Photograph by John Dominis Inside legendary photo agent Lee Gross’ Manhattan apartment

 Via Wallpaper

April 29, 2022

John Dominis/©The Life Picture Collection

Jacques D'Amboise Playing with his Sons, Seattle, Washington, 1962

Featured in the exhibition The LIFE Photographers

May 6-June 19, 2022

Inside legendary photo agent Lee Gross’ Manhattan apartment

Lee Gross, a photo agent who pioneered the capturing of behind-the-scenes movie-set images in the 1960s, talks us through the treasures of her West Village apartment

"The dining room at Lee Gross’ apartment. ’As soon as we saw the unfurnished, undivided loft space I knew the dining table would fit somehow; it is a Bruno Mathsson dropleaf,’ says Gross. ‘The wood is oak, the table is light and graceful.’ Art in the room includes a photograph by the late Life magazine photographer John Dominis, part of a feature on the dancer Jacques d’Amboise, pictured here with his two baby sons. The painting behind the table is by an unknown Aboriginal artist, while the Charlie Chaplin photograph was a birthday gift to Gross’ husband. ‘I had found a 5x7 negative, had it blown up life-size and transported it on the subway to our then small apartment! It’s lived with us in every apartment we ever had.’ Above the table is suspended a pole ordinarily used to hang a boat’s sail; Gross had it transformed into a chandelier from which to rig Murano glass pendant lights"

New local exhibition highlights the work of photojournalists on September 11

 

New York Firemen on scene of the terrorist attack on the World Trade Center, September 11, 2001

Shepard Sherbell

Via The Santa Fe Reporter

September 1, 2021

By Riley Gardner

“This is the role they play”

New local exhibition highlights the work of photojournalists on September 11

Michelle and Sidney Monroe of Santa Fe’s Monroe Gallery of Photography were a mere nine blocks north of the World Trade Center on Sept. 11, 2001.

Back then, well before the Monroes moved to Santa Fe, their New York space was already highlighting the work of photojournalists around the world. Captivating images of joy, terror or all points in between is just part of the job, and you never know when they might flare into existence. Still, the aftermath of 9/11 stuck with the Monroes, and the gallery opens a new show this week about the history of the buildings themselves, as well as that most harrowing day in American history.

“I’m a New Yorker, and I remember [the towers] being built,” Sid tells SFR. “The exhibit traces that planning, construction, landscape and the aftermath of that day. It’s like a memory, a history of those buildings.”

The gallery is an extension of the Monroes’ long career in documenting photojournalism and the photographers who often risk their own lives to record history. 9/11: In Remembrance takes a look at that role but, beyond the national trauma, also attempts to capture how the World Trade Center represented American ingenuity in the 20th century.

“It’s definitive photojournalism,” Michelle explains. “We’ve been inspired to illustrate the calling of this career to understand history—and that’s our gallery mission.”

Photographers in the show include Tony Vaccaro, who catalogues a friendship with World Trade Center architect Minoru Yamasaki, and Eric O’Connell, who grabbed his cameras as the towers burned and caught crisp black and white images of the destruction.

“There are times when people become witnesses to history, and that changes you,” Sid explains. “We knew so many people that were lost, and people who lost others.”

As the 20th anniversary of 9/11 approaches, the images of that fateful day may be seared into our collective consciousness forever. But what about the photographers themselves?

“This is the role they play,” Michelle says. “This is history.” 

9/11 In Remembrance: All day Friday, Sept. 3. Free. Monroe Gallery of Photography, 112 Don Gaspar, (505) 992-0800. Exhibition continues through September 26, 2021

Amalie R. Rothschild, photographer at Fillmore East, recalls brief but legendary run

 Via Fox 5 New York

June 24, 2021

Photographer at Fillmore East recalls brief but legendary run

NEW YORK - Sunday marks the 50th anniversary of the last shows performed at the legendary Fillmore East music hall where the likes of The Grateful Dead and the Beach Boys once played. 

The Fillmore is now a bank but its heyday- as a prime music venue- is remembered by resident photographer Amalie Rothschild.

I was a fly on the wall," said Rothschild. "I really didn’t want to be hit on. I wasn’t looking to hook up and my cameras were shields. I was serious. I was an artist. A photographer. I didn’t have the kind of confidence as a young woman yet, but I had the right mentality."

During its’ brief but legendary three-year run from 1968 – 1971, the roughly 2,600 seat Fillmore East in the East Village played host to a who’s who of legendary performers. Elton John, Crosby, Stills, Nash and Young, The Who, and the Allman Brothers just to name a few. 

Rothschild was, in essence, the venue’s house photographer.

"When the Fillmore opened. The tickets were $3, $4 and $5. And when they closed it was $3.50, $4.50 and $5.50, said Rothschild.

Tickets to similar see bands with similar star power today would cost $500.

"And the first tickets to sell out were the last four rows in the balcony, in the top of the balcony," added Rothschild.

Rothschild, who has enjoyed a long successful career as a photographer and filmmaker, captured some of her most famous photos during a Thanksgiving Day Rolling Stones Show in 1969 at Madison Square Garden. Ike and Tina Turner opened and Janis Joplin made an unexpected cameo onstage.

Amalie R. Rothschild

Janis and Tina, Madison Square Garden, November 27, 1969

"Before they went on, Janis was just standing at the side of the stage with a few friends and right as I pulled the shutter I saw someone walk into the frame and when I developed the film and developed the contact sheet, I went ‘oh" because the person who walked in was Jimi Hendrix," said Rothschild.

Historical in more ways than one. Once bands like the Rolling Stones made their leap to arenas, making more money playing fewer shows to bigger audiences, the days of smaller theaters like the Fillmore were numbered.

In April of 1971, promoter Bill Graham announced he was shutting the venue.

"No one had any clue. It was a terrible shock for the staff to take in. He could’ve kept it going for a few more years but it wouldn’t be the same," said Rothschild.

The final show was a sendoff for the ages. A June 27 1971 all-night show headlined by the house favorites, the Allman Brothers.

"As you know no one wanted it to end.. and one of my favorite pictures of the Beach Boys is that I was able to catch all of them onstage with Bill Graham behind a speaker column watching them onstage.... it went until dawn and we walked out and the sun was out and everybody was crying and we went to Ratner’s for breakfast and it was a real tear-jerker and real difficult.'

Video: Ida Wyman, East Harlem, 1947 in Color

 

View the exhibition on-line here

THE Magazine Review: Stephen Wilkes: Day to Night

Installation Photograph by Stephen Wilkes

The Magazine
Critcal Reflections
June, 2012

Iris McLister



Are you a city person? Do you like hailing a taxi or looking upward to see the tippy top of a skyscraper?


Maybe you’re more of a country mouse like me, and being among millions of people with places to go and people to see leaves you cold. My only, very brief, visit to New York City, several years ago, left my feathers substantially ruffled. The rush, the anonymity, the impossible task of trying to be nonchalant about riding the subway; the everywhere presence of interesting-looking people I’d never know or even meet.

No, not all of us are city people. Contemporary photographer Stephen Wilkes chose New York City as his subject for his series Day to Night, capturing moments of astonishing urban beauty in luscious, vivid color. His unique digitally manipulated, time-lapse photography allows the course of an entire day to be viewed in one image, thereby exposing the city’s constant energy while suggesting its ultimate stability.

We’ve all seen pictures of the Empire State Building or the Brooklyn Bridge at dusk; these aren’t those. The first thing you notice about the photos in Day to Night is the uncanny quality of light they capture; they look lit up from within. Wilkes has been a commercial photographer for many years, working for major publications like Sports Illustrated, Vanity Fair, The New York Times Magazine, and Time. As a fine-art photographer, his work reaches similarly wide audiences and often has political undertones. A series shot on Ellis Island depicts eerie scenes of dilapidated buildings and neglected grounds—it garnered so much attention that it helped prompt Congress to grant the area millions of preservation dollars and designate it as a “living ruin.” In a 2008 body of photographs taken in China, Wilkes conveyed in equal measure the sterile coldness of sprawling factories and the humanity of their workers.

For this more neutral, but visually dazzling, body of work, the artist began by choosing an iconic New York City location like Central Park or Washington Square. Perched fifty feet above ground level in a rented boom lift, the artist spent ten to fifteen hours taking hundreds of pictures of the same scene throughout the course of a day, painstakingly ensuring that every shot came from the same, fixed perspective.

Wilkes then blended together dozens or so carefully chosen shots with digital photo software to forge utterly seamless portrayals of a day’s shift into night. Painstakingly detailed and full of nuance, a single image can take months to create. Photographs take on time-travel qualities in their ability to relate distinct times of day in just one frame. In Gramercy Park, this city landmark becomes a dense forest, composed so that the vermillion shock of tall trees in the foreground gives way, somewhat ominously, to darkened evening skies. Apartment building windows are so warmly and clearly lit you can almost make out figures, and the bizarre lighting, which Wilkes sometimes manipulates into veritable fluorescence, suggests the contrivance of a movie set or a starkly illuminated dollhouse. In Park Avenue, rows of golden yellow cabs stream down traffic lanes in a scene of ecstatic motion. Thrillingly bright light beams downwards onto the avenue, and an inky-dark, cloudy sky makes a perplexing and delightful backdrop. This is a remarkably beautiful rendering of an urban scene—and it feels consummately new in its depiction. Coney Island is more literal in its representation of a day’s transition from morning to night; the evening portion on the left side of the picture gradually turns to brilliant daylight on the right. The neon blur of the Ferris wheel against the night sky gives way to the sunbathers and sailboats creating areas of startling, but somehow organic, contrast. Of these photographs, which Wilkes calls “quintessential city portraits,” the artist says: “You realize that the pedestrians are communicating, the cabs [are communicating], all these elements are coming together and creating a complex life form… that’s how the city works.”

In this eye-catching exhibition, Stephen Wilkes manages to inject scenes of urban New York with a dynamism that conjures universally relatable themes of renewal and change. This work encourages us to celebrate and share in the ineffably triumphant quality of New York City—and it’s got this country girl yearning for a visit to the Big Apple.

The exhibition has been extended through June 24, 2012.

Photo Courtesy Hance Partners

CNN - Witness to History: White House photographer Eric Draper and the images of 9/11

Via CNN


Washington (CNN) -- As the president's personal photographer and head of the White House Photo Office, Eric Draper was with President George W. Bush for nearly every day of his eight-year term, often just a few feet away.

On the morning of September 11, 2001, he was there, too.

"My job was to document the president, to follow him everywhere," Draper told CNN in an exclusive interview. "But I had no idea what stories, what events would play out ... September 11 changed everything."

Draper, a former newspaper and wire photographer who is now a freelancer based in Albuquerque, New Mexico, ended up at President Bush's side on that fateful day and made some of the most iconic and memorable images of the president as the tragedy unfolded.

He was there in the motorcade, driving to Booker Elementary School in Sarasota, Florida, when press secretary Ari Fleischer first got a "page" on his pager -- "Back then, we didn't have BlackBerrys," said Draper -- alerting the White House that a single plane had hit the World Trade Center.

Eric Draper video: 9/11 through Bush's lens

"I remember the president saying, 'What a horrible accident.' That's what everyone thought, that it was a shocking, one-time, how-could-that-ever-happen accident," recalled Draper.

Minutes later, they knew it wasn't an accident.

Draper was there, in the holding room of the elementary school, as Bush and his advisers first saw the second plane, United Airlines Flight 175, crash into the south tower, hitting it between the 77th and 85th floors.

He was there, on Air Force One, as the president flew first to Barksdale Air Force Base in Louisiana, and then to Offutt Air Force Base in Nebraska, as events continued to develop that tense day.

He was there, in the room, when President Bush saw the twin towers collapse and he was there, days later, when Bush climbed atop the rubble at ground zero in New York, holding a megaphone, and proclaimed "The whole world will hear us soon."

Draper sat down with CNN for an exclusive interview, walked us through several never-before-seen images from September 11 and the days following, and shared how one of the most significant days in American history unfolded:

President Bush reacts to live video of the burning World Trade Center at a classroom at Emma Booker Elementary School in Sarasota.

CNN: This photo of President Bush in the holding room at the elementary school in Florida, what is happening here?

Draper: This was literally just seconds after the president left the classroom. And the timing here is pretty critical because there's a clock on the wall, you can see it's around 9:10.

The president was asking questions, trying to get the timing down, what happened in New York. It was tense, it was unbelievable. And then there was the distraction of watching the burning towers on TV. Immediately, I just tried to focus on making the picture.

White House communications director Dan Bartlett alerts the room to watch the TV

...as President Bush turns to see the second plane hit the south tower of the World Trade Center.

CNN: And this frame, President Bush is on the phone...

Draper: This was the moment, when the president finally was alerted. We're watching the live screen of the towers burning in New York, and all of a sudden they start replaying the video of the second tower getting hit. ... This was the first time that everyone saw that second plane hitting the tower, the moment of the attack.

President Bush turns around for the first time and sees that image that's burned into everyone's memory.

It was just shocking to see the horrific explosion and knowing immediately that there was going to be a huge loss of life. The roller coaster of emotions really started that day. It started out with shock, then, knowing how many people were in those buildings, it turned to anger, then turned to, at least in my mind, who would do this?

Bush confers on a secure line as "the football" -- the briefcase holding the secure nuclear launch codes -- is watched by a Marine.

CNN: In this picture, I noticed the Marine in the background and the briefcase on the floor. Is that what I think it is?

Draper: Yes. That's the so-called "football" -- the nuclear launch codes -- that the military carries for the president. Right there. On the floor.

As Air Force One approaches Washington, Bush talks with Vice President Cheney while looking at the smoldering Pentagon.

White House advisers plan the route for Air Force One as Bush works in his cabin.

CNN: OK, now you're on Air Force One. What happened once the president was in the air?

Draper: We knew they wanted to get him in the air as soon as possible... I remember walking aboard the plane, and the first thing I heard was (Chief of Staff) Andy Card's voice saying, "Remove your batteries from your cell phones." because we didn't know if we were being traced. I thought, are we a target? I didn't know.

We were hearing a lot of false reports, too. There was a moment when the president came out of the cabin of Air Force One and said, "I hear that 'Angel' is the next target." Angel is the code name for Air Force One.

I also remember those first moments aboard the plane, when the president really tried to rally the staff. He walked out of his cabin and he said, "OK, boys, this is what they pay us for."

With Andy Card watching, President Bush gives the order to shoot down any aircraft that might threaten an attack on the U.S.

CNN: What's going on here? The president appears to be in intense conversation with Andy Card on Air Force One.

Draper: The timing here is pretty critical. This was around the time when the president made the decision that any aircraft that was threatening attack would be shot down.

President Bush watches the collapse of the twin towers aboard Air Force One, with Dan Bartlett and a secret service agent.

Air Force F-16s fly off the wingtips of Air Force One.

CNN: Did President Bush say much to you that day?

Draper: One time, there was a moment. That's when we're watching live TV aboard the plane. That's when the towers fell.

It was a moment of utter disbelief. It was a moment of silence. I remember the president saying, "Eric, what do you think about this?" I said, "This is unbelievable." That's all I could say.

Just moments after this, this is when we discovered the F-16s escorting Air Force One as we approached Andrews Air Force Base. Everyone was looking out the windows, trying to see them. They were right there, literally, looked like they were touching the wings of the plane. For me, it really hit home, that we were in a war. You could see the F-16s on one side of the plane, then you look out the other side of the plane and you could still see the smoke rising from the Pentagon. It was really a shocking scene.

President Bush and retired firefighter Bob Beckwith stand on the rubble of the World Trade Center.

CNN: Now here, the president is in New York, at ground zero. How did that come together?

Draper: I remember, the firefighters, they were fired up. They were angry. They were sad. Some of them had tears in their eyes. They were looking to the president for leadership. You could see it in their eyes.

There was this area set aside for the president to walk over and speak. At the last minute he was handed a megaphone, and the firefighter marking the spot was there, and the president kept him there. He was just there to make sure the president got to the spot, then he was going to leave, but the president said "Stay here."

I remember the firefighter yelling in the background, "I can't hear you." I still get chills when I remember the quote, when the president said, "I can hear YOU, and the people who knocked these buildings down will hear from all of us soon."

President Bush always kept the badge worn by Port Authority Officer George Howard, who died in the trade center, in his pocket during his presidency.

CNN: This last photo, of the officer's badge, what is this?

Draper: That is the badge that was worn by a New York Port Authority officer who died on 9/11. That badge was found on his body and given to (President Bush) by his mother around the days following 9/11. The president carried it in his pocket as a reminder, he carried it every day. I felt it was very important, symbolically, to make a photograph of that badge. He would always carry it and pull it out to remind people and to remind himself about what happened that day.

Q: Looking back on 9/11, were you scared that day?

Draper: I had it easy because I had a camera to distract me. I had the technical aspects of being a photographer. But at the same time, I was scared about what was happening in Washington, because that's where my wife was, she had just moved to Washington a few days before 9/11.

So when they finally allowed staff to call from the plane later that day, my first words were "Honey, I'm gonna be a little late tonight."

She laughed.

Two of Eric Draper's photograohs from September, 2001 are featured in the exhibition "History's Big Picture" through September 25, 2011.

Related: An Evening with White House Photographer Eric Draper

9.11.01 - 9.11.11

FACES OF GROUND ZERO: TEN YEARS ON

Faces of Ground Zero: Louie Cacchioli, Firefighter, Engine 47, FDNY

 

"Faces of Ground Zero" on Display at Time Warner Center 8/24 - 9/12 in New York City

Starts Wednesday, Aug 24 10:00a to 9:00p

at Time Warner Center at Columbus Circle, New York, NY

Marking the 10th Anniversary of Sept. 11 Time Warner Center Presents Joe McNally's "Faces of Ground Zero, Portraits of the Hereos of Sept 11, 2011."
This special exhibition will feature the original life-size Polaroid’s, along with new digital images and exclusive video interviews shot with Nikon D-SLR cameras revealing where the subjects are today and how 9/11 affected their lives. read more

Price: Free

Marking the 10th Anniversary of Sept. 11 Time Warner Center Presents Joe McNally's "Faces of Ground Zero, Portraits of the Hereos of Sept 11, 2011."

This special exhibition will feature the original life-size Polaroids, along with new digital images and exclusive video interviews shot with Nikon D-SLR cameras revealing where the subjects are today and how 9/11 affected their lives.

Exhibit will run daily from 8/24 - 9/12 and is FREE

Event Website

Read more: Ten Years On via Joe McNally's blog

Related: Joe McNally: Faces of Ground Zero

JOE McNALLY: NEW YORK - SANTA FE

One of the most rewarding aspects of our role as gallerists is the time we spend with photographers learning about their careers and experiences. After completing a hectic week of instruction at the Santa Fe Workshops, last night Joe McNally joined us for dinner and conversation. Joe's impressive biography spans more than 30 years, from his early days as a stringer for the New York Daily News to cover stories for Life, TIME, Newsweek, Fortune, New York, Entertainment Weekly, The New York Times Sunday Magazine, and Men's Journal; as well as being a contribution photographer to National Geographic for over 20 years.

Joe was one of the last staff photographer's at Life, and we share many fond (and humorous) memories of the giants that came before him such as Alfred Eisenstaedt, Carl Mydans, Ralph Morse, and many others.

As New Yorkers who experienced September 11, 2001, we have been passionate admirers of one of McNally's most notable large-scale projects, "Faces of Ground Zero". This collection has become known as one of the most significant artistic responses to the September 11, 2001, tragedy at New York's World Trade Center, and in 2003 we exhibited four of the Giant Polaroids in the exhibition "Icons" following a Six city tour.

The entire Faces of Ground Zero project consists of 150 photographs taken with a one-of-a-kind camera, a 12-foot by 12-foot high Polaroid which takes pictures 40 inches wide by 80 inches tall - larger than life-size. Joe has stayed in touch with many of his subjects over the last ten years, and has recently been photographing updated profiles.

 Joe shared with us an advance copy of the new book, LIFE One Nation: America Remembers September 11, 2001, 10 Years Later.

The book’s description says it all:

"This expanded edition includes a new foreword by Tom Brokaw, reflections on how the nation has changed in the decade since 9/11, updates on the people involved that day, and new and exclusive portraits by award-winning photographer Joe McNally, who made indelible pictures at Ground Zero in the immediate aftermath of the tragic event.

For decades, Americans have turned to LIFE to see, understand, and remember the most important events of history. In addition to a powerful array of photographs taken by many of the world's greatest photographers, ONE NATION includes original essays by some of our finest writers. Contributors include David McCullough, Maya Angelou, James Bradley, Melissa Fay Greene, Margaret Carlson, Bob Greene and many others. To re-read these pieces today is to revisit an astonishing moment. There is an immediacy and passion to the writing that speaks, just as the photographs do, to what 9/11 was-and meant to us all."

Joe has organized a very special exhibition of his original Face of Ground Zero Polaroids alongside some of his recent portraits. The exhibit will take place at the Time Inc building during the 10^th anniversary of 9/11, be certain to see it if you are in New York.

Thank you for a great evening, Joe.

VIVIAN CHERRY'S NEW YORK

Dancer-turned-photographer Vivian Cherry has been capturing the quirks of New York City for nearly 70 years, and has yet to grow tired of it."

—New York Daily News


New York City is characterized by its sheer diversity, as well as by the substantial level of open-mindedness consistently displayed by its residents making it irresistible to all kinds of people from all walks of life. Centuries of large-scale waves of immigration accompanied by a steady stream of freethinking American migrants have created the archetypal melting pot that it is today.


Photographer Vivian Cherry knows New Yorkers. This is reasonable considering she's been capturing them in their natural habitat for over half a century. One of the last surviving members of the Photo League, a cooperative of photographers that in the 1930s and 40s embraced social realism, Cherry shoots her subjects against the backdrop of the city, combining informal portraiture with gritty cityscapes. Her first powerhouse book, Helluva Town: New York City in the 1940s and 50s, was released to critical acclaim. Now she returns with Vivian Cherry's New York, a collection of work shot in the past decade, in which she continues to present her audience with pictures that are raw and real, while at the same time affectionate and warm.

For a preview of the book please visit: http://www.powerHouseBooks.com/viviancherry.pdf

Vivian Cherry's work is in the collections of the Brooklyn Museum; The Museum of Modern Art, New York; the International Center of Photography; and the National Portrait Gallery, Washington, D.C., amongst others, and has appeared in Popular Photography, Life, Sports Illustrated, Redbook, and Ebony, as well as the famed magazines of yesteryear: This Week, Pageant, Colliers, and Amerika. She made several short films and worked with photographer Arnold Eagle as a still photographer on a film about Lee Strasberg and the Actors Studio. The author of Helluva Town: New York City in the 1940s and 50s (powerHouse Books, 2007), Cherry lives and works in New York City.

© Copyright 2010 powerHouse Books

Vivian Cherry at Monroe Gallery of Photography's Booth during the 2010 AIPAD Photography Show

Vivian Cherry's New York
$29.95

Essay by Julia Van Haaften

Photography / New York City
Clothband
8.5 x 11.25 inches
114 pages, 100 duotone photographs

Ordering information here.

View a selection of her photography here.

STEVE SCHAPIRO: AMERICAN EDGE

Martin Luther King Jr, Alabama, 1965

Santa Fe--Monroe Gallery of Photography, 112 Don Gaspar, is honored to announce an extensive exhibition of more than 50 significant photographs by Steve Schapiro of events that would shape a generation, and people who were considered among the most dynamic of this past century. The exhibition opens with a reception for the photographer on Friday, April 16, from 5 to 7 PM, and will continue through June 27. View the exhibition on-line here.

Steve Schapiro discovered photography at age of nine at a summer camp. Excited by the camera's potential, he would spend the next decades prowling the streets of his native New York trying to emulate the work of the great French photographer Henri Cartier-Bresson. Schapiro was a disciple of the great photographer W. Eugene Smith, and shared Smith's passion for black and white documentary work. From the beginning of Schapiro’s career, he had already set a mission for himself: to chronicle the “American Life”. One of the most respected American documentary photographers, Steve Schapiro has photographed major stories for most of the world’s most prominent magazines, including Life, Look, Time, Newsweek, Sports Illustrated, Rolling Stone, People, and Paris Match.

Schapiro's photographs show the collective American psyche torn apart by the turbulent 1960's; the increasing disparity between rich and poor; racial and class conflict; the burgeoning middle class and its materialistic desires; in short, the American Edge.

Fifth Avenue, New York, 1961

His career in photography began in 1960 with personal documentary projects on "Arkansas Migrant Workers" and "Narcotics Addiction in East Harlem". The New York Times Magazine published his migrant photographs as a cover story which resulted in bringing electricity to a farm camp that previously had only kerosene lamps. In the 60's and 70's, he traveled extensively throughout the United States for Life and other magazines doing stories on American culture. Schapiro spent several weeks in the South with James Baldwin and became involved in many civil rights stories including the Selma March and covering Martin Luther King; he traveled with Bobby Kennedy on his Senate campaign and Presidential campaign (including a stop in Albuquerque); and did photo essays on Haight Ashbury, the Pine Ridge Sioux Indian Reservation, and Protest in America. He photographed Andy Warhol and the New York art scene, John and Jacqueline Kennedy, poodles, beauty parlors, and performances at the famous Apollo Theater in New York. He also collaborated on projects for record covers and related art.

As picture magazines declined in the 1970's and 80's he continued documentary work but also produced advertising material, publicity stills and posters for films, including, The Godfather, Rambo, The Way We Were, Risky Business, Taxi Driver, and Midnight Cowboy. From 2000 through 2003 he was a contributing photographer for American Radio Works (Minneapolis Public Radio) producing on-line documentary projects, including: “Viet Nam Vets,” “The Mentally Disturbed and the Prison System” and “Survivors of Jim Crow.”

Monographs include American Edge (2000), “Schapiro’s Heroes” (2007), "The Godfather Family Album - Photographs by Steve Schapiro" (2008); limited edition books of Chinatown and Taxi Driver will be published by Taschen in the near future.

Since the Metropolitan Museum of Art's seminal 1989 exhibition, "Harlem on my Mind", Schapiro's photographs have appeared in museum exhibitions world-wide, including the High Museum of Art's "Road to Freedom", currently on exhibit at the Bronx Museum and travelling the United States.

Supermarket Protest, New Jesery, 1963

MONROE GALLERY AT THE AIPAD PHOTOGRAPHY SHOW BOOTH #317

Monroe Gallery of Photography will be exhibiting at the AIPAD Photography Show March 18 - 21. Watch this blog for updates!

The longest running and one of the most important international photography events in the world, The AIPAD Photography Show will be presented by the Association of International Photography Art Dealers (AIPAD) at the Park Avenue Armory, 643 Park Avenue (between 66th and 67th Streets).

More than 70 of the world's leading fine art photography galleries will present a wide range of museum-quality work including contemporary, modern and 19th century photographs, as well as photo-based art, video and new media, at the Park Avenue Amory in New York City. Monroe Gallery is located in Booth # 317, near the Cafe.

We will be exhibiting specially selected work from the gallery's collection of 20th and 21st Century masters, including the premiere of new work by Stephen Wilkes, and the first showing of the original master vintage print of Bill Eppridge's iconic image of busboy Juan Romero trying to comfort Presidential candidate Robert F. Kennedy after assassination attempt on June 5, 1968. Throughout the show we are honored that several of our photographers will be present in our booth, including Alyssa Adams, widow of the late Eddie Adams, Bill Eppridge, John Dominis,  John Filo, Guy Gillette (who is profiled in the current issue of Black & White magazine), John Loengard, Brian Hamill, Ken Regan, Steve Schapiro, Stephen Wilkes, and Barbara Villet, widow of the late Grey Villet. (We will present Grey Villet's work for the first time ever.)

The 30th edition of The AIPAD Photography Show New York will open with a Gala Preview on March 17 to benefit the John Szarkowski Fund, an endowment for photography acquisitions at The Museum of Modern Art in New York City (call 212-708-9680 for further information). Additional special events, seminars, and lectures are scheduled for Saturday, March 20 and Sunday, March 21, including "A Conversation with Members of the Photo League" with Monroe Gallery photographers Vivian Cherry and Ida Wyman.

We look forward to seeing you at the exhibition!


Show Hours:

Thursday, March 18 11:00 a.m. to 8:00 p.m.
Friday, March 19 11:00 a.m. to 8:00 p.m.
Saturday, March 20 11:00 a.m. to 8:00 p.m.
Sunday, March 21 11:00 a.m. to 6:00 p.m.

The Park Avenue Armory 643 Park Avenue (between 66th and 67th Streets)