Showing posts with label Photo LA. Show all posts
Showing posts with label Photo LA. Show all posts

Sunday, December 30, 2012

2012 - 2013



As we all approach the new year 2013, a very sincere thank you to our esteemed photographers, clients, friends, and colleagues. We hope to see you in the gallery during 2013, and at the following photography fairs:

photo la Santa Monica Civic Auditorium
January 17 - 21

The New York AIPAD Photography Show at the Park Avenue Armory
April 4 - 7.



Our compliation of the "Best Photos of 2012" post was the most popular post of the year on this blog. The next top 4 Monroe Gallery Blog posts of 2012 were:

Stephen Wilkes DAY TO NIGHT Photo Shoot Feature On CBS News Sunday Morning Show Nov 11

50 YEARS AGO: The Night Marilyn Sang to JFK

Stan Stearns dies; captured immortal image at JFK’s funeral

Mohammad Ali by Steve Schapiro



Wishing you all the very best in 2013.

Thank you as well to our Twitter followers and Facebook friends !

                                           





Saturday, October 27, 2012

Bill Eppridge, noted photojournalist, will present keynote lecture on his experiences documenting the 1960s at Photo LA 2013






photo l.a. features new and established galleries from around the world that present classic, vintage and contemporary photography. Providing a visual discourse on photography's place in contemporary art, photo l.a. is an exciting forum for collectors and exhibitors.

Photography publications, and artist produced books, have become increasingly more important in the field of photography and contemporary art. We are delighted to announce photoBOOK LA as a new platform for boutique publishers and book artists. Since it's inception photo l.a. has contributed to the increased appreciation of photography and collecting in Los Angeles. We are certain that photoBOOK LA will be an excellent addition to this tradition.

With over 10,000 visitors photo l.a. is the best platform for meeting with collectors, curators and artists in Los Angeles. Our outstanding programming series continues to address the most current topics in the converging worlds of art and photography.


• Los Angeles County Museum of Art curator Britt Salvesen (Robert Mapplethorpe: XYZ) and Curator of Photographs at the Getty Research Institute, Francis Terpak (In Focus: Robert Mapplethorpe), will discuss the simultaneous exhibitions of the artist's work.



• Matthew Thompson, curator and author of The Anxiety of Photography, will lead a round table discussion with a mix of younger Los Angeles artists including Andrea Longacre-White, Anthony Pearson and David Benjamin Sherry, who hybridize photography with some other practice to explore its materiality.



• Point Of View: selections from Los Angeles collectors will be on view. A round table discussion some of the collectors will elaborate on their collecting motivations



Bill Eppridge, noted photojournalist, lectures on his experiences documenting the 1960s, specifically, Robert F. Kennedy's final campaign.



• Meg Partridge, Filmmaker, will speak about her father, Rondal Partridge, and his photographic work. The son of Imogen Cunningham, his mentors and colleagues included Ansel Adams, Dorothea Lange and Edward Weston



• Artillery magazine hosts one of its infamous Face Off Debates.



• New Sales Platforms roundtable with Heritage Auctions, 1stdibs and artnet.



• Private docent tours of the fair with experts in the field of photography history, the market and museum exhibitions.



• Josephine Sacabo, will discuss her trajectory from a documentary street photographer to her current work using the etched photogravure as her exclusive form of print making.



• photoBOOK LA, a new platform for boutique publishers & book artists at photo l.a.



photo l.a., the 22nd Los Angeles International Photographic Art Exposition, takes place January 18 - 21, 2013 at the historic Santa Monica Civic Auditorium. Opening with a gala reception on Thursday, January 17, 2012. Please visit www.photola.com for fair and programming.

Visit Monroe Gallery of Photography during the fair at booth #M150.

Friday, January 20, 2012

WEEK IN REVIEW: Selected Photography Stories



Med_indian_canyons_8367-jpg
Supermarket Pickets, New Jersey, 1963 © Steve Schapiro,
Monroe Gallery of Photography, Santa Fe

La Lettre de la Photographie has a wrap-up of the 2012 edition of Photo LA, reported by Jeff Dunus with a slide show of highlights here.


September 28, 1959, 108th St. East, New York
Vivian Maier: September 28, 1959, 108th St. East, New York
©Maloof Collection, Ltd.


 
Art Critic Roberta Smith of The New York Times writes a review of 2 concurrent Vivian Maier exhibitions in New York. The exhibition "Vivian Maier: Discovered" opens at Monroe Gallery of Photography on February 3, and continues through April 22.



Grey Villet: Mildred and Richard Loving

The International Center of Photography opened the exhibition "The Lovings Story: Photographs by Grey Villet".  The Amsterman News has the most recent article about this remarkable collection of photographs, taken by Life magazine photographer Grey Villet:

"Brown v. Board of Education. Plessy v. Ferguson. The list of notable court cases that blazed the trail for civil rights in our nation is long, but there is one case that many have forgotten but is no less important: Loving v. Virginia."

More about the Lovings photographs here.


Raw File Blog covers Tim Mantoani's  new book Behind Photographs: Archiving Photographic Legends. "The Tank Man of Tienanmen Square. Muhammad Ali standing over Sonny Liston in victory. The portrait of the Afghan Girl on the cover of National Geographic. Many of us can automatically recall these photos in our heads, but far fewer can name the photographers who took them. Even fewer know what those photographers look like." We are very proud that several of Monroe gallery's photographers are featured.

Sunday, January 15, 2012

Saturday, January 14, 2012

The Politics of Photographs



SUNDAY, JANUARY 15

All general admission and programming tickets can be purchased at boxoffice.

9:30 - 11:00 AM

Docent Tour with Scarlet Cheng


The Politics of Photographs

What do photographs tell us about history, society, and culture, and how? Photojournalism is seen as "objective" -- an event is captured, showing the principals involved. Yet the photographer's selection of subject matter, framing, angle, and context -- Henri Cartier-Bresson's "decisive moment" -- gives us a world of information and a distinct point of view. In fact, the more distinct and personal, the more memorable the image. Arts photography can do the same, although often with more subtlety and ambiguity. Examples of the politics of both photojournalism and arts photography will be examined in works on display at the fair.

Photo LA Features Work of Masters, Amateurs, the Avant-Garde and Everything in Between



Grey Villet and Paul Schutzer photographs of the Civil Rights Movement, Monroe Gallery of Photography, Santa Fe. (Photo by Rebecca Joyce/special to LAist via Flickr)


Via LAist

By Rebecca Joyce/Special to LAist

You might think photography shows are for the collectors and connoisseurs. They’re for people who wear turtlenecks, and sport coats over t-shirts. For people with shiny shoes and who use words like “exquisite” when discussing an artist’s work. People who begin conversations by identifying the art school they attended and sound very important even when discussing lunch.

That’s what I thought, too.

Art buyers and collectors are very important—after all, patrons keep galleries open and make it possible for artists to keep working—but photography shows are for everyone.

In addition to a good collection of works by master photographers, such as Ansel Adams, Photo LA is the place to see what is new and fresh in the photography world, a world ever-growing and constantly changing. Photography is an accessible art, and Photo LA has done everything possible to make this show accessible as well. Anyone who is a lover of photography at any level can be inspired here. There are photographs of the Civil Rights Movement and other works from the 60s, 50s and even earlier.

But for those wanting to see more contemporary work, there is music photography by Jerome Brunet and Ingrid Herfelder, digital work by Catherine Nelson, photographs of urban decay by Thomas Jorion, and the very popular work of Jay Mark Johnson and Stephen Wilkes.


Monroe Gallery of Photography, Santa Fe. On the right is one of the Stephen Wilkes "Day to Night" photographs. (Photo by Rebecca Joyce/special to LAist via Flickr)
 

There are great resources for photographers on hand. Lucie Foundation, which sponsors photography scholarships and Month of Photography, is currently accepting submissions from photographers at all levels. Women in Photography International accepts submissions for year-round photography contests for women of all levels and provides a way for new photographers to interact with established artists.

Check out the event schedule. In addition to guided tours, there are lectures and panels with photographers, collectors, and curators. For new photographers, the Emerging Focus learning series has educational lectures on topics such as travel photography and fine art printing. A Canon representative will be teaching a class on working with RAW files.

If you need further proof that this show is for everyone, The Emerging Focus installation, featuring finalists of a photography contest open to amateurs, seemed to be the most popular and drew the largest crowd while I was there.

So, collectors, curators, students, artists, professionals, enthusiasts, just-got-a-camera-for-Christmas people, whether you love it or don’t understand it, this photography show is for you.
Photo LA is on exhibit at the Santa Monica Civic Auditorium until Monday. For more information about the event check out its website.

Contact the author of this article or email tips@laist.com with further questions, comments or tips.





Friday, January 13, 2012

PHOTO LA 2012 OPENS



Monroe Gallery of Photography


The 21st edition of The International Los Angeles Photographic Art Exposition ("photo la") opened last night with a reception benefiting the Wallis Annenberg Department of Photography at the Los Angeles County Museum of Art.

The fair continues through Monday at the Santa Monica Civic Auditorium, hours and ticket information here.

We look forward to welcoming you at Booth B-500.

Thursday, January 12, 2012



latimes.com
PHOTOGRAPHY

Framework

Via The Los Angeles Times: Capturing the world through photography, video and multimedia
Photo LA: Jan. 12-16

Photo LA: Jan. 12-16


This year the event kicks off with a benefit gala with special host Moby on Thursday.  Ticket are available at: http://www.lacma.org/event/photola or at the box office.

The 21st annual event celebrates photography from all around the world and provides easy access to participating dealers and galleries.  The event brings a plethora of photography for seasoned collectors as well as the newbies.  The four-day programming is rich with educational content that will surely fulfill any questions of photography answered by a range of professionals.  It’s a great way to gallery hop in an extremely convenient manner and, from my experience, a great avenue to discover new and up-and-coming artists.

The stunning photograph featured above is photographer Quentin Shih’s “The Stranger In The Glass Box” and will be on exhibit at the event.

(Visit Monroe Gallery of Photography in Booth B-500)

Tuesday, January 10, 2012

Sunday, January 8, 2012

Based on an anonymous tip that the Lovings were illegally living as a married couple in Caroline County, sheriff Garnett Brooks and two deputies burst into the Lovings’ bedroom on July 11, 1958 at 2 a.m. When Richard explained that the woman in bed with him was his wife, Brooks replied, “Not here she’s not.”



The Loving Story Film Poster


HBO and the Museum of Tolerance invite you and a guest to a special screening of

THE LOVING STORY

An exclusive screening for Museum of Tolerance members only
 Tuesday, January 10, 2012 at 7:00pm

A racially-charged criminal trial and a heart-rending love story converge in this documentary about Mildred and Richard Loving, a part-black, part-Indian woman married to a white man in Jim Crow era Virginia. Thrown into rat-infested jails and exiled from their hometown for 25 years, the Lovings fought back and changed history. They were paired with two young and ambitious lawyers who were driven to pave the way for social justice and equal rights through a historic Supreme Court case, Loving v. Virginia. THE LOVING STORY takes us on a journey into the heart of race relations in America. But, in the end, it is a poignant love story of two people who simply wanted to live in the place they called home.

This film, with its contemporary parallels, will live on as record of monumental change, not just in civil rights then, but in the human right to pursue happiness regardless of color, gender or creed.
Q & A with Director Nancy Buirski and Producer Elisabeth Haviland James.
Dessert reception to follow.

There is no charge for the screening but pre-registration is required.
THIS EVENT IS SOLD OUT

Download a flyer here

More about The Loving Story movie here

View Grey Villet's photographs of the Lovings in Los Angeles during photo la, January 12 - 16, at Monroe Gallery of Photography Booth B-500.

Related: New York Times feature: Grey Villet's photographs of the Lovings; International Center of Photography exhibit

John Edwin Mason: Grey Villet, Interracial Love, and Drag Racing, 1965

Monday, December 26, 2011

THE 21st ANNUAL INTERNATIONAL LOS ANGELES PHOTOGRAPHIC ART EXPOSITION






Monroe Gallery of Photography is pleased to be exhibiting at the
2012 edition of photo l.a. We will be located in Booth B500, the
first booth at the right entrance to the fair. Our booth will feature
some of the finest examples of humanist and photojournalist
imagery from the 20th and 21st Century.


photo l.a. returns to the historic Santa Monica Civic Auditorium
for its 21st edition on January 12 - 16, 2012. Continuing the
discourse on photography’s place in the fine arts, photo l.a.
provides dealers from around the globe a platform for the
exhibition of vintage masterworks, contemporary photography,
as well as video and multimedia installations. This exciting
juxtaposition creates the character that is photo l.a.

In addition to our compelling program of lectures, panels,
book signings, and special installations, we are pleased to
announce Salon de Tableaux, an area of tabletop
presentations showcasing vintage, vernacular and unique
photography. Also we proudly introduce photoBOOK - a forum
with guest reviewers offering feedback to photographers on their
book proposals.

During the Martin Luther King holiday weekend, January 12-16,
2012, photo l.a. returns to the landmark Santa Monica
Civic Auditorium for the 13th time. As the Getty’s
Pacific Standard Time: Art in L.A. 1945-1980 initiative continues
into January, photo l.a. will include installations focusing on
post-WWII art created in Southern California. January is also
L.A. Arts Month, a collective marketing effort by the city and its
arts organizations to attract enthusiasts and collectors to Los
Angeles.

Please join us in January for a memorable four days of art,
education, and excitement. Check our website reguarly for
updates, and join our mailing list for news on ordering tickets,
special projects, and events.

photo l.a. website with details here.

Related: One of the world's most important annual photography events to be held at the Park Avenue Armory in March

LocationSanta Monica Civic Auditorium
1855 Main Street
Santa Monica, CA 90401-3209
www.santamonicacivic.org

Opening Night Gala
Thursday, January 12, 2012 6pm - 9pm
Benefiting the Los Angeles County Museum of Art‘s
Wallis Annenberg Department of Photography


Special host Moby

General Admission Fair Hours
Friday: January 13, 11am - 7pm
Saturday: January 14, 11am - 7pm
Sunday: January 15, 11am - 7pm
Monday: January 16, 11am - 6pm


Tickets
Visit photola21.eventbrite.com/ to purchase tickets

Contact
General Information: info@photola.com

www.photola.com
Tel: 323.965.1000
Fax: 323.937.5523

Tuesday, January 18, 2011

PHOTO LA BY JEFF DUNAS

Again we feature an article from one of our daily must-read photography sources:

Med_01-photola-jpg



LA LETTRE DE LA PHOTOGRAPHY
L'Oeil de La Lettre

January 18, 2011

Last Friday was the opening of the 20th PhotoLA. Initiated twenty years ago by Los Angeles Gallery owner Stephen Cohen, this venerable photo fair has become the largest photo – centric art fair of its kind west of New York. The fair, which originally gathered a small group of American galleries at the Butterfield and Butterfield auction headquarters on Sunset Boulevard, has since grown into a large and influential fair comprised of the world’s most influential photography galleries. Cohen seemed ebullient and relaxed as he surveyed the 20th edition of his dream art fair. Collectors, actors, models and the fashionable, chic art crowd of Los Angeles all came to enjoy the party. The usual suspects were present – prominent galleries presented works ranging from rare black and whites to contemporary color works. It is unlikely that people were able to see the works on display with so much more to see than just the photographs. The fair ran from Friday through Monday evening. PhotoLA has proved to be an important indicator of our local economy’s resurgence. In four days we’ll know if the hip Los Angeles crowd is still devoted to photography.

As PhotoLA entered its second day a sizable crowd came to see the pictures. There was no dominant thread – no new “flavor of the month”, no new currents to speak of that I could discern. There was a bit of everything from the truly vintage (a 1921 signed Edward Weston Pictorialist print – price: $600,000 -) to the truly contemporary massive color prints, including works by Stephen Wilkes

.
Med_01-photola-jpg



As I walked through the fair – two – three times, I decided that rather than try to understand the deeper meaning of the works presented and what the total said for the future of print sales, I would photograph my « coups de CÅ“ur » – images demanding my attention. In the end, all but one were vintage – somehow the smaller, black and white prints meant more to me than the contemporary work and I’m not sure if that bodes well. The fair was a success – attendance was good. The truth is a great photograph is still as rare as ever – an image with depth and meaning is something to covet and cherish as always. Photography is a glorious medium and will remain glorious when it’s great. There are few great practitioners, a fact that has never changed – that can truly say something that touches the eyes and the heart.

Can there be too much of a good thing? Parallel to PhotoLA, is Classic Photography Los Angeles, a fringe group of 13 galleries that have created their own competing event. Classic Photographs Los Angeles ran for two days, Saturday and Sunday, with an opening reception on Friday evening. Some of the evening’s visitors included Virginia Heckert of the Getty Museum, Dr. Katherine Martinez, the new Director of the Center for Creative Photography in Arizona, members of the Los Angeles County Art Museum Photographic Arts Council, former gallery owner and dealer G. Ray Hawkins, Lauren Wendle, Publisher of Photo District News, Carol McCusker, former curator of the Museum of Photographic Arts, San Diego and others.

Jeff Dunas Los Angeles

Jeff Dunas has been a professional photographer for forty years. He devotes his time to his personal work and the Palm Springs Photo Festival of which he is Founder and Director. He has attended all 20 PhotoLA fairs.

Links
http://www.palmspringsphotofestival.com/

http://www.palmspringsphotofestival.com/community

http://www.photola.com/


Full article with slide show here.


Sunday, January 16, 2011

'PHOTO LA GOLD'

Via PhotoInduced

At first blush, we like to just get an overall vibe of a event.

Opening night, we let you know that there were fewer dealers and no breakout stars.
But then we knew we had to go digging for gold.

And we found some.

Black Muslim leader Malcolm X photographing Cassius Clay, Miami, 1964

By the way, the Monroe Gallery from Santa Fe, had some supreme examples of the best in journalistic photography. Seriously the classics all seemed to be there, from Malcolm X taking a photo of Muhammad Ali in a diner after he beat Sonny Liston, to Marilyn Monroe singing Happy Birthday  to John Kennedy, and even George Bush synchronizing his watch with Dick Cheney.

Not cheap, but high quality.

See the full article here.

Saturday, January 15, 2011

PHOTO LA: DAY TWO



It was a beautuful day in Santa Monica, we heard it topped 84 degrees! But, inside the Santa Monica Civic Auditorium it was a very, very busy day at Photo LA.



The Monroe Gallery booth (#A-102) has garnered several reviews, and seems especially relevent this Martin Luther King holiday weekend..



Please join us at Photo LA, which continues Sunday and Monday.


Related: Monroe Gallery at Photo LA

REVIEW: Photo LA- A Few Truffles in the Miasma

 
Photo LA- A Few Truffles in the Miasma.


by Herr Müller on January 14, 2011

Art Fairs can be grind. I’ve worked them from the vantage point of the dealer, showing and selling prints for 8 hours straight. I’ve worked them from the vantage point of an exhibiting artist. And then I’ve “worked” them as a passionate and undauntable visual consumer. To be able to determine the wheat from the chaff is made only a tad easier by the concentration of a single venue. But then the walk in Chelsea or the drive in LA actually provides a moment of visual peace between art encounters.

Photo LA, in its 20th Anniversary rendition, is currently at the Santa Monica Civic Auditorium and runs through Monday. The Fair looks good, well laid out, well lighted and user-friendly. The art on display runs the gambit from sublime to ridiculous, but this can be said of any fair, of any caliber. But we’re in the business of TruffleHunting, so here then a few notable standouts:




A new discovery for me was Annie Seaton, shown at DNJ Gallery, recently moved to Bergamont station. Cutout surfers from one photograph reappear on a facsimile painted ground of another. The paradigm is elegant and well executed. Modestly scaled and intelligent, Ms. Seaton has managed to deface in order to recreate.




Harry Callahan is and has been one of my favorite for many moons. Tom Gitterman is showing a handsome image of Elenor, the artist’s wife, muse and subject throughout his career. Aside for my personal love for the silhouette, the composition is divine and bold. It veers into abstraction and then gently manages to reassert itself into a portrait. The image is both intimate and veiled and thus divinely mysterious.



Photography as journalistic tool and witness has always been important. No greater picture at the fair than this marvelous campaign shot of Bobby Kennedy riding in a convertible in Indianapolis in 1968. Bobby is riding with the Fearsome Foursome and Prizefighter Tony Zale. The image is by Bill Eppridge and can be seen at Monroe Gallery of Photography.







Another personal favorite in the history of Photography is Robert Heineken. A conceptual artist wielding the medium of photography in the 70′s and 80′s, Heineken was deeply ahead of his time. The dime a dozen MFA grads that are pumped out of Academic institutions at a dizzying rate only wish they could have his wit and charm and intelligence. At Barry Singer there are two excellent examples of his work. Polaroid photograms of art school lunches. Items from a salad bar and a neatly dissected submarine sandwich act as subject matter. Original, funny with a soupcon of fuck you make the result a perfect blend of commentary and art. Further examples of Heineken can be seen at Stephen Daiter‘s booth from Chicago.





At Light Work, one of the most successful and enduring Non for profit organizations in the nation it must be said, there’s a great print by David Graham that ominously and wittily sums up the state of the financial landscape. Billboards are a deeply American phenomenon but it may not get any perfectly American as this. The Booth is filled with remarkable examples of great artists, all at reasonable prices, each one donated in support of the ambitious programming.



Lastly I will leave you a triptych by the irascible Wegee at . Yes, I say, a three-ring circus should be a triptych. Of course! The middle image may just be the world’s most perfect double exposure with the observed and the observers fusing into a single image.





I will be giving tours to the VIP guests of the fair on Saturday and Sunday at 12, 2 and 4pm. Come out and sign up and join the dialogue.

Did you see the fair? Leave your thoughts in the comments and let me know the Truffles you found!

-Mario M. Muller, Los Angeles










PHOTO LA, DAY 2: THE ANNIVERSARY OF MARTIN LUTHER KING'S BIRTHDAY

Today is the anniversary of Martin Luther King's birthday.




Monroe Gallery, Booth A-102 at Photo LA.

Third row from left, top is a rare vintage print of the Funeral Procession for Martin Luther King by Lynn Pelham; below is Charles Moore's iconic photograph of  Martin Luther King, Jr. being "Arrested on a Loitering Charge, Montgomery, September 3, 1958"; below is Steve Schapiro's photograph of the Freedom Bus Riders from the summer of 1964.




And, Bill Eppridge's gripping photographs from the Neshoba Civil Rights Murders. To the right, Steve Schapiro's photograph of Martin Luther King during the Selma March, Bob Gomel's classic photograph of Malcolm X and Cassius Clay the night before Clay would declare his conversion to Islam and changing his name to "Muhammad Ali", and Rosa Parks.

Next right row: Grey Villet's photographs of the Little Rock Nine, Martin Luther King, and Steve Schapiro's shocking photograph of Segregationists in 1964.

More updates from Photo LA soon.

Friday, January 14, 2011

MONROE GALLERY AT PHOTO LA


The 20th Anniversary edition of Photo LA opened last night with a benefit preview for LACMA, hosted by Stephen Shore. The fair continues through Monday.

Here are a few highlights from our booth A-102



A rare over-size print of Frank Sinatra and Nat King Cole at the Villa Capri, 1955 by Bernie Abramson, who passed away this past August.



Stephen Wilkes: Day Into Night and America In Detail



More to come!

Thursday, January 13, 2011

PREVIEW: PHOTO LA OPENS TONIGHT

La Lettre de la Photographie
January 13, 2011

PHOTO LA

One of our favorite daily photography sources has a feature article on the Photo LA Fair, which celebrates its 20th Anniversary Edition tonight.

Photo LA celebrates its 20th Anniversary as the longest running art fair west of New York and the largest photo-based art fair in the country, drawing over 10,000 attendees. It brings together photography dealers from around the globe, displaying the finest contemporary photography, video and multi-media installations along with masterworks from the 19th century.


It has been essential in transforming the art/ photography landscape of Los Angeles by increasing public awareness and acceptance and the inclusion of photo-based art in almost all contemporary galleries and museum exhibitions.

artLA was created in 2004 as a public event bringing together a mix of national and international galleries, artists, collectors and curators for a visual dialogue on the current art scene. Its ongoing commitment to presenting the most challenging art being produced today has led to the creation of artLA projects, an ongoing citywide program of dynamic and innovative installations, exhibitions, seminars and conversations with established and cutting- edge artists in all media.

Photo l.a. XX and the launch of artLA projects, is a prelude to a much larger artLA 2011 that will align with the start of the Getty’s Pacific Standard Time Initiative and Art Platform, Los Angeles, a new art fair in the fall of 2011 created by the team that produces the Armory Show.

Among the guests who are going to give a lecture, you wil find:

Amy Arbus, William Eggleston, Bill Hunt, Jessica Lange, Arthur Tress, Stephen Shore, Manfred Heiting, Weston Naef, Arthur Ollman, Wallis Annenberg

The director of the Festival is Stephen Cohen.

LA’s Longest Running Art Fair Joins artLA projects

Thursday, January 13, 2011 through Monday, January 17, 2011

Here are the photography with the gallery presented:

1. Mario Giacomelli, « untitled » ca. 1970’s-1980’s, gelatin silver print, 7 1/16 × 9 10/16 inches, courtesy of Gallery 19th/21st

http://gallery19th21st.free.fr/
Gallery 19th/21st
9 Little Harbor Road – Guilford, CT 06437 – USA


2. Graham Nash, “Joni,” from “Love, Graham Nash,” courtesy of 21st Editions

3. Herman Leonard, “Listen: Herman Leonard and his World of Jazz,” courtesy of 21st Editions.

4. Herman Leonard, “Ella Fitzgerald” from “Listen: Herman Leonard and his World of Jazz,” courtesy of 21st Editions

5. Jerry Uelsmann, from “Moth and Bonelight,” courtesy of 21st Editions

6. Michael Kenna, from Huangshan: Poems from the T’ang Dynasty, courtesy of 21st Editions

http://www.21steditions.com/
21st Editions
9 New Venture Drive, #1 – South Dennis, MA, 02669 – USA

7. Debra Holt, “Untitled,” C-Print, 60×40 inches, courtesy of Abba Fine Art.
http://www.abbafineart.com/
Abba Fine Art
233 NW 36th Street Miami, FL 33127

8. Brooke Shaden, “Dream State,” 35×35 inches, courtesy of Joanne Artman Gallery.

9. Denis Peterson, “Gloucester Road,” Acrylic, Urethane & Oils, 30×40 inches, courtesy of Joanne Artman Gallery.

10. Natalie “Miss Aniela” Dybszi, “The Smothering,” 35×35 inches, courtesy of JoAnne Artman Gallery.
http://www.joanneartmangallery.com/
Joanne Artman Gallery
326 N Coast Highway, Laguna Beach, CA 92651

11. Pete Eckert, “Stations,” Centro Series, courtesy of Blind Photographers Guild.

12. Alice Wingwall, “Rumba at Dendur,” Metropolitan Museum of Art, New York, Color Photography, 24×30 inches, courtesy of Blind Photographers Guild.

13. Bruce Hall, “Prize Fighter,” courtesy of Blind Photographers Guild.

Blind Photographers Guild, 421 26th Street, Sacramento, CA 95816 USA

14. Bill Mattick, “Untitled,” from the “Mendota Water” Series, 2009, C-Print, 32×40 inches, courtesy of Corden
Potts Gallery.

15. Beth Kientzle, “On the Edge,” courtesy of Corden
Potts Gallery.
http://www.cordenpottsgallery.com/

Corden
Potts Gallery.
49 Geary Street, Ste. 211, San Francisco, CA 94108 – USA

16. Andre Kertesz, “Woman Holding Sign,” 1940s, courtesy of Stephen Daiter Gallery.

17. Elliott Erwitt, “Venice, Italy,” 1949, courtesy of Stephen Daiter Gallery.

18. Wynn Bullock, “Untitled,” 1950s, courtesy of Stephen Daiter Gallery.
http://www.stephendaitergallery.com/
Stephen Daiter Gallery
230 W. Superior, Chicago, IL 60654 – USA

19. David Trautrimas, “Mnemonic Doppelganger,” 2009, archival digital print, courtesy of dnj Gallery.

20. David Trautrimas, “Storm Crown Mechanism,” 2009, archival digital print, courtesy of dnj Gallery.

21. William Eggleston, “Untitled,” courtesy of dnj Gallery.

22. Nan Goldin, CZ and Max, courtesy of dnj Gallery.
http://www.dnjgallery.net/
Bergamot Station, 2525 Michigan Avenue, Suite J1, Santa Monica, CA 90404

23. Rob Carter, “Cala, Fuili II, Sardinia,” from the “Traveling Still” series, courtesy of Eyestorm.

24. Rob Carter, from the “Traveling Still” series, courtesy of Eyestorm.
http://www.eyestorm.com/

Eyestorm
London
27 Hill Street
W1J 5LP
(+44) 0845 643 2001

25. Allen Frame, “Hillary and Josh,” Punta del Este, Uraguay, 2008, courtesy of Gitterman Gallery.
http://www.gittermangallery.com/html/home.asp
Gitterman Gallery
170 East 75th Street
New York, NY 10021

26. Frank Maedler, “L 7,” from the series “UT” (Silber), courtesy of Gallery J.J. Heckenhauer.

27. Peter Neusser, “Wolfsburg,” courtesy of Gallery J.J. Heckenhauer.

28. Mauren Brodbeck, “Juliette #5,” courtesy of Gallery J.J. Heckenhauer.
http://www.heckenhauer.net/ga/en/index.html
Gallery J.J. Heckenhauer Holzmarkt 5 
72070 Tübingen
Germany

29. Dezhong Wei, from the series “Days Full of Inspirations,” courtesy of Henan Pan-View Image Culture Media Co., Ltd.

30. Shilong Wang, from the series “Days Full of Inspirations,” courtesy of Henan Pan-View Image Culture Media Co., Ltd.

31. Yong Luo, from the series “City of View,” 2005, courtesy of Henan Pan-View Image Culture Media Co., Ltd.

32. Yong Luo, from the series “City of View,” 2005, courtesy of Henan Pan-View Image Culture Media Co., Ltd.
http://www.pan-view.com/
Henan Pan-View Image Culture Media Co., Ltd.C-702 Dongjun International #1212, E Hanghai Road

33. Edward Westen, “MGM,” courtesy of Paul M. Hertzman, Inc.
http://www.hertzmann.net/pages/
PO Box 40447
San Francisco, CA 94140-0448, USA

34. Bob Poe, “Cover,” 2009, I-Phone photo, 54 × 90 inches, courtesy of the Los Angeles Art Association
Gallery 825.

35. Niku Kashef, “The House of Life and Death,” 2008, C-Print, 36×36 inches, courtesy of the Los Angeles Art Association
Gallery 825.

http://www.laaa.org/
Gallery 825
825 N. La Cienega Blvd. Los Angeles, CA 90069

36. Jens Liebchen, “Sunset Boulevard and Gower Street, Los Angeles,” 2010, Pigmented ink on Hahnemuehle Paper, 14×11 inches, courtesy of The Lapis Press
Schaden.com.

37. Oliver Sieber, “Arnold,” Pigmented ink on Hahnemuehle Paper, 11×14 inches, courtesy of The Lapis Press
Schaden.com
http://www.lapispress.com/
http://www.schaden.com/ Schaden.com
Buchhandlung GmbH
Albertusstr. 4
50667 Köln

38. Carrie Mae Weems, “Untitled,” from the “Kitchen Table” series, 1990, courtesy of Light Work.

39. Elijah Gowen, “Cup,” courtesy of Light Work

40. Scott Conarroe, “Trailer Park, Wendover, UT,” 2008, courtesy of Light Work.
http://www.lightwork.org/
Robert B. Menschel Media Center
316 Waverly Avenue
Syracuse, New York 13244
USA

41. Alfred Eisenstaedt, “Marilyn Monroe,” 1953, copyright Time, Inc., courtesy of Gallery M.
http://www.gallerym.com/default.cfm
Gallery M.
180 Cook St, Suite 101, Denver, CO 80206

42. Stephen Wilkes, “Washington Square, Day into Night, New York,” 2009, 40×30 inches, courtesy of Monroe Gallery.

43. Bill Eppridge, "Robert F. Kennedy campaigns with various aides and friends

44. Steve Schapiro, “Segregationists, St. Augustine, Florida,” 1964

45. Stephen Wilkes, “Central Park, Day into Night,”
http://www.monroegallery.com/

Monroe Gallery
112 Don Gaspar Santa Fe, NM 87501 – USA

46. Ju Duoqi, “Liberty Leading the Vegetables,” 2008, courtesy of M.R. Gallery
http://mrgalery.com.cn/
M.R. Gallery
No.D06, Mid Second Street, 798 Art District, Chaoyang District, 100015 Beijing, China

47. Norman Kulkin, “Untitled,” courtesy of Select Vernacular Photographs.
http://www.pixidiom.com/
727 N. Fuller Avenue, Los Angeles, CA 90046 – USA

48. Tom Chambers, “Caging the Songbird,” from the “Dreaming in Reverse” series, 20×20 inches, courtesy of photo-eye Gallery.

49. Tom Chambers, “Presumptuous Guests,” from the “Dreaming in Reverse” series, courtesy of photo-eye Gallery.
http://photoeye.com/
photo-eye Gallery.
376, Garcia Street, Santa Fe, NM 87501 – USA

50. Joey L., “Portrait of Saragolea,” from the “Abyssinia” series, courtesy of photokunst.

51. Joey L., “Portrait of Saragolea,” from the “Abyssinia” series, courtesy of photokunst.
http://www.photokunst.com/
Photokunst
725 Argyle Avenue, Friday Harbor, WA 98250 – USA

52. Marian Drew, “Emu with yellow canary,” 2010, courtesy of Queensland Centre for Photography.
http://www.qcp.org.au/
Corner of Russel and Cordelia Street, South Brisbane QLD 4101 Australia

53. Juan Fontanive, “Livelinesse 2,” 2010, Edition 14, courtesy of Riflemaker: London.
http://www.riflemakerorg/
Riflemaker
79 Beak Street, London, W1F 9SU – UK

54. John Baldessari, “Blue Boy (with yellow boy: one with Hawaiin tie, one in dark), Three Color Lithograph,” 1989, courtesy of Barry Singer Gallery.
http://www.singergallery.com/
Barry Singer Gallery.
7 Western Avenue, Petaluma, CA 94952 – USA

55. Christopher Clark and Virginie Pougnaud, “Aurore Eveillee,” archival digital lambda print, 43.3×43.3 inches, courtesy of Skotia Gallery
http://www.skotiagallery.com/
Skotia Gallery
150 W. Marcy Street, Ste 103, Santa Fe, NM 87501 – USA

56. Kelsy Waggaman, “When Was The Last Time You Made Love To Yourself,” archival pigment print 19×28.5 inches, courtesy of Skotia Gallery.
http://www.skotiagallery.com/

57. Robert Frank, “Cadillac Showroom,” 1955, Vintage gelatin silver print, 8.5×13 inches, signed and stamped, courtesy of Joel Soroka Gallery.
http://www.joelsorokagallery.com/
Joel Soroka Gallery.
400 E. Hyman Avenue, Aspen, CO 81611 – USA

58. Ralph Steiner, “Lollipop,” 1920s/c.1981, 4.5×3.5 inches, gelatin silver print, courtesy of Robert Tat Gallery.
http://www.roberttat.com/
Robert Tat Gallery.
49 Geary Street, # 211, San Francisco, CA 94108 – USA

59. Ma Kang, “FORBIDDEN CITY: Policemen before the Tian’anmen Gate-tower,” 2008, Inkjet print, courtesy of OFOTO Gallery.
http://www.ofoto-gallery.com/
OFOTO Gallery
2F, Building 13, 50 Mogashan Road, Shanghai 200060 – China

60. Luo Yongjin, “Kezhi Garden,” 2002, Injet print, courtesy of OFOTO Gallery.
http://www.ofoto-gallery.com/

Links:
http://www.photola.com/

Wednesday, January 12, 2011

Bill Eppridge - History in the Making

Bill Eppridge - History in the Making
DOUBLE EXPOSURE

By Lynne Eodice

Jan 11, 2011

All photos by Bill Eppridge.

In a notable career shooting primarily for Life and Sports Illustrated, Bill Eppridge has covered wars, political campaigns, heroin addiction, the arrival of the Beatles in the United States, the summer and winter Olympics, and perhaps the most dramatic moment of his career--the assassination of Senator Robert Kennedy in Los Angeles. His photography has won numerous awards and has appeared in traveling exhibits throughout the world. He has taught photojournalism at Yale University, the Missouri Photojournalism Workshop, Barnstorm: The Eddie Adams Workshop, Rich Clarkson's Photography at the Summit, and Sportsshooter Workshop.



 When his family lived in Richmond, Virginia at the end of WWII, a man with a pony came to the Eppridge household one day and offered his photographic services. Bill Eppridge, who was about 10 at the time, got out his Brownie Starflash 620 camera and posed with it. "I started thinking, 'this guy doesn't have a bad job. He gets to travel, meets some interesting people and he's even got a pony.'" As a young boy, he waited for the mailman to deliver Life magazine every week, and always enjoyed the photographs by David Douglas Duncan, Robert Capa, and Henri Cartier-Bresson. "I was fascinated by this work and I felt that it affected the people who looked at these pictures." He was also moved by Joe Rosenthal's image of the flag being raised at Iwo Jima. "Over the years, I thought there was some power with this medium. If you can do a couple of good things for people in your life, then you've lived a good life," he remarks.


Joining the Ranks of his Heroes

After graduating from high school, Eppridge decided he wanted to be an archaeologist and attended the University of Toronto. He also took pictures for the Varsity, the campus newspaper. "By the end of my second year there, I was Director of Photography," he remembers. His grades in school began to slip, and he realized that photography was really where he wanted to be. One of the faculty members at the college advised him to go to the University of Missouri, as it was the best school for journalism.



Ethel Kennedy Leans Over Robert F. Kennedy As He Lies Wounded on Floor of Ambassador Hotel Kitchen, June, 1968 © Time

Twice, he won the National College Picture Competition sponsored by the National Press Photographers' Association (NPPA) and the University of Missouri. "In both cases, the first prize was an Encyclopedia Britannica and a week's internship at Life magazine," Eppridge says. "During those weeks, I met some of the people whose pictures I had seen as a child." One of his winning images was the result of a lucky accident, taken when a Columbia, Missouri newspaper needed a cover for its farm supplement. Eppridge agreed to take pictures of an impending tornadic storm, and pulled his car up alongside a farm just as the sky was turning black. A farm horse, which he describes as "an old plug," approached him. Eppridge slipped, making a sudden move that startled the horse, and it ran away. Shooting quickly, he got one dramatic picture of this off-white horse galloping against a dark, foreboding sky. "The old plug looked just like a thoroughbred," he relates. The image, titled, 'Stormy,' also won first place Pictorial in the NPPA's Pictures of The Year competition-- Eppridge credits it with starting his career. (And fortunately, the horse was fine, as the storm never really touched down.)


He says, "Most of the Missouri grads at the time migrated to National Geographic." Thus, he made inroads at both NGS and Life. His first assignment for NGS was a nine-month trip around the world with the International School of America. The trek started in Japan and moved across the continents to Europe. "I didn't attend classes like they did, so I was free to roam. It was a great way to get introduced to this profession and to the world outside," he recalls.


A Ground Floor Opportunity

He moved on to Life following the advice of his Picture Editor at NGS, Bill Garrett, who was also a graduate of Missouri. "He was a brilliant man," exclaims Eppridge, "who always had a very good sense of what was going on in the world." NGS had wanted Eppridge to remain in Washington while they laid the story out, and put him to work in the magazine's color lab as a technician. Once the story was laid out, the editor, Melville Bell Grosvenor wanted to make him a staff photographer. "I felt really wonderful about this," he says. "But a few days later, Garrett told me, 'you've got to get out of here. They want you on staff and you can't do that.'" Garrett told the young man that the world was, in essence, starting to "blow up," with unrest in Latin America and Southeast Asia. "You've got to photograph those places," he advised Eppridge. "You won't get a chance to do that if you stay here."

One of the judges of a picture competition that Eppridge had won was Roy Rowan, the Life Bureau Chief in Chicago. "I went to New York blindly with a portfolio under my arm," Eppridge says. "I didn't make any phone calls and didn't set anything up." He thought Life was a little out of reach, but hoped to get a free lunch from one of his friends there. "I went over to the Time-Life building and was standing at the corner of 51st and 6th Avenue. This voice behind me says, 'Eppridge, is that you?' and I turned around and said, 'Roy Rowan, is that you?'" As it turned out, Rowan was the new Director of Photography at Life, and told Eppridge they were looking for young photographers. He had an opportunity to start shooting for the magazine that afternoon, but since he hadn't brought his camera with him, he began his career with the venerable publication after moving to New York several weeks later. "The first assignment I shot ran in the magazine, and so did the next several stories," he says--an impressive feat, considering that Life had a very high "kill factor" at the time. Soon Life made Eppridge a staff photographer.

His assignments with the magazine marked some very important points in history, beginning with coverage of several wars in the early sixties. "I went to Panama, Santa Domingo, and Managua for those revolutions," Eppridge notes. "I spent some time in Mississippi when the bodies of three slain civil rights workers were found, and I was in Vietnam. It taught me that war ain't glorious at all--not made for human consumption." He also did a story on heroin addiction, where he lived with a pair of addicts in New York City for about three months, in an area known as Needle Park. "They were just being themselves because that's the way I work," he says. "I prefer to be a speck on the wall." The resulting story won several awards, including the National Headliners Award that year. It was also the inspiration for Al Pacino's first film, "Panic in Needle Park."

All in all, he's covered a wide range of stories for Life, including spending a week with Jonas Salk, the inventor of the Polio vaccine. He photographed the summer Olympics in Mexico, and spent time with Dick Butkus during his rookie year with the Chicago Bears. He was also the first photojournalist to be allowed to travel on tour with Lyndon B. Johnson during his presidency. "I was on Air Force One for several days," he comments. Eppridge also covered civil rights issues, and was with the family of James Chaney after his body was found, and photographed his funeral. "I was able to show how that family dealt with a terrible event."



Rock n' Roll History

In 1964, the magazine sent him on assignment on what would become a legendary rock band's historic arrival to the U.S. "One morning my boss said, 'Look, we've got a bunch of British musicians coming into town. They're called the Beatles.'" Eppridge, who wasn't really a rock n' roll fan, recalled that Life had recently done a story about a phenomenon known as Beatlemania--"The Beatles were running down the street with little girls screaming and running after them." His orders were to cover their arrival in New York from a unique vantage point where nobody else happened to be, so Eppridge went to JFK International Airport to scout out locations. "I wandered around and found a spot that I liked," he says. "So I set up there, leaned against a pole, and waited." Before long, another photographer headed in his direction, apparently also seeking a good location, and set his camera bag down about 20 feet from Eppridge. He made acquaintance with this photographer, who turned out to be the Pulitzer Prize-winning photojournalist Eddie Adams, on assignment from Associated Press.

"I decided I liked the guy, although he was competition," says Eppridge of that initial meeting. They discussed where the ideal spot would be to shoot the British group's arrival, and both concluded that it would be best to be on the plane, behind the Beatles as they came out the door, photographing them and the huge, uproarious crowd below. When the plane landed, the door opened, "and out came this beautiful Pan Am stewardess, followed by the Beatles, who were dressed like proper young men," he remembers. And lo and behold, a photographer followed them out the door of the plane. "Eddie and I just looked at each other," Eppridge says. It turned out that the photographer was Harry Benson, who was working for one of the British newspapers at the time.

Eppridge covered the first few days that the Beatles were in New York, and learned a lot about music. "These were four very fine young gentlemen, and great fun to be around," he says. After he introduced himself to Ringo, who consulted with John, the group asked what he wanted them to do while being photographed for Life. "I'm not going to ask you to do a thing," was Eppridge's reply. "I just want to be there." He was invited to come up to their hotel room and "stick with them." The resulting photos from this story were on display at the Smithsonian for an entire year. That exhibit is still traveling and is currently in Liverpool, England.



A Pivotal Moment in Time

In 1966, he was assigned to cover Bobby Kennedy's political campaigns. "He endorsed candidates who had helped his brother," notes Eppridge. "But he was also testing the waters to see how his own candidacy would go over in '68." That year, Life asked him to cover Kennedy's campaign, beginning with the primaries. At that time, the magazine assigned one staffer to each major candidate. On June 5, 1968, at the Ambassador Hotel in Los Angeles, he was instructed by his boss to "stay as close as you can to Bobby. The editors here feel that if he wins California--which appears likely--he will probably be the next President of the United States." Back then, he says, you could do all your dealings directly with the candidate, no middleman involved. As opposed to the massive security today, Bobby Kennedy only had one bodyguard, Bill Barry.


Kennedy assured Eppridge that he would be part of his immediate group, which meant that wherever the Democratic candidate went, Eppridge wouldn't be far behind. "When he came off the stage, we would form an arrowhead-shaped wedge of photographers who would go through a crowd," he relates. "If people got pushed out of the way, then it was the press who did it and not the candidate." Being in the "pocket" of the wedge also gave Senator Kennedy freedom to move around and shake hands. "We had that wedge formed at Barry's direction to go out of a different exit," he says. "Bobby came off the stage, and came down to Barry, who said 'Senator, this way,' pointing across the room." But Bobby insisted on going out through the kitchen, which was the way they had entered. Again, Barry told him to go across the room, but the Senator refused, turned, and entered the kitchen.

"We couldn't scramble fast enough," Eppridge remembers. "We all headed towards the kitchen, but were behind him about 15 feet." As he tried to catch up, he went through the kitchen doors, and heard the sound of gunshots. It was eight shots. Thinking quickly, he grabbed the television cameraman and shoved him forward to utilize his light. Among the thoughts Eppridge had at that moment was a very loud and clear one: "You are not just a photojournalist, you're a historian."

Juan Romero, a busboy with whom Kennedy had been shaking hands, now cradled the Senator's head in his arms. Eppridge had time to capture only a few frames. "The first one was out of focus," he says. "In the second one, Romero is looking down at Kennedy, and in the third one, Romero was looking up with a pleading look." After that, the scene became bedlam. "You think you're in a position to help," he muses. "There were doctors in the room, and I knew I could only do my job because there was nothing I could do to help the Senator. So I just concentrated on doing my job."

Eppridge has published two photographic books on Bobby Kennedy. The first, titled The Last Campaign, was published in 1993 on the 25th anniversary of Senator Kennedy's death. The most recent one is entitled A Time It Was: Bobby Kennedy In The Sixties, (Abrams, June 2008) and includes never-before-published color photographs from the campaign that had been lost for 40 years. "What I would like people to know about is the freedom we (photographers) had and the ability we were given to tell the truth," Eppridge comments. "The press is controlled in such a way today that you almost never see the real person you're photographing. You're taking pictures of what their handlers want you to see."




Protecting Natural Resources

"After Bobby was killed, of course, I didn't do any more politics," he says. Instead, he took on more outdoor assignments; hunting, fishing, and environmental photography. Before they folded, Life let a lot of photographers go, but kept Eppridge. When the magazine ceased publication in December 1972, he moved on to Sports Illustrated, where he is still on the masthead. "I liked SI because they were doing the types of stories I enjoyed," he says. The publication sent him to Africa to do a story on poaching, which he describes as "interestingly scary." He's also covered six America's Cup competitions and five Winter Olympics. "The best-run games were in Sarajevo," Eppridge observes. "That was before the war destroyed that country." He describes his work with SI as "Sports with no balls," as he's no longer fond of shooting baseball, basketball, or football. "I prefer to do something that I've never done before," he remarks. "Rather than specialize, I'm a generalist."

When asked about advice for photographers starting out today, Eppridge emphasizes telling the truth. "I believe our world is at a time right now in which it should be documented completely." He says we should all be protectors of our environment and heritage. "If we can influence people with photographs, maybe we'll be able to maintain our planet."

See Bill Eppridge's historic photographs at Booth A-102 during Photo LA, January 13 - 17, 2011,.