ray shot some of the most iconic celebrity images of the 20th Century

It is with great sadness that we announce the death of famed LIFE magazine photographer Bill Ray.

Via the NY Post
By Isabel Vincent
January 18, 2020

Marilyn Monroe singing "Happy Birthday” to President John F. Kennedy at 
Madison Square Garden in May 1962

When Private Elvis Presley shipped out of the Brooklyn Navy Yard on his way to his military tour of duty in West Germany in September 1958, the US Army’s brass band played “Hound Dog” to honor the King of Rock and Roll.

“And the captains and the majors helped him with his bags!” said Bill Ray, the former LIFE Magazine photographer who captured the moment.

Ray, who died earlier this month at his home on the Upper West Side, shot some of the most iconic celebrity images of the 20th century.

There is his photograph of a sultry Marilyn Monroe in a shimmering, nude-colored dress, its plunging bare back accentuating her curves as she sang a breathy rendition of “Happy Birthday” to President John F. Kennedy at Madison Square Garden in May 1962. Three months after Ray shot the picture on stage from behind the movie star, the troubled sex symbol would be dead of an overdose. Kennedy was assassinated a year after that, and the famous dress, designed by Hollywood costume designer Jean Louis, sold at auction a few years ago for nearly $5 million.

Ray, who worked for LIFE in Los Angeles, Paris and Beverly Hills, shot The Beatles when they first arrived in Los Angeles in 1964, partied with Roman Polanski and his wife Sharon Tate a year before the pregnant actress was brutally murdered by Charles Manson in 1969. He was a regular presence on hundreds of Hollywood movie sets, photographing Elizabeth Taylor, Brigitte Bardot and Natalie Wood, among others.

“Steve McQueen once told me that he had to have sex five times a day,” said Ray about the “Bullitt” star at a 2009 presentation of his greatest work at the Coffee House Club in midtown, where he had been a member for more than 50 years. “I was too stunned to ask Steve what happens if you don’t.”

William Ray was born in Shelby, Nebraska, a windswept village of 626 about two hours west of Omaha. Ray was the youngest of four children of a prosperous lumber merchant and his artist wife. He developed such a passion for photography that by the time he was 11, he was already a member of the Omaha Camera Club and had his own professional darkroom at home. He got his first staff job as a 17-year-old at the Lincoln Star Journal newspaper.

“The city editor had a smoke and hired me on the spot,” he said.

After a photographic workshop in Hannibal, Missouri, where he impressed the faculty with a series of photographs about the local barbershop, Ray was hired by LIFE magazine and sent to New York in 1957.

“I wanted to live in New York City since I saw Fred [Astaire] dance with Ginger [Rogers] in Central Park,” he said.

For years, Ray and Marlys Ray, his wife of nearly 62 years, lived in a sprawling apartment across from Central Park where he was a regular on the tennis courts and an avid bird watcher. On January 8, the couple took a long walk in the park, feeding a few cardinals along the way, “and, best of all, saw the rising nearly full moon with a kiss (one of our silly rituals),” said Marlys Ray, a partner in her husband’s photo business.

“It was his best day in a long time.”

Ray died hours later of a heart attack. He was 83.