Thursday, February 29, 2024

Greenwich Historical Society Exhibit Features 6 Women Photographers Whose Iconic Images for LIFE Magazine Helped Create Modern Journalism



Via Greenwich Free Press
February 29, 2024


Six pioneering women whose photographs for LIFE magazine skillfully captured events on a quickly evolving world stage will be the subject of Greenwich Historical Society’s new exhibition to debut March 6. These photographers enabled the public “to see life; to see the world; to eyewitness great events,” as described by LIFE magazine founder and editor-in-chief Henry Luce.



black and white photograph of Billy Eckstine being adored by female fans,New York, 1949


Martha Holmes, photograph from “Mr. B.,” LIFE, April 24, 1950 © LIFE Picture Collection, Dotdash Meredith Corp. Martha Holmes began photographing for LIFE in 1944. On view in the exhibition are Holmes’s 1950 photographs of mixed-race singer Billy Eckstine, including one of Eckstine being embraced by a white fan—a provocative image that Holmes felt was one of her best because she felt that it “told just what the world should be like.” Henry Luce supported this opinion.


LIFE: Six Women Photographers features iconic images from these talented women who helped create modern photojournalism through their work as featured in the pages of LIFE magazine.

On view through July 7, 2024, the exhibition presents more than 70 photographs by Margaret Bourke-White (1904-1971), Marie Hansen (1918-1969), Martha Holmes (1923-2006), Lisa Larsen (ca. 1925-1959), Nina Leen (ca. 1909-1995) and Hansel Mieth (1909-1998).

“We are thrilled to showcase the works of these talented photographers who were on the vanguard of a transformative change in how twentieth-century Americans received and understood global cultural and political events,” said Maggie Dimock, curator of exhibitions and collections at Greenwich Historical Society.

“This insightful exhibition offers a glimpse into how each of these remarkable women used their camera to capture topics that dominated American discourse through the last century, including U.S. industrial strength, the role of women and the family in modern American society, race relations, World War II, labor movements and the Cold War.”

A long-time Greenwich resident, Henry Luce (1898 – 1967) was convinced that American political, economic, and cultural power would, and should, dominate the era and that photojournalism, or “photo essays” as he coined them, could effectively shape America as an international power, inspiring its people, in his words, “to live and work and fight with vigor and enthusiasm.”

For decades, Americans saw the world through the lens of the photographers at LIFE, and the magazine’s innovative photo essays became the publication’s trademark.

Of the 101 photographers on staff at LIFE during the magazine’s run as a weekly, only six full-time photographers were women. LIFE: Six Women Photographers highlights the work of these photographers while providing insight into the process through which they worked with editors to create visual stories, through the inclusion of photographs, vintage prints, copy prints and contact sheets. Published and unpublished photographs along with select memos, correspondence and other items from Time Inc. records show the editing process behind the final, published stories.

“The topic will provide fascinating historical context to the enormous changes underway today in media,” said Greenwich Historical Society Executive Director and CEO Debra Mecky. “And it will enable us to further our mission to strengthen the community’s connection to our past, to each other and to our future. Henry Luce was a Greenwich resident during the time he was arguably the most influential media figure in the twentieth century and one of the country’s most prominent citizens.”

LIFE: Six Women Photographers has been organized by the New-York Historical Society. The exhibition is curated by Marilyn Satin Kushner, curator and head, Department of Prints, Photographs, and Architectural Collections; and Sarah Gordon, curatorial scholar in women’s history, Center for Women’s History; with Erin Levitsky, Ryerson University; and William J. Simmons, Andrew Mellon Foundation Pre-Doctoral Fellow, Center for Women’s History. The New-York Historical Society holds the research archive of Time Inc., which was acquired by the Meredith Corporation (now Dotdash Meredith Corp.) in 2018.

A series of lectures, workshops and discussions, film screenings and other activity related to the exhibition will be presented by Greenwich Historical Society throughout the duration of the exhibition, beginning with two in March:

Women of Photos and Letters: Margaret Bourke-White, Clare Booth Luce and Annie Leibovitz
Thursday, March 14 from 6:00 – 7:00 pm


In honor of Women’s History Month, Louisa Iacurci of the Connecticut Women’s Hall of Fame will explore the inspiring histories of Hall of Fame inductees whose work and lives are intertwined with social advocacy and journalistic activism, including photographers Margaret Bourke-White and Annie Leibovitz and writer, journalist and politician Clare Booth Luce.

LIFE: Six Women Photographers: A Lecture with Curator Marilyn Satin Kushner

Thursday, March 21 from 6:00 – 7:00 pm

In an illustrated lecture, Dr. Marilyn Satin Kushner, Curator and Head of the Department of Prints, Photographs, and Architectural Collections at New-York Historical Society, will expand on the curatorial process for LIFE: Six Women Photographers.

The full program schedule is available online: https://greenwichhistory.org/life-six-women-photographers/


Guided Gallery Tours:
Tours will be offered on select Sundays through June, from 1:00 – 1:30pm. Free with admission, participants will enjoy an in-depth docent-led discussion of LIFE: Six Women Photographers, that shares insightful interpretation of the photographs on view, and a modern perspective to understanding the complex social backdrop in which they would have originally been seen by magazine readers.

Dates: March 10, 24; April 7, 21; May 5, 19; June 2, 16, 30.

For more information: https://greenwichhistory.org/event/guided-gallery-tour/.

Woman and 2 childrenin fron of roadside sign "Entering New Deal Speed limit 25 mph", Montana, for LIFE magazine in 1936

Margaret Bourke-White, photograph from “Franklin Roosevelt’s Wild West,” LIFE, November 23, 1936 © LIFE Picture Collection, Dotdash Meredith Corp. Margaret Bourke-White became one of the first four staff photographers at LIFE in 1936.

This exhibition has been generously supported by Joyce B. Cowin, with additional support from Sara Lee Schupf, Jerry Speyer, Robert A.M. Stern and Northern Trust.

Support for this exhibition at the Greenwich Historical Society has been generously provided by Josie Merck and annual donors to the Greenwich Historic Trust.


 

Tuesday, February 27, 2024

Upcoming Exhibition at Montclair Art Museum: Ed Kashi - Abandoned Moments

 

Montclair Art Museum logo graphic letters MAM

Via Montclair Art Museum

Ed Kashi: Abandoned Moments

MARCH 22-MAY 19, 2024

For Ed Kashi, the abandoned moment is the consequence of a fractional instant of surrender. The photographs in this exhibition, made over a 40-year period across four continents and in both black and white and color, reveal glimpses of transitory events filled with frenetic energy–the chaos of everyday life. Embodying photography’s intrinsic power, they preserve moments that can never occur again in exactly the same time and space. In these photographs, geometry, mood, and possibility unite to create something new and magical, capturing the untamed energy of a moment with abandon. 


PREVIEW THE EXHIBITION

black and white photograph of 2 women in white head coverings and white dresses leaving a building in Armenia, Columbia

ARMENIA, COLOMBIA, 1981, From Ed Kashi Abandoned Moments. Archival pigment print, 20 x 24 in. Photograph courtesy of the artist.

Ed Kashi is a renowned photojournalist, filmmaker, speaker, and educator who has been making images and telling stories for 40 years. His restless creativity has continually placed him at the forefront of new approaches to visual storytelling. Dedicated to documenting the social and political issues that define our times, a sensitive eye and an intimate and compassionate relationship with his subjects are signatures of his intense and unsparing work. As a member of VII Photo, Kashi has been recognized for his complex imagery and its compelling rendering of the human condition.

Along with numerous journalism and photography awards and commissions, Kashi’s images have been published and exhibited worldwide. His photographs are in the collections of a number of major museums, including the George Eastman House, the International Center of Photography, the Museum of the City of New York, The Museum of Fine Arts Houston, and the New Orleans Museum of Art. His editorial assignments and personal projects have generated fourteen books.

Kashi is also a noted teacher, running photography workshops and master classes across the world. He will be offering a master workshop through the Yard School of Art beginning on April 7.

This exhibition, consisting of 29 photographs, is organized by MAM’s Executive Director, Ira Wagner. 


Plan your visit

3 South Mountain Avenue

Montclair, New Jersey 07042-1747

Sunday, February 25, 2024

60 Years Ago Today, February 25, 1964: Muhammad Ali (Cassius Clay) Shocked the World

 


Forthcoming exhibition: 1964

April 19 - June 23, 2024

The most pivotal year of the 1960s, arguably, is 1964. That’s the year American culture fractured and eventually split along ideological lines — old vs. young; hip vs. square; poor vs. rich; liberal vs. conservative — establishing the poles of societal debate that are still raging today.


Thursday, February 22, 2024

Tony Vaccaro American Icons Exhibition Program: In Conversation with Agapita Judy Lopez on Georgia O’Keeffe

 Via Taliesin West



IN CONVERSATION – Agapita Judy Lopez on Georgia O’Keeffe

March 7, 2024


American Icons exhibit graphic with black and white head photographs of Frank Lloyd Wright and Gerogia O'Keeffe



American Icons: Frank Lloyd Wright and Georgia O’Keeffe explores the similarities and differences between two American masters, born in Wisconsin, who found homes in the Desert Southwest, as captured through the lens of photographer Tony Vaccaro. Join us as Agapita “Pita” Judy Lopez discusses her time as working at Georgia O’Keeffe’s home Abiquiú as O’Keeffe’s secretary and companion, and her close relationship with Ms. O’Keeffe.

*Please note that this program grants guests access only to the program location. To see more of our property, please consider adding a tour to your program.

Time:
6:00 p.m. – 7:00 p.m.
Cabaret Theatre

Price:
Adults $35
Students (13-25 with student ID) $24
Members $31.50

Frank Lloyd Wright Foundation Members receive discounts on Cultural Programs, have access to special Member-Only programs, and more. Learn about Membership here.


Meet Our Presenter

Agapita “Pita” Lopez began working with American artist Georgia O’Keeffe in 1974, and became her personal secretary in 1978 until her death on March 6, 1986. A third generation employee, her grandfather and mother also worked for O’Keeffe as has her maternal grandmother, father, brothers, and sister. In 1986, Pita continued working with the O’Keeffe Estate, and then The Georgia O’Keeffe Foundation as Secretary. She served as the Foundation’s Executive Director from 1999 to 2006. Currently, Projects Director of the O’Keeffe properties at Abiquiu and Ghost Ranch, she oversees the maintenance and preservation of both houses and the seasonal tours offered at the Abiquiu home and studio. She co-authored a book on the houses with Barbara Buhler Lynes, Curator of the Georgia O’Keeffe Museum released by Abrams in the fall of 2012. With her brother, Belarmino Lopez, received a Lifetime Achievement Award from the New Mexico Historic Preservation Division.

Thursday, February 15, 2024

Tony Vaccaro exhibit "American Icons" in The NY Times 36 Hours in Phoenix

 Via The New York Times

February 15, 2024


36 Hours in Phoenix


To delve deeper into Wright’s local legacy, drive about half an hour into the Scottsdale desert to Taliesin West, his secluded, light-filled winter home and workspace set on almost 500 acres in the foothills of the McDowell Mountains. Snoop around his desk, where casually strewn are his 1956 blueprints for the first floor of the Solomon R. Guggenheim Museum in that unmistakable nautilus spiral. Also see the onsite “American Icons” exhibition (through June 3) — a look at the parallel and intersecting lives of Wright and the artist Georgia O’Keeffe, who were born 60 miles apart, met once, corresponded for years, and were chronicled separately by the same photographer (Tony Vaccaro). Book an hourlong self-guided audio tour, from $39, (first start time, 11:20 a.m). There are also 90-minute guided tours, from $49 (first start time, 10:40 a.m.).

Tuesday, February 13, 2024

Open House Reception for "The Movies"

 





Please join us on Saturday, February 17 from 4-6 pm as we roll out the red carpet for the new exhibition "The Movies". 

Free and open to the public.

Preview the exhibition here.

Saturday, February 10, 2024

Refractions: A Conversation with Mark Peterson

 Via B & H Photo

Tuesday, Feb. 13, 2024 1:00pm - 2:00pm ET


On this episode of Refractions, Stephen Mallon is joined by photographer, Mark Peterson.



Refractions are live videocasts hosted by award-winning photographer and filmmaker Stephen Mallon. Conversations will be with a select group of guests discussing creativity, imagery, business, fine art, and light! Curators discuss working with new and established artists. Photographers talking about their careers. Festival directors sharing what challenges face them. Directors will talk about all aspects of filmmaking. Photo editors will discuss the changing world of editorial and what they need from today’s assignment shooters. The mostly one-on-one conversations will have a diverse group of image makers and the people that work with them.





Mark Peterson is a photographer based in New York City. His work has been published in New York Times Magazine, New York Magazine, Fortune Magazine, Time Magazine, Geo Magazine and other national and international publications. In 2018 he was awarded the W. Eugene Smith grant for his work on White Nationalism. He is the author of Acts Of Charity published by Powerhouse in 2004 and Political Theatre which was published by Steidl in the fall of 2016. In the Fall of 2023 Steidl will publish his new book The Fourth Wall. The National Gallery Of Art in Washington DC has collected one of his images from the January 6th insurrection. See his guest opinion essay in today's NY Times: 


Stephen Mallon
Stephen Mallon is a photographer and filmmaker who specializes in the industrial-scale creations of mankind at unusual moments of their life cycles. 

Mallon’s work blurs the line between documentary and fine art, revealing the industrial landscape to be unnatural, desolate and functional yet simultaneously also human, surprising and inspiring. It has been featured in publications and by broadcasters including Smithsonian Magazine, The New York Times, National Geographic, NBC, The Wall Street Journal, The Daily Mail, MSNBC, PBS, GQ, CBS, the London Times and Vanity Fair. Mallon has exhibited in cities including Miami, Los Angeles, Philadelphia, St. Louis and New York, as well as in England and Italy. 

Stephen’s project following the MTA’a artificial reef project where over 2000 subway cars were placed in the Atlantic was shown at The New York Transit Museum’s Grand Central Terminal Gallery. Over 60,000 people experienced the exhibition and was featured by Gothamist, Artnet, Yahoo, Fox News, and numerous other outlets. 

As David Schonauer wrote in Pro Photo Daily, “Mallon’s word harkens back to the heroic industrial landscapes of Margaret Bourke-White and Charles Sheeler, who glorified American steel and found art in its industrial muscle and smoke during the Great Depression.” He has also been compared to photographers including Edward Burtynsky, Thomas Struth and Chris Jordan. 

Mallon served as a board member of the New York chapter of the American Society of Media Photographers from 2002 until 2020 and served as president from 2006 to 2009. He is represented by Front Room Gallery in New York.

Friday, February 9, 2024

60 Years Ago Today: The Beatles on Ed Sullivan




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

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

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

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

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

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

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

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


Related: Bill Eppridge: 1964 The Beatles and Their Cameras
 

Tuesday, February 6, 2024

Resilience - stories of women inspiring change: Alexandria, Egypt

 Via World Press Photo Foundation

February 6, 2024


color photograph of arms outstretched above water of a swim instructor in Xanzibar
Anna Boyiazis: Swim instructor Chema, 17, snaps her fingers as she disappears underwater in Nungwi, Zanzibar, 2016


Resilience - stories of women inspiring change: Alexandria, Egypt featuring Gallery photographer Anna Boyiazis

01 February 2024 to  21 February 2024



The World Press Photo Foundation, the Kingdom of the Netherlands present a selection of stories, awarded in the annual World Press Photo Contest from 2000 to 2021, that highlight the resilience and challenges of women, girls and communities around the world.

Gender equality and justice is a fundamental human right critical in supporting cohesive societies. Yet women around the world face deeply entrenched inequality and remain underrepresented in political and economic roles. Worldwide in 2021, women represented just 26.1% of some 35,500 parliament seats, only 22.6% of over 3,400 ministers, and 27% of all managerial positions. Violence against women prevails as a serious global health and protection issue. An estimated one in three women will experience physical or sexual abuse in her lifetime.


This joint exhibition conveys the commitment of the Netherlands to women’s rights and gender equality and justice. Multiple voices, documented by 17 photographers of 13 different nationalities, offer insights into issues including sexism, gender-based violence, reproductive rights, and access to equal opportunities. The selection of stories explores how women and gender issues have evolved in the 21st century and how photojournalism has developed in the ways of portraying them.


See a selection of the stories and photographs on display.




Event information
Location
IFE (Institut français d'Egypte à Alexandrie)
30 Nabi Daniel street, Al Attarin Sharq,
Al Attarin, Alexandria


Visiting hours
Monday to Thursday : 9.00 - 21.00
Friday and Saturday: 10.00 - 20.00
Sunday : 9.00 - 21.00


Tickets
Free

Thursday, February 1, 2024

"The arrest, detention and bogus charges against journalist Brandi Morin launched by the Edmonton police should concern everyone."

Via The Toronto Star

February 1, 2024

 What charges against journalist Brandi Morin mean for Canadian democracy

Trends show a clear sign that Canada is allowing tendencies of an oppressive state where law enforcement’s action cannot be documented by independent journalists and instead they are slapped with bogus charges.

By Kiran Nazish, Contributor

The arrest, detention and bogus charges against journalist Brandi Morin launched by the Edmonton police should concern everyone. On Jan. 10, Morin was interviewing indigenous elders and people inside an encampment in Edmonton for Ricochet media, when the police raid on indigenous encampments began.


Despite showing her credentials Morin was arrested, detained and kept in a cell at the police station for hours and charged with obstruction. Later Morin told me, an officer told her he had heard of her and knew her work.

The events Morin experienced that day was not only an escalation of police encounter for a journalist doing her job, but also what seems to be a carefully thought through intervention to the press’s ability to have access when the police is using force on citizens. Is it reasonable that after the police saw Morin's press credentials and the condemnations of her arrest — which were all over social media while she had been in the police station — that the police had a reason to believe that she was "obstructing?"

Charging a journalist covering a public issue that impacts hundreds of thousands of Canadians lacks foresight and sincerity on many levels, but most importantly smells of maleficence. This is a deliberate charge to intimidate journalists covering important stories that bring vital insight into some of the most concerning and sensitive issues impacting Canadians lives today.

This is not the first time law enforcement in Canada has gotten in the way of journalistic work.

At Women Press Freedom, a New York-based advocacy group focused on press freedom and gender globally, we observe authorities impeding journalists to be an ongoing issue and unfortunately a growing trend in Canada.

Since 2019, according to Women Press Freedom, almost 70 Canadian women journalists have been intimated or harassed for doing their work: 39 of these incidents include smear campaigns and online harassment, 16 press freedom violations including assaults while on the job, and 17 of these have been violations and impediments conducted by law enforcement including police and RCMP. These numbers only reflect attacks on the press for women journalists and do not cover the overall picture, which is much more bleak.

In 2016, journalist Justin Brake was criminally charged for his coverage of an occupation by Innu and Inuit land protectors of a construction site for Muskrat Falls, a controversial $12-billion hydroelectric project in Newfoundland and Labrador. In 2021, Ian Wilms was arrested while covering a similar raid of homeless encampment. The same year journalist Amber Bracken and Micheal Toledano were arrested by RCMP while reporting on the escalating situation at Gidimt’en camp in Wet’suwet’en territory. During Fairy Creek several journalists were intimidated, harassed and impeded from reporting on the protests.

The arrest, detention and bogus charges against journalist Brandi Morin launched by the Edmonton police should concern everyone. On Jan. 10, Morin was interviewing indigenous elders and people inside an encampment in Edmonton for Ricochet media, when the police raid on indigenous encampments began. 

Despite showing her credentials Morin was arrested, detained and kept in a cell at the police station for hours and charged with obstruction. Later Morin told me, an officer told her he had heard of her and knew her work.

The events Morin experienced that day was not only an escalation of police encounter for a journalist doing her job, but also what seems to be a carefully thought through intervention to the press’s ability to have access when the police is using force on citizens. Is it reasonable that after the police saw Morin's press credentials and the condemnations of her arrest — which were all over social media while she had been in the police station — that the police had a reason to believe that she was "obstructing?" 

Charging a journalist covering a public issue that impacts hundreds of thousands of Canadians lacks foresight and sincerity on many levels, but most importantly smells of maleficence. This is a deliberate charge to intimidate journalists covering important stories that bring vital insight into some of the most concerning and sensitive issues impacting Canadians lives today. 

This is not the first time law enforcement in Canada has gotten in the way of journalistic work. 

At Women Press Freedom, a New York-based advocacy group focused on press freedom and gender globally, we observe authorities impeding journalists to be an ongoing issue and unfortunately a growing trend in Canada. 

Since 2019, according to Women Press Freedom, almost 70 Canadian women journalists have been intimated or harassed for doing their work: 39 of these incidents include smear campaigns and online harassment, 16 press freedom violations including assaults while on the job, and 17 of these have been violations and impediments conducted by law enforcement including police and RCMP. These numbers only reflect attacks on the press for women journalists and do not cover the overall picture, which is much more bleak. 

In 2016, journalist Justin Brake was criminally charged for his coverage of an occupation by Innu and Inuit land protectors of a construction site for Muskrat Falls, a controversial $12-billion hydroelectric project in Newfoundland and Labrador. In 2021, Ian Wilms was arrested while covering a similar raid of homeless encampment. The same year journalist Amber Bracken and Micheal Toledano were arrested by RCMP while reporting on the escalating situation at Gidimt’en camp in Wet’suwet’en territory. During Fairy Creek several journalists were intimidated, harassed and impeded from reporting on the protests. 

When it comes to police intimidation, impediment or arrests, we notice a consistent thread: number of journalists covering Indigenous stories and climate change-related stories dominate the chart. Brandi Morin has been targeted by RCMP and police on multiple occasions in the past few years, and in all these cases she was covering issues that impact lives of Indigenous Peoples.

These trends show a clear sign that Canada is allowing tendencies of an oppressive state where law enforcement’s action cannot be documented by independent journalists and instead they are slapped with bogus charges. These are clear intimidations, and if a reformation of these police actions are not called for now, it would harm other institutions in the country widely.

This calls for attention for all Canadian leadership, particularly those who care about this country’s democratic values. There is an urgent need for steps that ensure the police and law enforcement comply with the laws of democracy, in which journalists are not obstructed but respected and supported. 

Morin was just doing her job. It is time that the Edmonton Police takes inspiration from that and do their job by respecting freedom of the press and dropping charges against her. 


Kiran Nazish is the founding director of the New York-based Women Press Freedom and the Coalition For Women In Journalism.