tag:blogger.com,1999:blog-70446932546400309062024-03-18T05:00:31.189-06:00Monroe Gallery of PhotographyMonroe Gallery of Photography specializes in 20th- and 21st-century photojournalism and humanist imagery—images that are embedded in our collective consciousness and which form a shared visual heritage for human society. They set social and political changes in motion, transforming the way we live and think—in a shared medium that is a singular intersectionality of art and journalism.
— Sidney and Michelle MonroeMonroe Gallery of Photographyhttp://www.blogger.com/profile/10356126678908452012noreply@blogger.comBlogger1700125tag:blogger.com,1999:blog-7044693254640030906.post-30323647962707745192024-03-18T05:00:00.003-06:002024-03-18T05:00:00.129-06:00Monroe Gallery Announces Representation of Mark Peterson<p> Monday, March 18, 2024</p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigV1aomdQK1fBs-Guo10ak7yCLRzVNTLd1UROCHAr3KorqgM6PJP6kVsSH1ddqE7hm9rk8p3HGsixwfn7ISk8bq1ZreEJWgXkgafAzfX0CDkhdu5CuMoGB-MSbXnqnZa1IjHr-2ghO9XPsRtKjji0eD6NTPF4jJjbhXSA6ZMFyKwp9hAeybyHeAmEgB9pQ/s800/thumb_mp-capitolriot031.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img alt="black and white photograph of the US Capitol and American flag reflected in a puddle of water on the ground, Washington, DC, January 3, 2021" border="0" data-original-height="533" data-original-width="800" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigV1aomdQK1fBs-Guo10ak7yCLRzVNTLd1UROCHAr3KorqgM6PJP6kVsSH1ddqE7hm9rk8p3HGsixwfn7ISk8bq1ZreEJWgXkgafAzfX0CDkhdu5CuMoGB-MSbXnqnZa1IjHr-2ghO9XPsRtKjji0eD6NTPF4jJjbhXSA6ZMFyKwp9hAeybyHeAmEgB9pQ/w400-h266/thumb_mp-capitolriot031.jpg" title="Mark Peterson: The Capitol's reflection, January 3, Washington, DC, 2021" width="400" /></a></div><div style="text-align: center;"><a data-cke-saved-href="https://www.monroegallery.com/gallery/artists/peterson" href="https://www.monroegallery.com/gallery/artists/peterson">Mark Peterson: </a>The Capitol's reflection, January 3, Washington, DC, 2021</div><p><br /></p><p></p><p class="MsoNormal" style="text-align: justify;">Santa Fe, NM - <a href="https://www.monroegallery.com/">Monroe Gallery of Photography</a> is
honored to announce exclusive representation of acclaimed photographer Mark
Peterson for fine art print sales.<o:p></o:p></p>
<p class="MsoNormal" style="text-align: justify;">Mark Peterson is a photographer
based in New York City. His work has been published in the New York Times
Magazine, New York Magazine, The New Yorker, Time, Fortune, National
Geographic, Geo Magazine and other national and international publications. In
2018 he was awarded the W. Eugene Smith grant for his work on White
Nationalism. His many awards include a first place Feature Picture Story in the
Pictures of the Year International Competition. Peterson’s work has been
featured in numerous exhibitions including his pictures of lowriders shown in
“Museums Are Worlds” at the Louvre in 2012. <o:p></o:p></p>
<p class="MsoNormal" style="text-align: justify;">He is the author of two books:
Acts Of Charity published by Powerhouse in 2004 and Political Theatre,
published by Steidl in the fall of 2016. His work is collected in several
museums including The National Gallery of Art in Washington DC and the Museum
Of Fine Arts, Houston. In 2024 Steidl will publish his book The Fourth Wall. <o:p></o:p></p>
<p class="MsoNormal" style="text-align: justify;">Although often not beautiful, or
easy, Peterson’s images shake and disquiet us; and once seen are etched in our
memories forever. <span style="mso-spacerun: yes;"> </span>“I like a lot of chaos
in my pictures. I do like to be close to the action. It gives me a feeling of
what is happening. I want to pull back the curtain and show these politicians
as they really are.”<o:p></o:p></p>
<p class="MsoNormal" style="text-align: justify;">Monroe Gallery will exhibit <a href="https://www.monroegallery.com/gallery/artists/peterson">several examples
of Peterson’s work</a> at the 2024 Photography Show presented by AIPAD in booth
#A52, April 25 – 28, 2024 at The Park Avenue Armory in New York City. On
Thursday, March 21st at 7pm Eastern, The Griffin Museum hosts Mark Peterson for
an on-line conversation about his creative path, his pull to politics and what
it takes to frame his vision as part of the museum’s current focus on power and
perception, democracy and how we see and envision our elected leaders.<o:p></o:p></p><br /><p></p>Monroe Gallery of Photographyhttp://www.blogger.com/profile/10356126678908452012noreply@blogger.com0tag:blogger.com,1999:blog-7044693254640030906.post-67042592004953421902024-03-17T04:00:00.001-06:002024-03-17T04:00:00.134-06:00Mark Peterson | Political Theatre Artist Talk<p><a href="https://griffinmuseum.org/event/politicaltheatre_artisttalk/" target="_blank"> Via The Griffin Museum</a></p><p><br /></p><p>"Over the past ten years I have been photographing the presidential candidates as they lead rallies, meet with voters and plead for their votes. I started just before the government shutdown in 2013 at a tea party rally at the U.S. Capitol. Politicians railed against the president and the Affordable Care Act — a show to get a sound bite into the next news cycle."--<a href="https://www.monroegallery.com/gallery/artists/peterson" target="_blank">Mark Peterson</a></p><p><b>March 21 @ 7:00 pm – 8:30 pm</b></p><p>As part of our current focus on power and perception, democracy and how we see and envision our elected leaders, we are pleased to present the work of Mark Peterson. His stark portrayal of the power players in Washington DC is unique in its vision and we can’t wait to see and hear more about how he gets the images that his lens finds and holds in our collective memory.</p><p><br /></p>Join us ONLINE on Thursday March 21st at 7pm Eastern / 4pm Pacific in the Griffin Zoom Room for a conversation with Mark about his creative path, his pull to politics and what it takes to frame his vision.<br /><br />This conversation is FREE to Members / $10 for General Admission. Interested in the benefits of Membership? Take a look here for <a href="https://griffinmuseum.org/membership-account/membership-levels/">Member Levels and Benefits</a>.<br /><br />About Mark Peterson –<br /><br /><a href="https://www.monroegallery.com/gallery/artists/peterson">Mark Peterson is a photographer</a> based in New York City. His work has been published in New York Times Magazine, New York Magazine, The New Yorker, 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 two books Acts Of Charity published by Powerhouse in 2004 and Political Theatre which was published by Steidl in the fall of 2016.His work is collected in several museums including The National Gallery of Art in Washington DC. In 2024 Steidl will published his book The Fourth Wall.<div> <br />$10.00</div><div><br /></div><br /><a href="https://griffinmuseum.org/venue/">Griffin Zoom Room</a><div>67 Shore Rd<br />Winchester, 01890</div><div><br /></div><div><br /></div><div><br /></div>Mark Peterson’s monograph <a href="https://steidl.de/Artists/Mark-Peterson-0714202153.html">Political Theatre</a>, published in 2016 by Steidl Verlag Publishing can be found on their website alongside his upcoming book The Past is Never Dead. Find him on <a href="https://www.instagram.com/markpetersonpixs/?hl=en">Instagram @markpetersonpixs</a>Monroe Gallery of Photographyhttp://www.blogger.com/profile/10356126678908452012noreply@blogger.com0tag:blogger.com,1999:blog-7044693254640030906.post-39826365213744027632024-03-15T13:09:00.003-06:002024-03-15T13:09:36.913-06:00Limited Edition of Lowrider Magazine Dedicated to the Women Shaping the Culture Features Photographs By Gabriela E. Campos<p> </p><div class="separator" style="clear: both; text-align: left;"><a href="https://www.motortrend.com/news/limited-edition-lowrider-magazine-women-shaping-lowrider-culture/" target="_blank">Limited Edition of Lowrider Magazine Dedicated to the Women Shaping the Culture </a></div><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: left;">Special issue was completely written and designed by women. </div></div><p></p><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgF7MjYpE78fKgdwrUCjz8jyVGoOx-iockpUJPAUgnSmv93FqHZZMDXeECh0nv99k51x0jbeHEwXVeZHbRAx3hYkL1Kw3CRG2T0iTfhn-J-qnDvXYUCFHoI7z0BfHNFvgDnD7toB3rekIn3PMm3KoD5fk8sxRxQ8FyHg-xQPdI4EHSGfDYypOfwfWvwSXlB/s1603/Screenshot%202024-03-15%20130155.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img alt="color screenshot from special digital edition of Lowrider Magazine shows a photograph of a woman in front of her custom lorwrider" border="0" data-original-height="859" data-original-width="1603" height="214" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgF7MjYpE78fKgdwrUCjz8jyVGoOx-iockpUJPAUgnSmv93FqHZZMDXeECh0nv99k51x0jbeHEwXVeZHbRAx3hYkL1Kw3CRG2T0iTfhn-J-qnDvXYUCFHoI7z0BfHNFvgDnD7toB3rekIn3PMm3KoD5fk8sxRxQ8FyHg-xQPdI4EHSGfDYypOfwfWvwSXlB/w400-h214/Screenshot%202024-03-15%20130155.png" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="https://www.monroegallery.com/gallery/artists/campos" target="_blank">Gabriela E. Campos</a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: left;"><br /></div>Known for their hopping hydraulics, custom upholstery, and intricate paint jobs, lowrider cars are symbols of empowerment and freedom, and a celebration of the broader lowrider culture. To honor Women's History Month and celebrate women who have played integral roles in lowriding culture, Mexican beer manufacturer Modelo partnered with MotorTrend Group (the parent company of MotorTrend and Lowrider magazine) to produce <a href="https://www.motortrend.com/plus/magazines/lowrider-special-edition-2024/issue/652907">a limited edition of Lowrider</a>.<p></p>The special, one-time reissue of Lowrider (<a href="https://www.motortrend.com/plus/magazines/lowrider-special-edition-2024/issue/652907">which you can read in digital format here</a>) champions the women of lowriding. It's made by women, for women—from the editorial direction led by Dr. Denise Sandoval, a professor of Chicana/o studies, to the photographers, creative directors, writers, and more. Modelo donated advertising space in the publication to women-owned businesses to further support and spotlight entrepreneurs driving the lowrider industry.<div><br /></div>The roots of lowriding trace back to the 1940s when car culture was beginning to take hold across post-WWII America. As the hot rod trend swept the country, Mexican Americans began to alter their cars as a means of distinguishing themselves on and off the road. Eventually, the concept of lowriders and the broader lowriding culture stretched far beyond customizations and the Mexican American community.<br /><br />Historically, depictions of women in Lowrider magazine were often limited to models on the hoods of cars. This limited-edition revival highlights the women behind the wheel who have fought for their place as drivers, builders, mechanics, painters, and welders in a male-dominated world.<br /><br />Lowrider magazine ceased regular print publication in 2019. Fans in the Los Angeles area can be the first to get a copy of the magazine at the Lowrider Long Beach Super Show at the Long Beach Convention Center on Saturday, March 9, from 11 a.m. to 6 p.m. Pacific time. <a href="https://www.motortrend.com/plus/magazines/lowrider-special-edition-2024/issue/652907">Fans nationwide can access the digital version of the issue here</a>.Monroe Gallery of Photographyhttp://www.blogger.com/profile/10356126678908452012noreply@blogger.com0tag:blogger.com,1999:blog-7044693254640030906.post-74843872989024679482024-03-11T15:44:00.000-06:002024-03-11T15:44:20.124-06:00 'A walk back in time': Monroe Gallery of Photography takes viewers back to classic Hollywood<p><a href="https://www.abqjournal.com/lifestyle/a-walk-back-in-time-monroe-gallery-of-photography-takes-viewers-back-to-classic-hollywood/article_4d5fc346-b4a9-11ee-b8ee-8f5cd4900964.html#5" target="_blank">Via The Albuquerque Journal</a></p><p>March 11, 2024</p><p>By Kathaleen Roberts</p><p><br /></p><p>Francis Ford Coppola directing Marlon Brando.</p><p>Jimmy Stewart working on “Harvey.”</p><p>James Dean taking a nap in his truck.</p><br /><b>Santa Fe’s Monroe Gallery of Photography is taking viewers back to old movie glamour with photographs from classic Hollywood.</b><div><b><br /></b></div><div><b><div class="separator" style="clear: both; text-align: center;"><br /></div></b><div>“We wanted to take a little break from some of our more serious exhibitions,” said Sidney Monroe, gallery co-owner. “And this being awards season with the Academy Awards coming up, there’s a great range of materials with the photographers we represent.”</div><div><div><br /></div><div><a href="https://www.monroegallery.com/" target="_blank">The 45 images</a> feature such Hollywood icons as Marilyn Monroe, Clark Gable, Steven McQueen, Robert Redford, Rock Hudson, Audrey Hepburn and more. The photographs depict them both on and off the set and in studio portraits.</div><div><br /></div><div>“It’ll be a little bit of a walk back in time,” Monroe said.</div><div><br /></div><div>Steve Schapiro was the on-set photographer for “The Godfather” (1972).</div><div><br /></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEiH7BD7xfhItjHSk552tRynIfn47CIGi7NLQU7tU8Bc7Hrmm8p5pC63oYztWLhutOvfYjbRIjcCIfxmk1VnMYiKfTJtTPHO78jFVq-_6KDQaVY63ahydt3ysMV0aVEWT9GaPyolw-khpeJAZnZYQAvLyIEafeUf91A4XypgXywnX8ezhyt19ZtpMrk6w8vo" style="margin-left: 1em; margin-right: 1em;"><img alt="black and white photograph of Marlon Brando and Francis Ford Coppola, “The Godfather”" data-original-height="1107" data-original-width="750" height="400" src="https://blogger.googleusercontent.com/img/a/AVvXsEiH7BD7xfhItjHSk552tRynIfn47CIGi7NLQU7tU8Bc7Hrmm8p5pC63oYztWLhutOvfYjbRIjcCIfxmk1VnMYiKfTJtTPHO78jFVq-_6KDQaVY63ahydt3ysMV0aVEWT9GaPyolw-khpeJAZnZYQAvLyIEafeUf91A4XypgXywnX8ezhyt19ZtpMrk6w8vo=w272-h400" title="Marlon Brando and Francis Ford Coppola, “The Godfather,” Steve Schapiro. Courtesy of Monroe Gallery" width="272" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div style="text-align: center;">Marlon Brando and Francis Ford Coppola, “The Godfather,” Steve Schapiro.</div><div style="text-align: center;">Courtesy of Monroe Gallery</div><br /></div><div><br /></div><div>“I remember him telling us they were collaborating,” Monroe said. “Coppola’s telling Brando where the camera’s going to come in. It’s an interesting behind-the-scenes moment with an actor and director.”</div><div><br /></div><div>Photographer Richard Miller captured James Dean sleeping during a break in the filming of “Giant” (1956).</div></div><div><br /></div><div><div>“He’s napping in his truck with his feet up in the window,” Monroe said. “That James Dean was killed shortly after contributed to that icon. (Miller’s) got another one of Elizabeth Taylor and James Dean taking a break.</div><div><br /></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhvceHpW-f5NIcatGpFK1FWkPyWeLnBnB-oyzw-49c25jS0iw8AxfTl02LuwcEKbyMFJVHlw54HyoBCIJHUXclNaTdNJZOu0r8lo9yLtgF4QIWogTB5F4__t5QvCQchPbcWJjM1oJOVP3J9x8NloIeCDBXEQGT6AMrrupngObQu2PerGL70GtcC0RGKx8zF" style="margin-left: 1em; margin-right: 1em;"><img alt="black and white photograph of James Dean's cowboy boots in car window as he naps during filming on "Giant"" data-original-height="531" data-original-width="750" height="284" src="https://blogger.googleusercontent.com/img/a/AVvXsEhvceHpW-f5NIcatGpFK1FWkPyWeLnBnB-oyzw-49c25jS0iw8AxfTl02LuwcEKbyMFJVHlw54HyoBCIJHUXclNaTdNJZOu0r8lo9yLtgF4QIWogTB5F4__t5QvCQchPbcWJjM1oJOVP3J9x8NloIeCDBXEQGT6AMrrupngObQu2PerGL70GtcC0RGKx8zF=w400-h284" title="ames Dean takes a break from filming “Giant,” Richard C. Miller, Texas. Courtesy of Monroe Gallery" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;">James Dean takes a break from filming “Giant,” Richard C. Miller, Texas.</div><div class="separator" style="clear: both;">Courtesy of Monroe Gallery</div><br /><br /></div><div>“It’s photography that creates images of these bigger than life characters,” he added.</div><div><br /></div><div>In “Harvey” (1950), James Stewart played a man dubbed crazy due to his insistence that he has an invisible six foot-tall rabbit for a best friend. Life magazine’s Ida Wyman, best known for her images of New York street life, shot Stewart during the filming. Wyman was one of the early female photographers. The field was almost exclusively male when she started during the 1940s.</div><div><br /></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgZZqpOkJ2FxR-T3wMB9_PPWqZxKwUg47Qv5kAbrcArVEuBRQO4-FrY-gzYZIhlKgjVsK2lFRJJiFcyfbv8fRzkB4cytm9TmDGKU1tfa0LhB8qfLLMv38wU_mimIXPzV1ySACbOOMFMM_cjVzWZhjZHB_2XyqsdKigoxlPJN0-6AOrJeKZcrFCOOYqPMXqi" style="margin-left: 1em; margin-right: 1em;"><img alt="black and white photograph of actor James Stewart in profile on the set of the mobie "Harvey"" data-original-height="985" data-original-width="750" height="400" src="https://blogger.googleusercontent.com/img/a/AVvXsEgZZqpOkJ2FxR-T3wMB9_PPWqZxKwUg47Qv5kAbrcArVEuBRQO4-FrY-gzYZIhlKgjVsK2lFRJJiFcyfbv8fRzkB4cytm9TmDGKU1tfa0LhB8qfLLMv38wU_mimIXPzV1ySACbOOMFMM_cjVzWZhjZHB_2XyqsdKigoxlPJN0-6AOrJeKZcrFCOOYqPMXqi=w305-h400" title="ames Stewart on the set of “Harvey,” Ida Wyman, Hollywood, California. Courtesy of Monroe Gallery" width="305" /></a></div><br /><br /></div><div><br /></div><div>“She found a lot of work for Life in Los Angeles,” Monroe said.</div><div><br /></div><div>Sonia Handelman Meyer’s striking 1948 image of the Paramount Theater encapsulates the glitz and glamour of the movies.</div><div><br /></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEicrBndmi_CJuqTFYMY9QlPfhLm7k5ugkt5o-Djqt1kPLrqDiiIHc5XSjz_iDxc3g4de2MgXzzk5jfNfu2U_UQ3Zrxa7WhO_PZBs5lKTwRE4CVGatO37YNNqERj3I6LQiEO_SiAJjsPhn8mHflAGzipJ4XDRxd-JxjcLZZ-1iTY10po1SaeXJvVMwv-rpvP" style="margin-left: 1em; margin-right: 1em;"><img alt="black and white 1948 photograph of The Paramount Theater marqee with well-dresses people walking by, New York" data-original-height="749" data-original-width="750" height="400" src="https://blogger.googleusercontent.com/img/a/AVvXsEicrBndmi_CJuqTFYMY9QlPfhLm7k5ugkt5o-Djqt1kPLrqDiiIHc5XSjz_iDxc3g4de2MgXzzk5jfNfu2U_UQ3Zrxa7WhO_PZBs5lKTwRE4CVGatO37YNNqERj3I6LQiEO_SiAJjsPhn8mHflAGzipJ4XDRxd-JxjcLZZ-1iTY10po1SaeXJvVMwv-rpvP=w400-h400" title="“Paramount Theater, New York City, April 4, 1948,” Sonia Handelman Meyer. Courtesy of Monroe Gallery" width="400" /></a></div><br /><br /></div><div><br /></div><div>“We’ve got a beautiful photograph of the marquee.” Monroe said. “The movies (functioned) as an escape from hard times.”</div><div><br /></div><div>Tony Vaccaro’s on-set shot of Federico Fellini directing 1960s “La Dolce Vita” reveals the old school cameras used in the production.</div><div><br /></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhkar2JAuEh1othUFlYq4tAFmTLwnOLoIVaVTu1znMGIhD0Mu5dfSU_WLJ4Ckt2QLZ8L_CMgcCw1JUO0U20zmXUsdpkCpa2KtxVK6L8tgS1VDTGtYsUf9SUX9VOmj_jTod249uzUL-6zRi1q-fACtlnIa_q8d4Aj4BAk_7XnpyWY4naEZdvgwqvf5Y61Cg9" style="margin-left: 1em; margin-right: 1em;"><img alt="black and white photograph of directo Fellini giving instructions on beach set of "La Dolce Vita"" data-original-height="748" data-original-width="750" height="398" src="https://blogger.googleusercontent.com/img/a/AVvXsEhkar2JAuEh1othUFlYq4tAFmTLwnOLoIVaVTu1znMGIhD0Mu5dfSU_WLJ4Ckt2QLZ8L_CMgcCw1JUO0U20zmXUsdpkCpa2KtxVK6L8tgS1VDTGtYsUf9SUX9VOmj_jTod249uzUL-6zRi1q-fACtlnIa_q8d4Aj4BAk_7XnpyWY4naEZdvgwqvf5Y61Cg9=w400-h398" title="Fellini on the set of “La Dolce Vita,” Tony Vaccaro, Italy. Courtesy of Monroe Gallery" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both;">Fellini on the set of “La Dolce Vita,” Tony Vaccaro, Italy.</div><div class="separator" style="clear: both;">Courtesy of Monroe Gallery</div></div><br /><br /></div><div><br /></div><div>“The director’s stepping in,” Monroe said. “To me, it looks like he’s telling the actress how to pose.”</div><div><br /></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEh-WxCbVPimBEV7pqpwCw_GwoEMj3IV7HhL1jy6Yw2P_cUxko01b6GC60U3kc2e9FU-NNJuRIM8I69hLyDPpZpG04sdvFz-7vYknTrR3V0wnDMHTK9ltDU0BNiZpFy7QhL0GrOlP35ql4BWgw2GUQXCVq7yCXL1W5aEkKCIfOKu4oQf3zLeb4q_z_eN3qux" style="margin-left: 1em; margin-right: 1em;"><img alt="black and white photograph of the cast of the 1960 movie "Oceans 11" around a pool table" data-original-height="501" data-original-width="750" height="268" src="https://blogger.googleusercontent.com/img/a/AVvXsEh-WxCbVPimBEV7pqpwCw_GwoEMj3IV7HhL1jy6Yw2P_cUxko01b6GC60U3kc2e9FU-NNJuRIM8I69hLyDPpZpG04sdvFz-7vYknTrR3V0wnDMHTK9ltDU0BNiZpFy7QhL0GrOlP35ql4BWgw2GUQXCVq7yCXL1W5aEkKCIfOKu4oQf3zLeb4q_z_eN3qux=w400-h268" title="Ocean’s Eleven” cast, Sid Avery/mptv." width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both;">Ocean’s Eleven” cast, Sid Avery/mptv images</div><div class="separator" style="clear: both;">Courtesy of Monroe Gallery</div></div><br /></div><div><br /></div><div>Sid Avery’s photograph of the 1960 “Ocean’s 11” cast features Joey Bishop, Sammy Davis Jr., Frank Sinatra, Dean Martin and Peter Lawford, among others.</div><div><br /></div><div>“Now there’s been I don’t know how many remakes or new versions have been made,” Monroe said. “We actually had that picture in the gallery in New York when the first remake was being made. Julia Roberts came in and bought it as a gift for the director (Steven Soderbergh.)”</div></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><div><b>'THE MOVIES'</b></div><div><br /></div><div>WHEN: Through April 14</div><div><br /></div><div>WHERE: Monroe Gallery of Photography, 112 Don Gaspar Ave., Santa Fe</div><div><br /></div><div>MORE INFO: <a href="http://monroegallery.com">monroegallery.com</a>, 505-992-0800</div></div></div>Monroe Gallery of Photographyhttp://www.blogger.com/profile/10356126678908452012noreply@blogger.com0tag:blogger.com,1999:blog-7044693254640030906.post-51910060768196022024-03-01T10:16:00.001-07:002024-03-01T10:16:09.403-07:00Bob Gomel: Eyewitness at Alta Arts, Houston<p><a href="https://thealtaarts.org/_events/eyewitness/" target="_blank"> Via Alta Arts</a></p><p>March 1, 2024</p><p>Bob Gomel: Eyewitness Exhibition Opening Reception</p><p>March 7, 2024 - 6:30 pm - 9:00 pm</p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEiK7yrOyncCOKmMZpkD3UtE4UKNlcnkVKX1yf5RoLyrbrp3WOa7EYB0KoDnoxwEZSNMIaQUVTn4Z997vc_5gr-ep_BuEF4dxDC4bSQcU2pn9jJ0pCs3c4f6gNTV-X4JWhqn_GS3AOPuV_XzB5mKMOy8OWQYt__wUYYkoWcAoMQWrPwbeiQEHf_ej-2hmnKd" style="margin-left: 1em; margin-right: 1em;"><img alt="black and white photograph of Cassius Clay (Muhammad Ali) with Malcolm X leaning over his shoulder while at the victory party following his defeat of Sonny Liston, Miami, 1964" data-original-height="1024" data-original-width="685" height="320" src="https://blogger.googleusercontent.com/img/a/AVvXsEiK7yrOyncCOKmMZpkD3UtE4UKNlcnkVKX1yf5RoLyrbrp3WOa7EYB0KoDnoxwEZSNMIaQUVTn4Z997vc_5gr-ep_BuEF4dxDC4bSQcU2pn9jJ0pCs3c4f6gNTV-X4JWhqn_GS3AOPuV_XzB5mKMOy8OWQYt__wUYYkoWcAoMQWrPwbeiQEHf_ej-2hmnKd=w215-h320" title="Cassius Clay and Malcolm X, Miami, 1964" width="215" /></a></div><br /><br /><p></p><p>The triumphs and tragedies of the 1960s provided photographer <a href="https://www.monroegallery.com/gallery/artists/gomel" target="_blank">Bob Gomel</a> extraordinary opportunities to help advance American photojournalism. As the images in Eyewitness demonstrate, when history was made, Gomel often was there, making iconic and innovative images of world leaders and events, athletes and entertainers, and great moments in contemporary history — including President John F. Kennedy, the Beatles, Muhammad Ali and Malcolm X, and Marilyn Monroe.</p><p>This exhibition, presented by <a href="https://thealtaarts.org/_events/eyewitness/" target="_blank">Alta Arts </a>and sponsored by the Briscoe Center for American History at The University of Texas at Austin, and in conjunction with the 2024 Fotofest Biennial, serves as a retrospective of Gomel’s work and includes photographs from his personal collection that are featured for the first time in a public showing.</p><p>Born in New York in 1933, Gomel earned a journalism degree from New York University in 1955 and then served as a U.S. Navy aviator. Gomel joined LIFE in 1959 and shot for the immensely popular magazine for a decade. He later freelanced for Sports Illustrated, Newsweek, Fortune and Forbes magazines, and shot national advertising campaigns for Audi, Bulova, GTE, Merrill Lynch, and Shell Oil, among others.</p><p>Eyewitness also features selections from the Bob Gomel Photographic Archive, part of the extensive photographic holdings of the Briscoe Center. The center’s photojournalism archives have flourished over the past two decades into a renowned collection of national-level importance. Gomel’s archive at the Briscoe Center ranges from 1959 to 2014 and includes film negatives, contact sheets, and exhibit prints.</p><p><br /></p><p>Curated by <a href="https://www.monroegallery.com/gallery/artists/gomel" target="_blank">Bob Gomel</a>.</p><p><a href="https://www.monroegallery.com/contact" target="_blank">Contact Monroe Gallery of Photography</a> for fine art print information.</p><p><br /></p><p>Installation team: J.P. Zenturo Perez and Alexander Uribe of Alta Arts.</p><p>Alta Arts</p><p>5412 Ashbrook Drive</p><p>Houston TX 77081</p>Monroe Gallery of Photographyhttp://www.blogger.com/profile/10356126678908452012noreply@blogger.com0tag:blogger.com,1999:blog-7044693254640030906.post-76282171537393730812024-02-29T05:58:00.001-07:002024-02-29T05:58:26.099-07:00Greenwich Historical Society Exhibit Features 6 Women Photographers Whose Iconic Images for LIFE Magazine Helped Create Modern Journalism<br /><br /><a href="https://greenwichfreepress.com/around-town/arts/greenwich-historical-society-exhibit-features-6-women-photographers-whose-iconic-images-for-life-magazine-helped-create-modern-journalism-213552/" target="_blank">Via Greenwich Free Press</a><div>February 29, 2024<br /><br /><br />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.<br /><br /><br /><br /><div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEiSjYFV__PDucgxR6eLjgSk3yqbaxDZjioUMNgO_zHiSmNYwp7ZyU4C9gdMiIkbPDPMUgWwDVSHOaAI8uJ4tPNIcjwZMhwAJdevOClVU-uFF2WOGekYZr9dpIm6KYW1sCezTDBj8LUh87fkxQWW9j-uK7gKfM1Rn0P3Kz_Z3_hQHY-JzeciT--FlBIbeONy"><img alt="black and white photograph of Billy Eckstine being adored by female fans,New York, 1949" height="320" src="https://blogger.googleusercontent.com/img/a/AVvXsEiSjYFV__PDucgxR6eLjgSk3yqbaxDZjioUMNgO_zHiSmNYwp7ZyU4C9gdMiIkbPDPMUgWwDVSHOaAI8uJ4tPNIcjwZMhwAJdevOClVU-uFF2WOGekYZr9dpIm6KYW1sCezTDBj8LUh87fkxQWW9j-uK7gKfM1Rn0P3Kz_Z3_hQHY-JzeciT--FlBIbeONy=w305-h320" title="Martha Holmes, photograph from “Mr. B.,” LIFE, April 24, 1950 © LIFE Picture Collection," width="305" /></a></div><br /><br />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.<br /><br /><br /><b>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.</b><br /><br />On view through July 7, 2024, the exhibition presents more than 70 photographs by <a href="https://www.monroegallery.com/gallery/artists/bourke-white" target="_blank">Margaret Bourke-White</a> (1904-1971), Marie Hansen (1918-1969), <a href="https://www.monroegallery.com/gallery/artists/holmes" target="_blank">Martha Holmes</a> (1923-2006), <a href="https://www.monroegallery.com/gallery/artists/larsen" target="_blank">Lisa Larsen</a> (ca. 1925-1959), <a href="https://www.monroegallery.com/gallery/artists/leen">Nina Leen</a> (ca. 1909-1995) and Hansel Mieth (1909-1998).<br /><br />“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.<br /><br />“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.”<br /><br />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.”<br /><br />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.<br /><br />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.<br /><br />“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.”<br /><br />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.<br /><br />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:<br /><br />Women of Photos and Letters: <a href="https://www.monroegallery.com/gallery/artists/bourke-white" target="_blank">Margaret Bourke-White</a>, Clare Booth Luce and Annie Leibovitz<br />Thursday, March 14 from 6:00 – 7:00 pm<br /><br /><br />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.<br /><br /><b>LIFE: Six Women Photographers: A Lecture with Curator Marilyn Satin Kushner</b><br /><br />Thursday, March 21 from 6:00 – 7:00 pm<br /><br />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.<br /><br />The full program schedule is available online: <a href="https://greenwichhistory.org/life-six-women-photographers/">https://greenwichhistory.org/life-six-women-photographers/</a></div><div><br /><br />Guided Gallery Tours:<br />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.<br /><br />Dates: March 10, 24; April 7, 21; May 5, 19; June 2, 16, 30.<br /><br />For more information: <a href="https://greenwichhistory.org/event/guided-gallery-tour/">https://greenwichhistory.org/event/guided-gallery-tour/</a>.</div><div><br /><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgLAoi6RbfwjZ5ahIr-qBALPn2h2_8WGvBSn9Kmv5Rv5XryFgx_gQo-nKqn1CXSXrsvfos0-G7njWdnKupHu0m8n1v471DeBv_wPfzKdBL_5W1Ej1wKZsjcC2w2RsRf4Q7hm5x0WFHRYLa8vm5brs_YEFSHoJl4vdv85Hl3UgTGX7Y_1XlrWt5rqksBTUAE" style="margin-left: 1em; margin-right: 1em;"><img alt="Woman and 2 childrenin fron of roadside sign "Entering New Deal Speed limit 25 mph", Montana, for LIFE magazine in 1936" data-original-height="1044" data-original-width="1650" height="202" src="https://blogger.googleusercontent.com/img/a/AVvXsEgLAoi6RbfwjZ5ahIr-qBALPn2h2_8WGvBSn9Kmv5Rv5XryFgx_gQo-nKqn1CXSXrsvfos0-G7njWdnKupHu0m8n1v471DeBv_wPfzKdBL_5W1Ej1wKZsjcC2w2RsRf4Q7hm5x0WFHRYLa8vm5brs_YEFSHoJl4vdv85Hl3UgTGX7Y_1XlrWt5rqksBTUAE=w320-h202" width="320" /></a></div><p><a href="https://www.monroegallery.com/gallery/artists/bourke-white" target="_blank">Margaret Bourke-White</a>, 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.</p><p>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.</p><p>Support for this exhibition at the Greenwich Historical Society has been generously provided by Josie Merck and annual donors to the Greenwich Historic Trust.</p><p><br /></p><p> </p></div>Monroe Gallery of Photographyhttp://www.blogger.com/profile/10356126678908452012noreply@blogger.com0tag:blogger.com,1999:blog-7044693254640030906.post-34804960367200991032024-02-27T05:00:00.001-07:002024-02-27T05:00:00.128-07:00Upcoming Exhibition at Montclair Art Museum: Ed Kashi - Abandoned Moments<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhqkMZFTXkZbu_MQhsfk-b4o5c4xc-qfFnHt92GXUdUbzjvwPQDSKi7frqzZ-L_BlMxTr_2y-kR9mnSMLhWalYE2mJkT4prJmTeBae_Lu_zoWdCkme5qxt5uik6Z5zC3ushs6Ph-6WBufplz60GaVyVdgV5cfJuzTJpH77a1QwMixQ5ydqMDqNx_YxpIsyW" style="margin-left: 1em; margin-right: 1em;"><img alt="Montclair Art Museum logo graphic letters MAM" data-original-height="114" data-original-width="377" height="97" src="https://blogger.googleusercontent.com/img/a/AVvXsEhqkMZFTXkZbu_MQhsfk-b4o5c4xc-qfFnHt92GXUdUbzjvwPQDSKi7frqzZ-L_BlMxTr_2y-kR9mnSMLhWalYE2mJkT4prJmTeBae_Lu_zoWdCkme5qxt5uik6Z5zC3ushs6Ph-6WBufplz60GaVyVdgV5cfJuzTJpH77a1QwMixQ5ydqMDqNx_YxpIsyW=w320-h97" width="320" /></a></div><br /><p></p><p><a href="https://www.montclairartmuseum.org/exhibition/ed-kashi-abandoned-moments" target="_blank">Via Montclair Art Museum</a></p><p>Ed Kashi: Abandoned Moments</p><p>MARCH 22-MAY 19, 2024</p><p>For <a href="https://www.monroegallery.com/gallery/artists/kashi" target="_blank">Ed Kashi</a>, 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. </p><p><br /></p><p><a href="https://www.montclairartmuseum.org/exhibition/ed-kashi-abandoned-moments" target="_blank">PREVIEW THE EXHIBITION</a></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEg99iGM6fj4f48UzFv1YVXo02MlSNVIkv7xmsbQ_yx83bsCe2vk96ZXrerOAcbU2ikf1iQIELLrA8CdpJTbA8Sc8IvULpuCOmAbX2-ifCZvwaFUb6xRT49jUOlMpOESXqPcSMH_45TOzEccmYIBk52tEgbVFqJQf9qTNqTNzoIwvZAK8-PSxAAm8aZsZuX7" style="margin-left: 1em; margin-right: 1em;"><img alt="black and white photograph of 2 women in white head coverings and white dresses leaving a building in Armenia, Columbia" data-original-height="680" data-original-width="1025" height="265" src="https://blogger.googleusercontent.com/img/a/AVvXsEg99iGM6fj4f48UzFv1YVXo02MlSNVIkv7xmsbQ_yx83bsCe2vk96ZXrerOAcbU2ikf1iQIELLrA8CdpJTbA8Sc8IvULpuCOmAbX2-ifCZvwaFUb6xRT49jUOlMpOESXqPcSMH_45TOzEccmYIBk52tEgbVFqJQf9qTNqTNzoIwvZAK8-PSxAAm8aZsZuX7=w400-h265" title="ARMENIA, COLOMBIA, 1981, From Ed Kashi Abandoned Moments. Archival pigment print, 20 x 24 in. Photograph courtesy of the artist." width="400" /></a></div><br />ARMENIA, COLOMBIA, 1981, From Ed Kashi Abandoned Moments. Archival pigment print, 20 x 24 in. Photograph courtesy of the artist.<div><br /><p></p><p><a href="https://www.monroegallery.com/gallery/artists/kashi" target="_blank">Ed Kashi is a renowned photojournalist, filmmaker, speaker, and educator </a>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.</p><p>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.</p><p>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.</p><p>This exhibition, consisting of 29 photographs, is organized by MAM’s Executive Director, Ira Wagner. </p><p><br /></p><p><a href="https://www.montclairartmuseum.org/visit-mam/plan-your-visit" target="_blank">Plan your visit</a></p><p>3 South Mountain Avenue</p><p>Montclair, New Jersey 07042-1747</p></div>Monroe Gallery of Photographyhttp://www.blogger.com/profile/10356126678908452012noreply@blogger.com0tag:blogger.com,1999:blog-7044693254640030906.post-19857826469116283072024-02-25T07:26:00.002-07:002024-02-25T07:26:26.976-07:0060 Years Ago Today, February 25, 1964: Muhammad Ali (Cassius Clay) Shocked the World<blockquote class="instagram-media" data-instgrm-captioned="" data-instgrm-permalink="https://www.instagram.com/reel/C3xW3QDumV1/?utm_source=ig_embed&utm_campaign=loading" data-instgrm-version="14" style="background: rgb(255, 255, 255); border-radius: 3px; border: 0px; box-shadow: rgba(0, 0, 0, 0.5) 0px 0px 1px 0px, rgba(0, 0, 0, 0.15) 0px 1px 10px 0px; 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<p> </p><p><br /></p><p><b>Forthcoming exhibition: 1964</b></p><p>April 19 - June 23, 2024</p><p>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.</p><p><br /></p>Monroe Gallery of Photographyhttp://www.blogger.com/profile/10356126678908452012noreply@blogger.com0tag:blogger.com,1999:blog-7044693254640030906.post-87530510895194529702024-02-22T07:44:00.001-07:002024-02-22T07:44:10.698-07:00Tony Vaccaro American Icons Exhibition Program: In Conversation with Agapita Judy Lopez on Georgia O’Keeffe<p><a href="https://franklloydwright.org/event/in-conversation-agapita-judy-lopez-on-georgia-okeeffe/?fbclid=IwAR1giCSEvVvx0C_UHiYMCnGKVl4ec1rLj3B91fqIeDQt4GM8ofwamYvsBiw" target="_blank"> Via Taliesin West</a></p><p><br /></p><a href="https://franklloydwright.org/event/in-conversation-agapita-judy-lopez-on-georgia-okeeffe/?fbclid=IwAR1giCSEvVvx0C_UHiYMCnGKVl4ec1rLj3B91fqIeDQt4GM8ofwamYvsBiw" target="_blank"><br />IN CONVERSATION – Agapita Judy Lopez on Georgia O’Keeffe</a><br />March 7, 2024<br /><br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgGMWDhboYbzTk3QIlAnvfpqNLKEzOF8xYEda5z1GLkjLuGbBY6cQQ_-bJ0046Cc512senyZBdJhZsBBlcMJvyXtbcuDls5ObgFgTgvYCQo9fFJ1SSEoYMPRy-EP5FnO8-ijzLLBcnhm-vjDLzjkRqrgUOY8XnMAGNKPVo62BG5WEakgKAt-ElPSEq6CcJZ" style="margin-left: 1em; margin-right: 1em;"><img alt="American Icons exhibit graphic with black and white head photographs of Frank Lloyd Wright and Gerogia O'Keeffe" data-original-height="1647" data-original-width="2560" height="206" src="https://blogger.googleusercontent.com/img/a/AVvXsEgGMWDhboYbzTk3QIlAnvfpqNLKEzOF8xYEda5z1GLkjLuGbBY6cQQ_-bJ0046Cc512senyZBdJhZsBBlcMJvyXtbcuDls5ObgFgTgvYCQo9fFJ1SSEoYMPRy-EP5FnO8-ijzLLBcnhm-vjDLzjkRqrgUOY8XnMAGNKPVo62BG5WEakgKAt-ElPSEq6CcJZ=w320-h206" width="320" /></a></div><br /><br /><br /><a href="https://franklloydwright.org/americanicons/" target="_blank">American Icons: Frank Lloyd Wright and Georgia O’Keeffe</a> 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 <a href="https://www.monroegallery.com/gallery/artists/vaccaro" target="_blank">Tony Vaccaro.</a> 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.<br /><br />*Please note that this program grants guests access only to the program location. To see more of our property, please consider adding a <a href="https://franklloydwright.org/tickets-tours/?_ga=2.60823077.889246317.1669835788-1210512605.1663858168">tour</a> to your program.<br /><br />Time:<br />6:00 p.m. – 7:00 p.m.<br />Cabaret Theatre<br /><br />Price:<br />Adults $35<br />Students (13-25 with student ID) $24<br />Members $31.50<br /><br />Frank Lloyd Wright Foundation Members receive discounts on Cultural Programs, have access to special Member-Only programs, and more. Learn about <a href="https://franklloydwright.org/membership/">Membership here</a>.<div><br /></div><div><b><a href="https://27651a.blackbaudhosting.com/27651a/In-Conversation-07Mar2024?_gl=1*futoxp*_ga*MTM4NDUzNzE3OS4xNzA4MDAyMzY0*_ga_1JHHHKBZRC*MTcwODAwMjM2My4xLjAuMTcwODAwMjM2My4wLjAuMA.." target="_blank">Tickets here</a></b></div><div><br /></div><div><div>Meet Our Presenter</div><div><br /></div><div>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.</div></div>Monroe Gallery of Photographyhttp://www.blogger.com/profile/10356126678908452012noreply@blogger.com0tag:blogger.com,1999:blog-7044693254640030906.post-72200369928347464832024-02-15T05:54:00.001-07:002024-02-15T05:54:19.090-07:00Tony Vaccaro exhibit "American Icons" in The NY Times 36 Hours in Phoenix<p><a href="https://www.nytimes.com/interactive/2024/02/15/travel/things-to-do-phoenix.html" target="_blank"> Via The New York Times</a></p><p>February 15, 2024</p><p><br /></p><p><a href="https://www.nytimes.com/interactive/2024/02/15/travel/things-to-do-phoenix.html" target="_blank">36 Hours in Phoenix</a></p><p><br /></p>To delve deeper into Wright’s local legacy, drive about half an hour into the Scottsdale desert to <a href="https://franklloydwright.org/taliesin-west/">Taliesin West</a>, 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 “<a href="https://franklloydwright.org/americanicons/">American Icons</a>” 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 <a href="https://www.monroegallery.com/gallery/virtual-projects" target="_blank">(Tony Vaccaro)</a>. 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.).Monroe Gallery of Photographyhttp://www.blogger.com/profile/10356126678908452012noreply@blogger.com0tag:blogger.com,1999:blog-7044693254640030906.post-32765640037285083522024-02-13T05:00:00.001-07:002024-02-13T05:00:00.140-07:00Open House Reception for "The Movies"<p> </p><p><br /></p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/5pGIm9foaZE" width="320" youtube-src-id="5pGIm9foaZE"></iframe></div><br /><p><br /></p><p><b><span style="font-size: medium;">Please join us on Saturday, February 17 from 4-6 pm as we roll out the red carpet for the new exhibition "The Movies". </span></b></p><p><b><span style="font-size: medium;">Free and open to the public.</span></b></p><p><span style="font-size: medium;"><b>Preview the <a href="https://www.monroegallery.com/" target="_blank">exhibition here.</a></b></span></p>Monroe Gallery of Photographyhttp://www.blogger.com/profile/10356126678908452012noreply@blogger.com0tag:blogger.com,1999:blog-7044693254640030906.post-85990222351009278232024-02-10T10:27:00.004-07:002024-02-13T13:17:39.048-07:00Refractions: A Conversation with Mark Peterson<p><a href="https://www.bhphotovideo.com/find/eventDetails.jsp/id/4600" target="_blank"> Via B & H Photo</a></p><p>Tuesday, Feb. 13, 2024 1:00pm - 2:00pm ET</p><p><br /></p><p>On this episode of Refractions, Stephen Mallon is joined by photographer, Mark Peterson.</p><br /><br />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.<br /><br /><br /><br /><div><br /></div><div><br /></div><div><div>
<iframe src="https://player.vimeo.com/video/903340836?h=1d136b7c1c" width="640" height="360" frameborder="0" allow="autoplay; fullscreen; picture-in-picture" allowfullscreen></iframe>
<p><a href="https://vimeo.com/903340836">Refractions: A Conversation with Mark Peterson</a> from <a href="https://vimeo.com/bheventspace">B&H Photo</a> on <a href="https://vimeo.com">Vimeo</a>.</p>
Mark Peterson</div><div>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: </div><div><a href="https://www.nytimes.com/2024/02/10/opinion/border-immigration-politics-religion.html?unlocked_article_code=1.UU0.1zxG.6Zjg7hWCjbpB&smid=url-share" target="_blank">At the Border, a Blending of Politics and Religion</a></div><div><br /></div><div><br /></div><div>Stephen Mallon</div><div>Stephen Mallon is a photographer and filmmaker who specializes in the industrial-scale creations of mankind at unusual moments of their life cycles. </div><div><br /></div><div>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. </div><div><br /></div><div>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. </div><div><br /></div><div>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. </div><div><br /></div><div>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.</div></div>Monroe Gallery of Photographyhttp://www.blogger.com/profile/10356126678908452012noreply@blogger.com0tag:blogger.com,1999:blog-7044693254640030906.post-11460291120869900182024-02-09T15:03:00.002-07:002024-02-09T15:03:38.536-07:0060 Years Ago Today: The Beatles on Ed Sullivan<p></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.blogger.com/video.g?token=AD6v5dyMyfMWvKUEfa4WzS_JnnGe-7Iw_khOdVBmjZMlKEIBgg9aClEBld-NDdaIOfj92qImEvmW4Ih-PUWVYKDJag' class='b-hbp-video b-uploaded' frameborder='0'></iframe></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><p></p><div class="separator" style="clear: both; text-align: justify;"><a href="https://www.edsullivan.com/artists/the-beatles/" target="_blank">Via The Ed Sullivan Show</a> -- 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.</div><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: justify;"><br /></div><div class="separator" style="clear: both; text-align: justify;">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:</div><div class="separator" style="clear: both; text-align: justify;"><br /></div><div class="separator" style="clear: both; text-align: justify;">“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.”</div><div class="separator" style="clear: both; text-align: justify;"><br /></div><div class="separator" style="clear: both; text-align: justify;">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.</div><div class="separator" style="clear: both; text-align: justify;"><br /></div><div class="separator" style="clear: both; text-align: justify;">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.”</div><div class="separator" style="clear: both; text-align: justify;"><br /></div><div class="separator" style="clear: both; text-align: justify;">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!”</div><div class="separator" style="clear: both; text-align: justify;"><br /></div><div class="separator" style="clear: both; text-align: justify;">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.</div><div class="separator" style="clear: both; text-align: justify;"><br /></div><div class="separator" style="clear: both; text-align: justify;">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.</div></div><p></p><div style="text-align: justify;"><br /></div><div style="text-align: justify;">Related: Bill Eppridge: <a href="https://www.monroegallery.com/gallery/exhibits/1964-the-beatles" target="_blank">1964 The Beatles and Their Cameras</a></div><div style="text-align: justify;"> </div><p></p>Monroe Gallery of Photographyhttp://www.blogger.com/profile/10356126678908452012noreply@blogger.com0tag:blogger.com,1999:blog-7044693254640030906.post-9196665318439736662024-02-06T14:45:00.001-07:002024-02-06T14:45:38.159-07:00Resilience - stories of women inspiring change: Alexandria, Egypt <p><a href="https://www.worldpressphoto.org/calendar/2024/resilience-alexandria-egypt" target="_blank"> Via World Press Photo Foundation</a></p><p>February 6, 2024</p><p><br /></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhnhNCiLSlUvquXKS0r57ZOHk9aHWnOQF19btGjnSg-ky1MQgEu48xE_O5RRge3kOiet_Fg7TqzjSi8q49iPx4mcvd7ay5gjn8teyUyfWPWTdLD-m3S3PkvdZx8DmyqrWX4ZdtPwglH1Pdl0V8gPNLNjt8gtORz_zXDOdadfbsoDQ294gUwhBAVtpmOaojD" style="margin-left: 1em; margin-right: 1em;"><img alt="color photograph of arms outstretched above water of a swim instructor in Xanzibar" data-original-height="453" data-original-width="680" height="266" src="https://blogger.googleusercontent.com/img/a/AVvXsEhnhNCiLSlUvquXKS0r57ZOHk9aHWnOQF19btGjnSg-ky1MQgEu48xE_O5RRge3kOiet_Fg7TqzjSi8q49iPx4mcvd7ay5gjn8teyUyfWPWTdLD-m3S3PkvdZx8DmyqrWX4ZdtPwglH1Pdl0V8gPNLNjt8gtORz_zXDOdadfbsoDQ294gUwhBAVtpmOaojD=w400-h266" title="Anna Boyiazis: Swim instructor Chema, 17, snaps her fingers as she disappears underwater in Nungwi, Zanzibar, 2016" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="https://www.monroegallery.com/gallery/artists/boyiazis" target="_blank">Anna Boyiazis:</a> Swim instructor Chema, 17, snaps her fingers as she disappears underwater in Nungwi, Zanzibar, 2016</div><br /><br /><p></p><p>Resilience - stories of women inspiring change: Alexandria, Egypt featuring <a href="https://www.monroegallery.com/gallery/artists/boyiazis" target="_blank">Gallery photographer Anna Boyiazis</a></p><p>01 February 2024 to 21 February 2024</p><p><br /></p><p><br /></p>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.<div><br />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.<br /><br /><br />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.<br /><br /><br /><a href="https://www.worldpressphoto.org/exhibitions/highlights/resilience-stories-of-women-inspiring-change">See a selection of the stories and photographs on display.</a><br /><br /><br /><br /><br />Event information<br />Location<br /><a href="https://www.ifegypte.com/en/">IFE (Institut français d'Egypte à Alexandrie)</a><br />30 Nabi Daniel street, Al Attarin Sharq,<br />Al Attarin, Alexandria<br /><br /><br />Visiting hours<br />Monday to Thursday : 9.00 - 21.00<br />Friday and Saturday: 10.00 - 20.00<br />Sunday : 9.00 - 21.00<br /><br /><br />Tickets<br />Free<div><br /></div></div>Monroe Gallery of Photographyhttp://www.blogger.com/profile/10356126678908452012noreply@blogger.com0tag:blogger.com,1999:blog-7044693254640030906.post-2000479283396377792024-02-01T09:12:00.000-07:002024-02-01T09:12:13.835-07:00"The arrest, detention and bogus charges against journalist Brandi Morin launched by the Edmonton police should concern everyone."<p><a href="https://www.thestar.com/opinion/contributors/what-charges-against-journalist-brandi-morin-mean-for-canadian-democracy/article_47f055c4-c057-11ee-a5a9-53bb89e2aaed.html" target="_blank">Via The Toronto Star</a></p><p>February 1, 2024</p><p> <b>What charges against journalist Brandi Morin mean for Canadian democracy</b></p><p>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.</p><p>By Kiran Nazish, Contributor</p><p>The arrest, detention and <a href="https://protect-ca.mimecast.com/s/VSv4C91Z09izPNp2H3ha2I?domain=womeninjournalism.org">bogus</a> 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.</p><br />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.<br /><br />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?" <br /><br />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. <br /><br />This is not the first time law enforcement in Canada has gotten in the way of journalistic work. <br /><br />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. <br /><br />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. <br /><br />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, <a href="https://protect-ca.mimecast.com/s/8MO_C0YZG8SklgLmsWmUOG?domain=cpj.org/">Ian Wilms</a> 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. <div><br /></div><div><div>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. </div><div><br /></div><div>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.</div><div><br /></div><div>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?" </div><div><br /></div><div>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. </div><div><br /></div><div>This is not the first time law enforcement in Canada has gotten in the way of journalistic work. </div><div><br /></div><div>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. </div><div><br /></div><div>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. </div><div><br /></div><div>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. </div><div><br /></div><div>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.</div><div><br /></div><div>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.</div><div><br /></div><div>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. </div><div><br /></div><div>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. </div><div><br /></div><div><br /></div><div>Kiran Nazish is the founding director of the New York-based Women Press Freedom and the Coalition For Women In Journalism. </div></div>Monroe Gallery of Photographyhttp://www.blogger.com/profile/10356126678908452012noreply@blogger.com0tag:blogger.com,1999:blog-7044693254640030906.post-35020625139008362792024-01-31T12:03:00.000-07:002024-01-31T12:03:15.174-07:00Associated Press Photo Operations Head Hal Buell: ‘I had the greatest job in the whole world.’<p><a href="https://apnews.com/article/associated-press-hal-buell-photographer-obituary-78798eb6802044e087ddb9bf003edabb" target="_blank"> Via AP</a></p><p>January 31, 2024</p><p><br /></p><p>Hal Buell, who led AP’s photo operations from darkroom era into the digital age, dies at 92</p><p><br /></p><p>SUNNYVALE, Calif. (AP) — Hal Buell, who led The Associated Press’ photo operations from the darkroom era into the age of digital photography over a four-decade career with the news organization that included 12 Pulitzer Prizes and some of the defining images of the Vietnam War, has died. He was 92.</p><p>Buell died Monday in Sunnyvale, California, after battling pneumonia, his daughter Barbara Buell said in an email. His final two months were spent with her and her husband, and he died in their home with his daughter at his side.</p><p>“He was a great father, friend, mentor, and driver of important transitions in visual media during his long AP career,” Barbara Buell said. “When asked by the numerous doctors, PT, and medical personnel he met over the last six months what he had done during his working life, he always said the same thing: ‘I had the greatest job in the whole world.’”</p><p>Colleagues described Buell as a visionary who encouraged photographers to try new ways of covering hard news. As the editor in charge of AP’s photo operations from the late 1960s to the 1990s, he supervised a staff that won a dozen Pulitzers on his watch and he worked in 33 countries, with legendary AP photographers including <a href="https://www.monroegallery.com/gallery/artists/adams">Eddie Adams</a>, Horst Faas and Nick Ut.</p><p><br /></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEho5XiUnnhCq6GatD4zVCm4eUevDSs5FWs8U2chJTyQCJ8c-qZi_EohgmIvk-vXusA8XUwDKEp6YhK0F1DHhTpXYECQob2eQL_zzh__qYldmRNq0icsfeVFPnsrE9CnYQ8DmefhQVvLhrpYTJOUkofWBrzEV521LZgrIyoHtnYNHsDex25MN7kgtHf4IB1x" style="margin-left: 1em; margin-right: 1em;"><img alt="Famous black and white photograph from the Vietnam War of South Vietnamese National Police Chief Brig Gen. Nguyen Ngoc Loan executes a suspected Viet Cong officer with a single pistol shot in the head in Saigon, Vietnam, Feb. 1, 1968.. (AP Photo/Eddie Adams, File)" data-original-height="577" data-original-width="800" height="289" src="https://blogger.googleusercontent.com/img/a/AVvXsEho5XiUnnhCq6GatD4zVCm4eUevDSs5FWs8U2chJTyQCJ8c-qZi_EohgmIvk-vXusA8XUwDKEp6YhK0F1DHhTpXYECQob2eQL_zzh__qYldmRNq0icsfeVFPnsrE9CnYQ8DmefhQVvLhrpYTJOUkofWBrzEV521LZgrIyoHtnYNHsDex25MN7kgtHf4IB1x=w400-h289" title="FILE - South Vietnamese National Police Chief Brig Gen. Nguyen Ngoc Loan executes a suspected Viet Cong officer with a single pistol shot in the head in Saigon, Vietnam, Feb. 1, 1968. The image won the 1969 Pulitzer Prize for spot news photography. (AP Photo/Eddie Adams, File)" width="400" /></a></div><br />FILE - South Vietnamese National Police Chief Brig Gen. Nguyen Ngoc Loan executes a suspected Viet Cong officer with a single pistol shot in the head in Saigon, Vietnam, Feb. 1, 1968. The image won the 1969 Pulitzer Prize for spot news photography. (AP Photo/<a href="https://www.monroegallery.com/gallery/artists/adams" target="_blank">Eddie Adams</a>, File)<p></p><p><br /></p><p>“Hal pushed us an extra step,” Adams said in an internal AP newsletter at the time of Buell’s retirement in 1997. “The AP had always been cautious, or seemed to be, about covering hard news. But that was the very thing Buell encouraged.”</p><p>Buell made the crucial decision in 1972 to run Ut’s photo of a naked young girl fleeing her burning village after napalm was dropped on it by South Vietnamese Air Force aircraft. The image of Kim Phuc became one of the most haunting images of the Vietnam War and came to define for many all that was misguided about the war.</p><p>After the image was transmitted from Saigon to AP headquarters in New York, Buell examined it closely and discussed it with other editors for about 10 minutes before deciding to run it.</p><p><br /></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEiDcXr3uCMonN2-CuS5ut8u4zbVKd4h4qH6nvbkzio9LO0aig8rrC7l20fd3AKuxEoCLhmKz2t4ktxoybzyfUOE15QazWzFV3pVGlrH5VVoyEyYeXViLFD9zcCuRPb5tWMzu1HCYO73qqA2jeftlSbusSH8s6kJLiyR7tA3egouz4gpjWBgCS-IXj_xeA99" style="margin-left: 1em; margin-right: 1em;"><img alt="black and white photograph from the Vietnam war of terrified children, including 9-year-old Kim Phuc, center, as they run down Route 1 near Trang Bang after an aerial napalm attack on suspected Viet Cong hiding places. (AP Photo/Nick Ut, File)" data-original-height="603" data-original-width="800" height="302" src="https://blogger.googleusercontent.com/img/a/AVvXsEiDcXr3uCMonN2-CuS5ut8u4zbVKd4h4qH6nvbkzio9LO0aig8rrC7l20fd3AKuxEoCLhmKz2t4ktxoybzyfUOE15QazWzFV3pVGlrH5VVoyEyYeXViLFD9zcCuRPb5tWMzu1HCYO73qqA2jeftlSbusSH8s6kJLiyR7tA3egouz4gpjWBgCS-IXj_xeA99=w400-h302" title="FILE - In this June 8, 1972, file photo taken by Huynh Cong “Nick” Ut, South Vietnamese forces follow behind terrified children, including 9-year-old Kim Phuc, center, as they run down Route 1 near Trang Bang after an aerial napalm attack on suspected Viet Cong hiding places. The image won the 1973 Pulitzer Prize for spot news photography. He was 92. (AP Photo/Nick Ut, File)" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;">FILE - In this June 8, 1972, file photo taken by Huynh Cong “Nick” Ut, South Vietnamese forces follow behind terrified children, including 9-year-old Kim Phuc, center, as they run down Route 1 near Trang Bang after an aerial napalm attack on suspected Viet Cong hiding places. The image won the 1973 Pulitzer Prize for spot news photography. He was 92. (AP Photo/Nick Ut, File)</div><br /><br /><p></p><p>“We didn’t have any objection to the picture because it was not prurient. Yes, nudity but not prurient in any sense of the word,” Buell said in a 2016 interview. “It was the horror of war. It was innocence caught in the crossfire, and it went right out, and of course it became a lasting icon of that war, of any war, of all wars.”</p><p>Ut was just 20 when he made the iconic photo that won him the Pulitzer Prize. Without Buell’s support, he said, the photo might never had become a symbol of the war.</p><p>“He thought it was powerful, and he wanted to get it out right away,” Ut said by phone Tuesday.</p><p>He said he last spoke several weeks ago with Buell, who he called a mentor and a great friend.</p><p>“Hal was the best boss I ever had,” Ut said. “He was very supportive of me.”</p><p>Santiago Lyon, a former vice president and director of photography at AP, called Buell “a giant in the field of news agency photojournalism.”</p><p>David Ake, who recently retired as AP’s director of photography, said Buell set the standard for that role.</p><p>“I can’t tell you the number of times I would get a pearl of ‘Hal wisdom’ from one staffer or another,” Ake said. “He will be missed both in the AP and by the entire photojournalism community.”</p><p>Buell joined the AP in the Tokyo bureau on a part-time basis after graduating from Northwestern University in 1954 with bachelor’s and master’s degrees in journalism. He was serving with the Army at the time, working on the military newspaper Stars and Stripes.</p><p>Out of the Army two years later, he joined AP’s Chicago bureau as a radio writer, and a year later, in 1957, was promoted to the photo desk in AP’s New York office.</p><p>Buell returned to Tokyo at the end of the decade to be supervisory photo editor for Asia and came back to New York in 1963 to be AP’s photo projects editor. He became executive news photo editor in 1968 and in 1977 he was named assistant general manager for news photos.</p><p>During his decades with AP, technology in news photography took astonishing leaps, going from six hours to six minutes to snap, process and transmit a color photo. Buell implemented the transition from a chemical darkroom where film was developed to digital transmission and digital news cameras. He also helped create AP’s digital photo archive in 1997.</p><p>“In the ‘80s, when we went from black-and-white to all color, we were doing a good job to send two or three color pictures a day. Now we send 300,” Buell said in the 1997 AP newsletter.</p><p>Former AP CEO Lou Boccardi said in a statement that Buell drove this remarkable period of innovation and transition, but he never forgot, nor did he let his staff forget, that capturing “the” image that told the story was where it all had to start.</p><p>“Fortunately for us, and for news photography, his vision and energy empowered and inspired AP Photos for decades,” Boccardi said.</p><p>After retiring in 1997, Buell wrote books about photography, including “From Hell to Hollywood: The Incredible Journey of AP Photographer Nick Ut;" “Uncommon Valor, Common Virtue: Iwo Jima and the Photograph That Captured America;” and “The Kennedy Brothers: A Legacy in Photographs.” He was the author of more than a dozen other books, produced film documentaries for the History Channel and lectured across the United States.</p><p>“In the ‘80s, when we went from black-and-white to all color, we were doing a good job to send two or three color pictures a day. Now we send 300,” Buell said in the 1997 AP newsletter.</p><p>Former AP CEO Lou Boccardi said in a statement that Buell drove this remarkable period of innovation and transition, but he never forgot, nor did he let his staff forget, that capturing “the” image that told the story was where it all had to start.</p><p>“Fortunately for us, and for news photography, his vision and energy empowered and inspired AP Photos for decades,” Boccardi said.</p><p>After retiring in 1997, Buell wrote books about photography, including “From Hell to Hollywood: The Incredible Journey of AP Photographer Nick Ut;" “Uncommon Valor, Common Virtue: Iwo Jima and the Photograph That Captured America;” and “The Kennedy Brothers: A Legacy in Photographs.” He was the author of more than a dozen other books, produced film documentaries for the History Channel and lectured across the United States.</p><div class="Enhancement" data-align-center="" style="align-items: center; background-repeat: no-repeat; box-sizing: border-box; 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box-sizing: border-box; line-height: calc(1em + 4px);" width="599"></source></picture><div class="Figure-content" style="background-repeat: no-repeat; box-sizing: border-box; display: flex; line-height: calc(1em + 4px); margin-top: 10px;"><div class="Figure-content-text" style="background-repeat: no-repeat; box-sizing: border-box; line-height: calc(1em + 4px);"><bsp-read-more class="ReadMore" data-expand="ReadMore-expand" data-less-button-text="Read Less" data-limit="110" data-main-class="ReadMore" data-more-button-text="Read More" style="background-repeat: no-repeat; box-sizing: border-box; line-height: calc(1em + 4px); position: relative;"><figcaption class="Figure-caption" style="background-repeat: no-repeat; box-sizing: border-box; display: inline; font-stretch: semi-condensed; line-height: calc(1em + 4px);"><p style="background-repeat: no-repeat; box-sizing: border-box; line-height: calc(1em + 4px); margin-top: 0px;"><span style="color: rgba(0, 0, 0, 0); font-family: var(--font-1);"><span style="background-color: white;">FILE </span></span><br /><br /><br /></p><p style="background-repeat: no-repeat; box-sizing: border-box; line-height: calc(1em + 4px); margin-top: 0px;"><br /></p><p style="background-repeat: no-repeat; box-sizing: border-box; line-height: calc(1em + 4px); margin-top: 0px;"><br /></p></figcaption></bsp-read-more></div></div></figure></div></div></div><div class="SovrnAd Advertisement sovrn-story-feed proper-dynamic-insertion" data-class="sovrn-story-feed" data-delayadinsertion="" data-module="" style="--bgphcolor: #f4f4f4; --borderphcolor: transparent; --pltextcolor: #333; align-items: flex-start; background-color: white; background-repeat: no-repeat; border-color: var(--color-module-border); box-sizing: border-box; display: flex; flex-wrap: wrap; font-family: AP, Arial, Helvetica, sans-serif; font-size: 18px; justify-content: center; line-height: calc(1em + 4px); margin-bottom: var(--moduleVerticalSpace); margin-top: 0px; min-height: 334px; overflow: visible; padding: 0px; text-align: center;"></div>Monroe Gallery of Photographyhttp://www.blogger.com/profile/10356126678908452012noreply@blogger.com0tag:blogger.com,1999:blog-7044693254640030906.post-59878052133860050782024-01-31T05:52:00.000-07:002024-01-31T05:52:45.007-07:00Winter Break - And a new exhibition, "The Movies"<p> </p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhzNpFHk3RW1Qzg0ws7NQ0RVjuCZyFjTYmWNGsOh-oQHf8Wolvjxg8qLw6r5jyGDw8kJmtBasfNd1yn85amlHsgavB0OxDmuxsnhC8hD3thp4AsJjDmUVZjGetVyoCBXxzypa9pifPesBc3B72wzigmFbM0V6UxFj9G-OwZhNkmM5MZVDYQ9PxJFvsVUOx0" style="margin-left: 1em; margin-right: 1em;"><img alt="black and white photograph of young child pulling a sled behind them on a dirt road with snowy embankments" data-original-height="500" data-original-width="404" height="320" src="https://blogger.googleusercontent.com/img/a/AVvXsEhzNpFHk3RW1Qzg0ws7NQ0RVjuCZyFjTYmWNGsOh-oQHf8Wolvjxg8qLw6r5jyGDw8kJmtBasfNd1yn85amlHsgavB0OxDmuxsnhC8hD3thp4AsJjDmUVZjGetVyoCBXxzypa9pifPesBc3B72wzigmFbM0V6UxFj9G-OwZhNkmM5MZVDYQ9PxJFvsVUOx0=w259-h320" title="Verner Reed: In search of snow, Stowe, Vermont, 1964" width="259" /></a></div><p></p><blockquote style="border: none; margin: 0 0 0 40px; padding: 0px;"><blockquote style="border: none; margin: 0 0 0 40px; padding: 0px;"><blockquote style="border: none; margin: 0 0 0 40px; padding: 0px;"><p style="text-align: left;"><a href="https://www.monroegallery.com/gallery/default/photoDetail/in-search-of-snow-stowe-vermont-1964" target="_blank">Verner Reed: In search of snow, Stowe, Vermont, 1964</a></p></blockquote></blockquote></blockquote><p><b>The Gallery will be closed Friday, Sunday, and Monday (February 2, 4, 5) for our Winter break. The Gallery Will be open on Saturday, February 3 from 11-5.</b></p><p><br /></p><p><a href="https://www.monroegallery.com/" target="_blank">The new exhibition "The Movies" </a>officially begins on February 7 and will be on view through April 14, 2024. Please join us for an open house reception on Saturday, February 17 from 4-6 pm.</p><p><br /></p><p>YouTube introduction to <a href="https://www.monroegallery.com/" target="_blank">The Movies</a></p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/5pGIm9foaZE" width="320" youtube-src-id="5pGIm9foaZE"></iframe></div><br /><p><br /></p><p><br /></p><p><br /></p>Monroe Gallery of Photographyhttp://www.blogger.com/profile/10356126678908452012noreply@blogger.com0tag:blogger.com,1999:blog-7044693254640030906.post-27927947609453219112024-01-29T10:42:00.004-07:002024-01-29T10:42:30.058-07:00Panel Discussion: Nina Berman among journalists behind Scientific American's multimedia reporting project<p><a href="https://www.eventbrite.com/e/the-missiles-on-our-land-reporting-on-us-nuclear-weapons-tickets-797038211747" target="_blank"> Via Columbia Graduate School of Journalism School</a></p><p>January 29, 2024</p><p><br /></p><p>The U.S. is embarking on its biggest nuclear weapons production project ever which will cost taxpayers nearly $2 trillion dollars. To investigate the dangers and risks of nuclear weapons policy, Scientific American teamed up with Columbia Journalism School professors, Princeton's Program on Science and Global Security and the Brown Institute for Media Innovation, to create <a href="https://www.missilesonourland.org/" target="_blank">Missiles On Our Land</a>, a video documentary, a 5-part podcast, data visualizations and <a href="https://www.scientificamerican.com/report/the-new-nuclear-age1/" target="_blank">print stories.</a></p><p>Join us Jan 29 at Columbia Journalism School's Lecture Hall from 6pm - 8:00pm for a talk about nuclear weapons policies and risks and how to successfully report on big issue topics across multiple media platforms.</p><p><br /></p><p>Panelists:</p><p>Jeffrey DelViscio, Chief Multimedia Editor, Scientific American</p><p>Tulika Bose, Senior Multimedia Editor, Scientific American</p><p><a href="https://www.monroegallery.com/gallery/artists/berman" target="_blank">Nina Berman</a>, CJS Professor, co-director of Fallout</p><p>Duy Linh Tu, CJS Professor, co-director of Fallout</p><p>Sebastien Tuinder, CJS Alum, editor of Fallout</p><p>Sébastien Phillipe, Princeton University</p><p>Ella Weber, Princeton University</p><p>Katie Watson, Brown Institute</p><p>Mark Hanson, Brown Institute</p><p><br /></p><p>Columbia Journalism School</p><p>Lecture Hall 2950 Broadway New York, NY 10027 United States</p>Monroe Gallery of Photographyhttp://www.blogger.com/profile/10356126678908452012noreply@blogger.com0tag:blogger.com,1999:blog-7044693254640030906.post-72305649258275795332024-01-25T13:37:00.001-07:002024-01-25T13:37:23.698-07:00"Journalists play an important role in holding those in power accountable...."<p> </p><p><a href="https://twitter.com/Songstress28/status/1750556108853526905" target="_blank">Via Brandi Morin on Twitter</a></p><p>January 25, 2024</p><p><br /></p><p>"I was I was arrested on January 10 while reporting on a police raid on an Indigenous encampment in Edmonton. During the arrest of the camp’s leader I was targeted and told I had to leave the area. When I tried to assert my rights as a journalist, rights which have been upheld by high courts in two provinces, I was arrested and charged with obstruction. </p><p>My editors and lawyers feel this charge is an attempt to send me a message. Now, I need your help to send one back. </p><p>I hope you’ll stand with me."</p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.blogger.com/video.g?token=AD6v5dwBSjewAdTtGi7qoZktgE1V4cV3iRMf3_DEXZ-hg7YGKQ-ByMd7L8Cw1bPf59f7ALnZ-A1ekBaRQNvmf4jjtQ' class='b-hbp-video b-uploaded' frameborder='0'></iframe></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div> <script async="" charset="utf-8" src="https://platform.twitter.com/widgets.js"></script>Monroe Gallery of Photographyhttp://www.blogger.com/profile/10356126678908452012noreply@blogger.com0tag:blogger.com,1999:blog-7044693254640030906.post-48342227856252633752024-01-24T05:00:00.001-07:002024-01-24T05:00:00.129-07:00New Exhibition: The Movies - and Flying With Michelle Yeoh<p> </p><p>The opening image in <a href="https://www.monroegallery.com/" target="_blank">the new exhibition "The Movies"</a> is Joe McNally's stunning photograph of actress Michelle Yeoh suspended from a helicopter over the iconic Hollywood sign.</p><p><br /></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEiuFecBJMKCAAImTr4dUYIvA4i7jIzWXO2gBwL3vD9gK6OcBakjXD1GbsL8EvTy6xie7CR4k_AMBPXox9JodNk98wkCOP2BOagfcu96QQlWlWZTIo7s4BcL-HB3jP0QRxmWfrhIBa_xzh7I4ggO6eqmRtWgtev95YWldyU7IeQV5tCObGrCsFpUq8JwZwgq" style="margin-left: 1em; margin-right: 1em;"><img alt="actress Michelle Yeoh suspended from a helicopter over the famous Hollywood sign, California, 1998" data-original-height="183" data-original-width="275" height="266" src="https://blogger.googleusercontent.com/img/a/AVvXsEiuFecBJMKCAAImTr4dUYIvA4i7jIzWXO2gBwL3vD9gK6OcBakjXD1GbsL8EvTy6xie7CR4k_AMBPXox9JodNk98wkCOP2BOagfcu96QQlWlWZTIo7s4BcL-HB3jP0QRxmWfrhIBa_xzh7I4ggO6eqmRtWgtev95YWldyU7IeQV5tCObGrCsFpUq8JwZwgq=w400-h266" width="400" /></a></div><br /><br /><p></p>On a 2002 <a href="https://www.youtube.com/watch?v=CJzH2dOFjCc">Jimmy Kimmel interview session</a>, Michelle spoke about "flying" with Joe McNally as a stunt over the Hollywood sign, for a story in the National Geographic.<div><br /></div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/CJzH2dOFjCc" width="320" youtube-src-id="CJzH2dOFjCc"></iframe></div><br /><div><br /><div><br /></div><div><br /><div>Joe McNally wrote about the making of this photograph on <a href="https://joemcnally.com/2022/04/21/fearless-and-beautiful-michelle-yeoh-hanging-from-a-helicopter/" target="_blank">his blog, here</a>.</div><div>"Jimmy Kimmel dryly observed that I should have been arrested for doing this to her. She recalls being very cold. I recall her being absolutely magnificent, hanging off those wires, just across from me, as I hung from the other skid."</div><div><br /><div><br /></div><div><br /></div><div><br /></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjXUJsx01tWF9baWej7ulOzp59yu10I9ir_APZrgR6Er5bFuZxdz0QEAJDbIOPzvln1iDwVmOGw1xrlDgkDVAV0QWb6Pa_hHrIswfeDBUXINAulTq5c8k4fxV7iuPNR7C401nBqKATEcpVtQsjUgk_XXzJrFfll2hV9qGWdjDgKHILKkj28Xu5HdCpVgvYf" style="margin-left: 1em; margin-right: 1em;"><img alt="Photographer Joe McNally and actress Michelle Yeoh suspended from a helcopter over the Hollywood sign in Californaia, 1998" data-original-height="1372" data-original-width="2000" height="275" src="https://blogger.googleusercontent.com/img/a/AVvXsEjXUJsx01tWF9baWej7ulOzp59yu10I9ir_APZrgR6Er5bFuZxdz0QEAJDbIOPzvln1iDwVmOGw1xrlDgkDVAV0QWb6Pa_hHrIswfeDBUXINAulTq5c8k4fxV7iuPNR7C401nBqKATEcpVtQsjUgk_XXzJrFfll2hV9qGWdjDgKHILKkj28Xu5HdCpVgvYf=w400-h275" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><b><a href="https://www.monroegallery.com/" target="_blank">The Movies is on exhibit</a> through April 14, 2024. Join us for a public reception open house on Saturday, February 17, 4-6 pm.</b></div><b><br /></b><br /><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><br /></div></div></div></div></div>Monroe Gallery of Photographyhttp://www.blogger.com/profile/10356126678908452012noreply@blogger.com0tag:blogger.com,1999:blog-7044693254640030906.post-82415015987525847192024-01-19T10:04:00.000-07:002024-01-19T10:04:16.237-07:00Ways of Seeing: Four Photographic Collections<p> <a href="https://www.nmartmuseum.org/exhitions/ways-of-seeing-four-photographic-collections/" target="_blank">Via The New Mexico Museum of Art</a></p><p>January 18, 2024</p><p><br /></p><p>Art collectors are often said to have “a good eye” for pictures, but what does that really mean? This selection of photographs from three collections recently donated to the museum and one promised gift illustrates a variety of approaches to choosing works of art and assembling a collection. United by a passion for photography, each collector brings a distinctive sensibility to the undertaking. Artist Jamie Brunson and her former husband Mark Levy gravitated to large color photographs of the 1990s that reflect their interest in social justice and meditation. Photographer and photo dealer Don Moritz amassed a large collection of that included a group of prints by David Michael Kennedy. New Yorker W.M. Hunt was attracted to images of people whose eyes are not readily visible and searched internationally for decades to build a unique holding on that theme. Santa Fe collectors Caroline Burnett and her late husband William chose images that moved them deeply, ultimately creating a collection largely of modernist photographs from the mid-twentieth century. On view will be suites of work from each collector, including photographs by Ruth Bernhard, Edward Burtynsky, Harry Callahan, Adam Fuss, David Michael Kennedy, Minor White, and more.</p><p><br /></p><p>Opening Saturday, January 20</p><p>At the 1917 Plaza Building </p>New Mexico Museum of Art<div>(505) 476-5072 <br />Plaza: 107 West Palace</div><div>Santa Fe, NM</div><div><a href=" nmartmuseum.org" target="_blank"><br /></a></div><div><a href=" nmartmuseum.org" target="_blank"> nmartmuseum.org</a></div><div><br /></div><div>Related article in the Santa Fe New Mexican Pasatiempo: <a href="https://www.santafenewmexican.com/pasatiempo/photography-in-nmmoas-new-exhibit-reflects-the-eye-of-the-beholder/article_c9cc30a8-b09a-11ee-bbc6-0b2505976f7f.html" target="_blank">Photography in NMMoA's new exhibit reflects the eye of the beholder</a></div>Monroe Gallery of Photographyhttp://www.blogger.com/profile/10356126678908452012noreply@blogger.com0tag:blogger.com,1999:blog-7044693254640030906.post-12722333767618425672024-01-18T08:30:00.003-07:002024-01-18T08:30:57.066-07:00Attacks on the Press in 2023<p> <a href="https://cpj.org/2024/01/attacks-on-the-press-in-2023/" target="_blank">Via Committe To Protect Journalists</a></p><p>January 18, 2024</p><p><br /></p><p><br /></p><p><a href="https://cpj.org/2024/01/attacks-on-the-press-in-2023/" target="_blank">Attacks on journalists’ lives and liberty remained at near record-levels in 2023, with the Committee to Protect Journalists documenting 320 journalists imprisoned for their work as of the December 1 date of its annual prison census — near the global all-time high of more than 360 a year earlier. Israel made a rapid ascent on the 2023 list, becoming the sixth-worst jailer of journalists after the start of the Israel-Gaza war on October 7.</a> Click for full interactive article</p>Monroe Gallery of Photographyhttp://www.blogger.com/profile/10356126678908452012noreply@blogger.com0tag:blogger.com,1999:blog-7044693254640030906.post-14940699749621538742024-01-07T13:14:00.001-07:002024-01-07T13:14:25.171-07:00David Butow talks about "BRINK" on the Ryan Pyle Podcast<p> <a href="https://www.youtube.com/watch?v=aSxLwN0qTlw" target="_blank">Via Ryan Pyle Podcast</a></p><p>January 6, 2024</p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/aSxLwN0qTlw" width="320" youtube-src-id="aSxLwN0qTlw"></iframe></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;">View David Butow's <a href="https://www.monroegallery.com/gallery/artists/butow" target="_blank">fine art prints here.</a></div><br /><p><br /></p>Monroe Gallery of Photographyhttp://www.blogger.com/profile/10356126678908452012noreply@blogger.com0tag:blogger.com,1999:blog-7044693254640030906.post-53427426572847630222024-01-03T09:39:00.002-07:002024-01-04T07:49:39.173-07:00Three years on, little justice for press assaulted on Jan. 6<p><a href="https://pressfreedomtracker.us/blog/little-justice-for-press-assaulted-on-jan-6/" target="_blank">Via Press Freedom Tracker</a></p><p>January 2, 2024</p><p><br /></p><p>This Saturday marks three years since we watched, horrified, as rioters stormed the U.S. Capitol in a failed attempt to halt the democratic process of counting electoral votes. <a href="https://pressfreedomtracker.us/blog/little-justice-for-press-assaulted-on-jan-6/" target="_blank">Nearly 20 journalists were assaulted and thousands of dollars in news equipment was destroyed in the riot.</a></p><p><br /></p><br />Three years after the failed attempt to halt the democratic process of counting electoral votes on Jan. 6, 2021, the Department of Justice has <a href="https://www.justice.gov/usao-dc/capitol-breach-cases">charged</a> more than 1,100 people with criminal activity that day. Yet it has charged only a few of those who committed assaults on journalists, attacked as they covered the rapidly escalating events in Washington, D.C.<br /><br />Nearly 20 journalists were assaulted — dragged over a wall, punched in the face or had a camera stolen. Tens of thousands of dollars in news equipment was also destroyed in the riot.<br /><br />Of the six people who were charged with assaulting journalists, most were for the mob assault of <a href="https://pressfreedomtracker.us/all-incidents/ap-photojournalist-assaulted-during-capitol-riot/">Associated Press photojournalist John Minchillo</a>, who was pushed, punched, dragged through the crowd and thrown over a wall. Four people have been charged with his assault — two pleaded guilty and were sentenced to prison; two others are working their way through the justice system.<br /><br />One of the men charged in the assault of photographer Minchillo was also charged in the assault of <a href="https://pressfreedomtracker.us/all-incidents/man-charged-with-assaulting-documentary-filmmaker-during-capitol-riot/">documentary journalist Nick Quested</a>. Quested was filming the riot from the steps of the West Plaza when the man grabbed his camera and attempted to pull him down the stairs.<br /><br />New York Times <a href="https://pressfreedomtracker.us/all-incidents/new-york-times-reporter-assaulted-cameras-stolen-and-damaged-amid-capitol-riot/">photographer Erin Schaff</a> was inside the Capitol when a crowd attacked her. In her account for the outlet, Schaff wrote that when the rioters realized she worked for the Times, they became angry, stealing and breaking her equipment: “At this point, I thought I could be killed and no one would stop them. They ripped one of my cameras away from me, broke a lens on the other and ran away.” A woman was charged with inciting the assault on the photojournalist and sentenced to prison.<br /><br />Schaff’s wasn’t the only news equipment targeted by rioters. She was one of four journalists who had gear like camera lenses, broadcast cameras and recording devices damaged during their assaults.<br /><br />Most large-scale harm of news equipment occurred when rioters attacked a media staging area. A <a href="https://pressfreedomtracker.us/all-incidents/illinois-man-charged-with-assaulting-a-cameraman-during-capitol-riots/">Reuters cameraman</a> was filming as rioters ripped apart the staging area, breaking news equipment, piling it up and attempting to set fire to it.<br /><br />A man, later charged with destroying equipment belonging to media outlets including The<a href="https://pressfreedomtracker.us/all-incidents/rioters-rush-broadcasters-destroy-associated-press-other-media-equipment/"> Associated Press</a> and German public-service broadcaster<a href="https://pressfreedomtracker.us/all-incidents/rioters-rush-broadcasters-destroy-german-outlets-equipment/"> ZDF</a>, tackled the Reuters journalist to the ground. He subsequently pleaded guilty to two assault charges and was sentenced to four years in prison and three years of supervised release.<br /><br />Five other rioters have been charged in relation to damaging news equipment; at least one has been sentenced to pay ZDF more than $30,000 in restitution.<br /><br /><br />For 15 other journalists documenting events in and around the Capitol on Jan. 6, no criminal charges have been filed in their assaults:<div><br />Amanda Andrade-Rhoades, a freelance photojournalist on assignment for The Washington Post, was <a href="https://pressfreedomtracker.us/all-incidents/freelance-photojournalist-struck-multiple-times-projectiles-during-capitol-riot/">hit by crowd-control munitions</a> fired by law enforcement multiple times.</div><div><br />Independent journalist Douglas Christian told the Tracker he was <a href="https://pressfreedomtracker.us/all-incidents/independent-photographer-chased-punched-while-covering-capitol-riots/">harassed, pursued and punched</a> by rioters near the Russell Senate Office Building.</div><div><br />PBS NewsHour correspondent Lisa Desjardins told VICE News that someone <a href="https://pressfreedomtracker.us/all-incidents/pbs-newshour-correspondent-assaulted-during-capitol-riots/">grabbed her</a> and tried to wrest her phone away.</div><div><a href="https://www.monroegallery.com/gallery/artists/gowdy" target="_blank"><br />Independent journalist Nate Gowdy</a> told the Tracker he was standing on a railing photographing rioters storming the Capitol when a man threatened him and <a href="https://pressfreedomtracker.us/all-incidents/independent-photojournalist-shoved-off-railing-during-capitol-riot/">shoved him off</a>.</div><div><br />Independent journalist John Harrington told the Tracker he was <a href="https://pressfreedomtracker.us/all-incidents/journalist-assaulted-at-least-7-times-while-covering-capitol-riots/">assaulted and harassed</a> multiple times by rioters. He said he was hit in the head with what he believes was a fire extinguisher and also hit with a chair thrown by a rioter in a scuffle with police officers.</div><div><br />Slate reporter Aymann Ismail said he was <a href="https://pressfreedomtracker.us/all-incidents/slate-reporter-pushed-by-capitol-police-officer-in-effort-to-slow-down-rioters/">pushed</a> by a Capitol Police officer as a way to slow down the crowd of people behind him who were trying to force their way into the Capitol Building.<br />Reporter Vincent Jolly was livestreaming for Le Figaro when a man <a href="https://pressfreedomtracker.us/all-incidents/cell-phone-french-journalist-destroyed-during-his-livestream-capitol-riot/">knocked his cellphone</a> out of his hands, destroying it.</div><div><br />Photojournalist Chris Jones of 100 Days in Appalachia told the Tracker he was confronted by rioters inside the Capitol for being a journalist and was <a href="https://pressfreedomtracker.us/all-incidents/photojournalist-assaulted-rioters-while-covering-capitol-insurrection/">picked up and dragged out</a> of the building. Later in the day, a flash-bang grenade fired by Capitol police exploded right next to him, damaging his camera pouch.</div><div><br />Christopher Lee, a freelance photojournalist on assignment for Time magazine, said rioters identified him as a journalist and started to <a href="https://pressfreedomtracker.us/all-incidents/photojournalist-harassed-his-mask-pulled-during-capitol-riot/">grab and remove him</a> from the Capitol.</div><div><br />CNN photojournalist Ronnie McCray was <a href="https://pressfreedomtracker.us/all-incidents/cnn-photojournalist-assaulted-while-documenting-capitol-riots/">assaulted</a> by a rioter who also smacked his camera.<br />Freelance journalist Christopher Morris said he was <a href="https://pressfreedomtracker.us/all-incidents/freelance-photojournalist-assaulted-multiple-times-while-covering-capitol-riots/">assaulted at least four times</a>, with rioters “pushing, shoving, some kicking [and] pulling” on him.</div><div><br />VICE News cameraman <a href="https://pressfreedomtracker.us/all-incidents/vice-news-journalist-assaulted-camera-damaged-during-capitol-riots/">Chris Olson</a> and international correspondent <a href="https://pressfreedomtracker.us/all-incidents/vice-news-correspondent-assaulted-by-rioters-at-capitol/">Ben Solomon</a> were attacked by several rioters on the steps of the Capitol. A man attempted to smash Olson’s camera, damaging the handle grip, and another gave Solomon a “good hard shove to the throat.”</div><div><br />Members of a <a href="https://pressfreedomtracker.us/all-incidents/journalists-face-targeted-assaults-while-covering-capitol-riots/">WTTG television news crew</a> were assaulted and harassed by a woman who was later arrested and charged with multiple criminal counts by the DOJ for her actions during the Jan. 6 riots. While the charging document describes the woman as “kicking two members of a news team” none of the charges filed were directly related to their assaults.</div><div><br /></div><div><br /></div><div><a href="https://www.monroegallery.com/gallery/exhibits/january-2021-one-year-latyer" target="_blank">View the exhibition: January 6, One Year Later<br /></a><br /><br /><br /><br /></div>Monroe Gallery of Photographyhttp://www.blogger.com/profile/10356126678908452012noreply@blogger.com0tag:blogger.com,1999:blog-7044693254640030906.post-34023007393380699592023-12-30T05:47:00.002-07:002023-12-30T05:47:57.264-07:00Metropolitan Transportation Authority Arts & Design presents a selection of works from photographer Stephen Wilkes’ “Day to Night” series at Grand Central<p><a href="https://artdaily.com/news/165360/-Day-to-Night--explores-the-circadian-rhythms-of-New-York-s-iconic-landmarks-and-vibrant-city-life" target="_blank"> Via Art Daily</a></p><p>December 30, 2023</p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEj88mB3m1IMy3qRMyjk_hBjE-9OPDfYLqMJKy_W3hAtw6Qw1e3eO9iGZJdpP3aLolRqMTsbzn1xlR8n9dlB2gPOLo041zbqraJKgY5wdvtvRJ4KYycLk1v5Mw8eNx0UqxCinu8cjE3Z5POfSKeFiOZ8FU1yRQTikS0oYfwRDja9dCnoOpCUqXcro4qSXVYw" style="margin-left: 1em; margin-right: 1em;"><img alt="color photograph showing a view of Centray Pak taken from above in the Essex House using a "day to nigjt" editing process" data-original-height="640" data-original-width="956" height="268" src="https://blogger.googleusercontent.com/img/a/AVvXsEj88mB3m1IMy3qRMyjk_hBjE-9OPDfYLqMJKy_W3hAtw6Qw1e3eO9iGZJdpP3aLolRqMTsbzn1xlR8n9dlB2gPOLo041zbqraJKgY5wdvtvRJ4KYycLk1v5Mw8eNx0UqxCinu8cjE3Z5POfSKeFiOZ8FU1yRQTikS0oYfwRDja9dCnoOpCUqXcro4qSXVYw=w400-h268" title="Central Park, View from Essex House, NYC, Day To Night ™ © Stephen Wilkes. Courtesy MTA Arts & Design." width="400" /></a></div><a href="https://www.monroegallery.com/gallery/wilkes/the-day-to-night-collection#gallery-26" target="_blank">Central Park, View from Essex House, NYC, Day To Night </a>™ © Stephen Wilkes. Courtesy MTA Arts & Design.<br /><br /><p></p><p><br /></p><p><b>"Day to Night" explores the circadian rhythms of New York's iconic landmarks and vibrant city life</b></p><p><br /></p>NEW YORK, NY.- The <a href="http://www.new.mta.info/">Metropolitan Transportation Authority</a> Arts & Design is now presenting a selection of works from <a href="https://www.monroegallery.com/gallery/wilkes/the-day-to-night-collection" target="_blank">photographer Stephen Wilkes’ mesmerizing “Day to Night”</a> series at Grand Central Madison. Iconic New York landmarks, including Coney Island, Central Park, Rockefeller Center, and Washington Square, are rendered anew thanks to the artist’s unique approach to photography, creating images of familiar destinations across the Big Apple that span the course of an entire day.<br /><br /><div><b>-"This Fragile Earth Day To Night", a special virtual exhibit, is on through January 21, 2024 at <a href="http://monroegallery.com" target="_blank">monroegallery.com</a> -</b></div><div><br /></div><div>“These fascinating photographs showcase New York City at its very finest, reminding residents and tourists alike of our spectacular city’s tremendous vitality and its unique ability to inspire awe, delight, and wonderment,” said Sandra Bloodworth, Director, MTA Arts & Design. “Those passing through Grand Central Madison will immediately recognize several renowned locations created in Stephen Wilkes’ unique image-making style, which captures the essence of a single place from dawn until dark.”<br /><br />The ongoing “Day to Night” series explores the temporal and circadian rhythms of daily life in landmark locations from around the world. Working from a fixed camera angle, Wilkes takes up to 1,500 images over the course of a day then edits the best moments of the entire day, using time as his guide. These select moments are then digitally blended into a single photograph.<br /><br />The photos on display at Grand Central Madison were chosen by MTA Arts & Design and the artist to reveal a range of New York City views, including the bustling landscapes of Rockefeller Center during the holidays, Central Park in its colorful fall glory, and Coney Island at the peak of summer. Together, these images serve as a lasting reminder of the energetic environs, both natural and human-made, that make New York City such a lively place to spend time. The exhibition is curated by MTA Arts & Design and generously sponsored by Duggal Visual Solutions with installation support by OUTFRONT Media. The photographs will be on view until Spring 2024.<br /><br />“It is so special for me to share these New York ‘Day to Night’ images within the stunning Grand Central Madison cultural corridor. New York has always been a source of great inspiration and my ‘Day to Night’ project began as a love letter to New York City. I was drawn to photograph the most iconic locations within the city, views that are part of our collective memory, but seen in a totally different light. I photograph from locations and views that are part of our collective memory,” said Westport, Connecticut-based artist Stephen Wilkes. “I capture what I see, the fleeting moments of humanity and light as time passes. Photographing a single place for up to 36 hours becomes a meditation. It has informed me in a unique way, inspiring deep insights into the narrative story of life, and the fragile interaction of humanity within our natural world.”<br /><br />Located at the south end of the concourse by the 42nd Street entrance, MTA Arts & Design Photography at Grand Central Madison was inaugurated in 2023. The curated exhibition series is installed in ten large-scale lightboxes and rotated periodically. The Photography initiative is part of the larger Grand Central Madison “cultural corridor,” a new venue for artistic expression curated by MTA Arts & Design. In addition to temporary photography exhibitions, the corridor includes lively permanent mosaic commissions by Yayoi Kusama and Kiki Smith and five large LED screens that display a widerange of temporary digital artworks from the MTA Arts & Design Digital Art Program, an annual open call initiative for digital artists. Taken together, these unique and publicly accessible artistic endeavors are a reminder of the enduring power of public art and its ability to connect people from all walks of life.<br /><br />STEPHEN WILKES<br /><br />Stephen Wilkes was born in 1957 in New York. He received his BS in photography from Syracuse University S.I. Newhouse School of Public Communications with a minor in business management from the Whitman School of Management in 1980. Wilkes’ extensive awards and honors include the Alfred Eisenstaedt Award for Magazine Photography, Photographer of the Year from Adweek Magazine, Fine Art Photographer of the Year 2004 Lucie Award, TIME Magazine Top 10 Photographs of 2012, Sony World Photography Professional Award 2012, Adobe Breakthrough Photography Award 2012 and Prix Pictet, Consumption 2014. His photographs are included in the collections of the George Eastman Museum, James A. Michener Art Museum, Houston Museum of Fine Arts, Dow Jones Collection, Carl & Marilynn Thoma Art Foundation, Jewish Museum of NY, Library of Congress, Snite Museum of Art, The Historic New Orleans Collection, Museum of the City of New York, 9/11 Memorial Museum and numerous private collections. His editorial work has appeared in, and on the covers of leading publications such as the New York Times Magazine, Vanity Fair, Time, Fortune, National Geographic, Sports Illustrated, and many others.<br /><br />MTA ARTS & DESIGN MTA<br /><br />Arts & Design encourages the use of public transportation by providing visual and performing arts in the metropolitan New York area. The Percent for Art program is one of the largest and most diverse collections of site-specific public art in the world, with more than 380 commissions by world-famous, midcareer and emerging artists. Arts & Design produces Graphic Arts, Digital Art, photographic Lightbox exhibitions, as well as live musical performances in stations through its Music Under New York (MUSIC) program, and the Poetry in Motion program in collaboration with the Poetry Society of America. It serves the millions of people who rely upon MTA subways and commuter trains and strives to create meaningful connections between sites, neighborhoods, and people.<br />MTA</div>Monroe Gallery of Photographyhttp://www.blogger.com/profile/10356126678908452012noreply@blogger.com0