Showing posts with label history. Show all posts
Showing posts with label history. Show all posts

Thursday, April 24, 2025

Virginia Public Media Feature On Gallery Photographer Sanjay Suchak


Published April 23, 2025 


“One of the things that got me into photography when I first started was realizing that with a camera and a small amount of skill, you could go to any show for free at the 9:30 Club when I couldn't afford to,” said photographer Sanjay Suchak. “So, I learned that if I found a publication willing to run my photos, I could kind of come in with a camera and bring a friend. It seemed like a pretty good deal.”

For Suchak, who currently serves as a tour photographer for the Dave Matthews Band, Public Enemy and Slightly Stoopid, choosing photography as a profession was not an option. It was a hobby – something he learned about in his teens from his mother and explored on the side throughout his college years in New York.

“Being the son of a first-generation immigrant, you're not going to necessarily declare that you're going to go to college for art,” he said. “So, I went to school for business and international relations and decided to forge a path in government.”

During his college years, Suchak continued growing as a photographer, capturing images on weekends and evenings. After graduating, he took on a six-month stint as a photographer’s assistant where he learned more about lighting and composition. He then spent a handful of years working in government and nonprofit roles until photography won out and he took on a full-time role as staff photographer at a Maryland community college.

“I found that I was having more success with photography than what I actually went to school for,” said Suchak. “The rewards were more noticeable — not just financially — but just in terms of people connecting with what you do and appreciating what you're putting out there. And it sort of felt like this was going to be my natural path.”

From 2013 to 2023, while freelancing as a videographer and eventually tour photographer for the Dave Matthews Band, Suchak served as the senior photographer for the University of Virginia, covering day-to-day life at the school. This included athletics, faculty research, student activities, marketing and “telling the story of the history of that sort of impressive behemoth of an organization.”


During his time at UVA, Suchak — whose work has been featured in various publications including The New York Times, Washington Post, Wall Street Journal and Rolling Stone — also captured the August 2017 Unite the Right rally in Charlottesville. It was during this time that he became interested in covering political protests and the removal of Virginia statues, eventually serving as one of only two photographers who were granted access to witness the melting down of Charlottesville’s Robert E. Lee statue that once stood in the Market Street Park.

color photograph of 2 foundry workers in protective gear with helmets and face mask preparing to melt down the face of the Robert E. Lee statue for repurposing, October, 2023
Sanjay Suchak
Foundry workers prepare to melt down the face of the Robert E. Lee statue for repurposing, October, 2023

He became one of DMB’s official photographers after snapping an image of Dave Matthews and Stevie Wonder during the September 2017 Concert for Charlottesville. Suchak, who always kept a camera on his hip while working in a video capacity, captured the two musicians on stage together, talking to the audience and holding hands.

“I never really envisioned a career in that,” said Suchak, “but over the years, being in Charlottesville, crossing paths with members of the band and then getting to know other people in the music community, I've sort of created a pretty large career out of working for the musicians, and it's been pretty great.”

For Suchak, who also works as a commercial photographer, choosing a career in the arts turned out to be a pretty good decision.

“I let my dad do my taxes” said Suchak, “so he understands I'm not gonna starve.”


Some of the photographic works represented in the embedded video contain explicit language.

Information about Suchak’s work can be found on his website.

Suchak's work can be seen at The Photography Show Presented by AIPAD at the Park Avenue Armory in NYC April 23-27, 2025 in Booth C8.



Wednesday, April 23, 2025

10 FPS Podcast: Celebrating over two decades in Santa Fe, the Monroes shared their insights into the significance of photojournalism and their preparations for the upcoming APAD show in New York

 Via 10 FPS Podcast

April 23, 2025


  

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Photojournalism uniquely bridges the worlds of art and storytelling, capturing moments that resonate deeply with audiences. The Monroe Gallery, a leader in this field, has dedicated itself to showcasing the transformative power of images. In this episode our hosts explored this fascinating realm with Sydney and Michelle Monroe, founders of the Monroe Gallery. Celebrating over two decades in Santa Fe, the Monroes shared their insights into the significance of photojournalism and their preparations for the upcoming APAD show in New York.

The Birth of Monroe Gallery


The Monroe Gallery’s journey began with a pivotal meeting with Alfred Eisenstadt, a founding photographer of Life Magazine. This encounter sparked Sydney and Michelle Monroe’s passion for photojournalism, leading them to recognize its potential within the gallery system. Their mission became to elevate photojournalistic images from magazine pages to gallery walls, transforming them into enduring pieces of art and historical evidence.
The Impact of Photojournalism

Photojournalism, as the Monroes describe, is about more than capturing moments; it’s about documenting history and inspiring change. The images they curate are visually striking and carry deep social and political relevance. From war scenes to tender moments of love, these photographs tell timeless stories. The Monroes emphasize the importance of context, ensuring viewers understand the historical and emotional backdrop of each image.
Handling Sensitive Subjects

Presenting sensitive subjects is a challenge the Monroe Gallery navigates with care. The Monroes provide context to balance human suffering with stories of heroism and hope, offering a comprehensive view of the human experience. This thoughtful curation is evident in exhibitions like Grey Villet’s work on the Loving family, highlighting photojournalism’s societal impact. It is also seen in their latest special exhibit titled “WWII – Eighty Years”, which will be presented at APAD this year. The exhibit highlights the historic triumphs and devastating losses of the war that were captured by thousands of wartime photographers. It is a reminder that we must learn from our history so that these same actions may never be repeated.

Supporting Modern Photojournalists

In today’s evolving media landscape, the Monroe Gallery supports contemporary photojournalists, many of whom rely on print sales to fund their work. The Monroes represent a diverse range of voices, from legends to emerging talents like Eugene Tapahe, whose “Jingle Dress Project” beautifully combines art and journalism. This dedication ensures the gallery remains a vibrant platform for storytelling.

The Monroe Gallery’s journey underscores the enduring power of photojournalism. Through thoughtful curation and commitment, Sydney and Michelle Monroe have created a space where images challenge perceptions and inspire change. As they prepare for the APAD show, the Monroes continue to champion photojournalism as both art and historical record, inviting all to explore the profound impact of these stories.

#photojournalism #photogallery #exibits #APAD

Previous Episode: Ron Haviv

Thursday, April 17, 2025

“10 Frames Per Second” Podcast delves into the world of photojournalism through the lens of Ron Haviv, a renowned photojournalist and co-founder of the VII Agency


graphic with square black background and 10 FBS podcast in white letters

 Via 10 FPS Podcast    A Photojournalism Podcast For Everyone

April 17, 2025

 


On this episode of “10 Frames Per Second” we delve into the world of photojournalism through the lens of Ron Haviv, a renowned photojournalist and co-founder of the VII Agency. In this episode Haviv shared his journey, experiences, and his thoughts on the evolving landscape of photojournalism.

(We are honored to feature Ron Haviv's work in our booth C8 next week at The Photography Show Presented by AIPAD)

Getting Started in Photojournalism

Ron Haviv’s entry into photojournalism wasn’t a childhood dream but rather a journey of discovery during his university years. Influenced by hobbyist photographers in his life and a job with a fashion photographer, Haviv found himself drawn to the world of photography. His career took off with a chance encounter and a generous offer from fellow photojournalist Chris Morris, leading to his first international assignment in Panama.

The Impact of Photojournalism
 
Haviv’s work has had significant impacts, both positive and challenging: Panama: His photographs from Panama were used by President George H.W. Bush as part of the justification for the U.S. invasion, highlighting the power of images in political discourse.
Bosnia: Despite capturing evidence of atrocities, his photographs were initially ignored, underscoring the limitations of photojournalism in effecting immediate change.

The Role of Photo Agencies

Haviv co-founded the VII Agency to give photographers more control over their work and careers. The agency, which emerged at the dawn of the digital age, has adapted to the changing landscape of photojournalism by focusing on embracing digital technology to streamline operations. His non-profit initative, the VII Foundation, helps support long form journalism projects while providing a free education in visual journalism.

The Importance of Education and Mentorship

Haviv emphasizes the critical role of education in photojournalism. With the democratization of photography, it’s essential to train photographers in storytelling and business. This is so that they can tell great stories with their work and draw in clients that will be willing to pay for their pictures and services.

The Lost Rolls Project

One of Haviv’s notable projects is “The Lost Rolls,” a book and public archive exploring memory and photography. This project involved developing forgotten rolls of film, leading to deep reflection on the stories that were captured and what memories would have been attached to them. Now Haviv is encouraging the public to take part in the project by contributing their own lost rolls and stories.


Ron Haviv’s journey and insights offer a profound look into the world of photojournalism. From the power of images to influence political decisions to the challenges of ensuring their impact, Haviv’s experiences highlight the complexities and responsibilities of being a photojournalist. As the industry continues to evolve, education, mentorship, and innovative projects like “The Lost Rolls” remain vital in preserving the integrity and impact of photojournalism.

Tuesday, April 15, 2025

Monroe Gallery At The 2025 Photography Show Presented BY AIPAD

4 Native American women in colorful jiingle dresses stand in tall green grass with snow capped Teton Mountains behind them
©Eugene Tapahe
Four Worlds, Teton National Park, Wyoming, the native land of the Shoshone, Bannock, Gros Ventre, and Nez Perce people, 2020


Monroe Gallery of Photography, Santa Fe, NM, is pleased to return to exhibit at The Photography Show presented by the Association of International Photography Art Dealers (AIPAD). The longest-running fair dedicated to photography in the world fair will take place April 23 – 27 at the Park Avenue Armory, 643 Park Ave, New York, NY and showcase 67 galleries and 20 Photobook and partner exhibitors from around the world.

Monroe Gallery of Photography will be located at Booth C8 and will present a distinctly curated exhibit, with a central focus on Diné (Navajo) photographer Eugene Tapahe’s “Art Heals: TheJingle Dress Project”. “The Jingle Dress Project” originated from Tapahe's dream inspiring him to bring global attention to Native American issues in these uncertain times of social differences through the healing power of the Ojibwe jingle dress dance. Since then, Tapahe has traveled over 25,000 miles, documenting family members dancing the healing jingle dress dance in National Parks and Monuments, honoring the places where their ancestors once lived. This project has received national and international recognition for its unifying effect on communities. Monroe Gallery is the exclusive representative for Tapahe’s “Jingle Dress” fine art prints. Tapahe will give an Artist's talk on Friday, April 25 at 5:30 pm in Booth C8.


Graphic sign with text for Eugene Tapahe Artist Talk on Friday, April 25 in Monroe Gallery Booth C8 at 5:30



Also on exhibit will be a selection of important contemporary photojournalism with a focus on American politics, climate issues, and refugee migration. Three newly represented independent photojournalists will be featured: Tracy Barbutes, Ron Haviv and Bing Guan. Barbutes is a photojournalist, writer, and wildfire photographer based near Yosemite whose photograph of an upside-down American flag hanging from El Capitan near Yosemite recently went viral. Haviv has produced an unflinching record of the injustices of war covering over 25 conflicts, and his photography has had singular impact. 


color photograph of Young displaced girls from Darfur, Sudan leave a camp in a barren landscape to gather firewood for their families.
©Ron Haviv
Young displaced girls from Darfur, Sudan leave a camp to gather firewood for their families. The US government declared the war in Darfur a genocide. Darfur, Sudan 2005



Guan is a full-time freelance photographer, journalist, and artist based in New York City. He is currently an adjunct professor of photography at the Columbia University Graduate School of Journalism.

color photograph of NY Police Department using a tactical vehicle with extension ladders to enter Hamilton Hall at Columbia University

©Bing Guan
New York Police officers in riot gear enter Hamilton Hall at Columbia University, New York, May 1, 2024


Other showcased photographers at the intersectionality of art and journalism include Anna Boyiazis, Mark Peterson, and Tony Vaccaro.



Sunday, April 13, 2025

New Exhibition: WWII - Eighty Years and Free Film Screening

 


Monroe Gallery of Photography is honored to present a special exhibition commemorating the 80th anniversary of the end of World War II, the largest and most violent military conflict in human history. “WWII – Eighty Years” opens on Friday, April 18, with a special free screening of the HBO Documentary Film “Underfire: The Untold Story of PFC Tony Vaccaro” on Saturday, April 19 at 5 pm. Seating is limited, RSVP required. The exhibition continues through June 22, 2025.

This anniversary reminds us of war’s cost and the courage to believe in humanity, even in the darkest times.

At the age of 21, Tony Vaccaro was drafted into WWII and was a combat infantryman in the 83rd Infantry Division on a boat heading toward Omaha Beach, six days after the first landings at Normandy. The acclaimed HBO Films documentary “Under Fire: The Untold Story of Private First Class Tony Vaccaro” tells the story of how Tony Vaccaro survived the war, fighting the enemy while also documenting his experience at great risk, developing his photos in combat helmets at night and hanging the negatives from tree branches. The film also encompasses a wide range of contemporary issues regarding combat photography such as the ethical challenges of witnessing and recording conflict, the ways in which combat photography helps to define how wars are perceived by the public, and the sheer difficulty of staying alive while taking photos in a war zone.


   

 Preview the exhibition here.

RSVP for the film screening here.

Thursday, April 10, 2025

Monroe Gallery Announces Representation of Tracy Barbutes Instantly Iconic Photograph of Upside Down Flag Protest At Yosemite National Park

 April 10, 2025

Monroe Gallery Announces Representation of Tracy Barbutes Instantly Iconic Photograph of Upside Down Flag Protest At Yosemite National Park

color photograph of an upside-down American flag hangs from El Capitan near Yosemite National Park’s Horsetail Falls to protest the thousands of federal job cuts made by President Donald Trump’s administration, February 22, 2025

An upside-down American flag hangs from El Capitan near Yosemite National Park’s Horsetail Falls to protest the thousands of federal job cuts made by President Donald Trump’s administration, February 22, 2025


On February 22, 2025 – almost exactly 80 years to the day after Joe Rosenthal’s Iwo Jima Photograph - Tracy Barbutes photographed an inverted American flag — historically used as a sign of distress — off the side of El Capitan, a towering rock formation in Yosemite National Park, hung to protest the Trump administration’s cuts to the National Park Service. Hundreds of visitors had gathered to photograph an annual phenomenon in the park known as firefall, when the setting sun causes a seasonal waterfall on El Capitan to glow orange. One spectator commented: “I feel like our national parks are national treasures, and they need to be protected, as does our democracy. It was a call to action and a call for hope.”


"Heading to Yosemite that Saturday, I had been told there might be some form of protest at El Capitan (Tu-tok-ah-nu-lah), the park’s iconic 3,000-foot granite monolith.

 There were unconfirmed reports that at least one recently-fired park employee would rappel with an American flag to protest his firing, as well as to protest the thousands of federal jobs lost due to the Trump administration/Elon Musk DOGE cuts. 

 The event would likely happen near Horsetail Fall, during “firefall” – a natural phenomenon that draws thousands of spectators each February. 

 I stood under El Cap, something I’ve done hundreds of times, and as I documented the unfurling of that upside down American flag, an act signaling distress, I couldn’t help but think of the paradox of the overall situation as we were gathered on colonized Indigenous land. 

 There wasn’t an immediate or overwhelming reaction from the crowd, though there was no missing the event. While intent on capturing a series of images, I was mindful that I was documenting a bold, courageous, historic act.

 It wasn’t until later that night and the next morning as the image went viral that I began to understand what those actions, and the image, meant. Did Nate Vance, the fired park employee behind the flag protest, and his cohorts, shake people out of a collective stupor and spark a movement of resistance." --  Tracy Barbutes

Barbutes is a photojournalist, writer, and wildfire photographer based near Yosemite.


Monday, March 31, 2025

Monroe Gallery Announces Representation of Bing Guan

 March 31, 2025


massive crowd of protesters t Rally in Causeway Bay with large advertising sign showing eyes, Hong Kong, December 8, 2019


Santa Fe, NM - Monroe Gallery of Photography is honored to announce exclusive representation of photographer Bing Guan for fine art print sales.

Guan is a Chinese American full-time freelance photographer, journalist, and artist based in New York City. He is currently an adjunct professor of photography at the Columbia University Graduate School of Journalism. Born in Australia and raised in the United States, Bing attended Dartmouth College and holds a BA cum laude in history from Columbia University. He has reported from across the U.S., and from places including Antigua, Burma, Mexico, Rwanda, and Hong Kong.

Bing is a regular contributor to Reuters, Bloomberg, and The New York Times. He has been awarded grants from the Parsons School of Design, the Ucross Foundation, and the Virginia Center for the Creative Arts.

Bing speaks fluent Mandarin Chinese, and is certified in HEFAT and as a FAA Part 107 drone pilot. 


Monroe Gallery will exhibit examples of Guan’s work at the 2025 Photography Show presented by AIPAD in booth #C8, April 23 – 27 at The Park Avenue Armory in New York City.

Friday, March 28, 2025

Ryan Vizzions Photographer Inspired by Atlanta’s Legacy and Activism

 Via Discover Atlanta

March 28, 2025


 


 Ryan Vizzions describes Atlanta as a uniquely diverse melting pot shaped by its history. He credits Dr. Martin Luther King Jr. and the city’s role as a hub for African Americans during segregation as foundational to its identity. This legacy, he says, makes Atlanta exceptional not only in the South but across the entire country as well.

Photography as a Purposeful Journey


color photograph of a hearse  passing the side of a building painted toth likeness of John Lewise and "Hero" during the procession of civil rights activist John Lewis
Ryan captured this photo during the procession of civil rights activist John Lewis. 
(Photo by Ryan Vizzions)


Vizzions’ photography began as a personal outlet but evolved into a passion for storytelling. Over the years, he embraced various forms, from photojournalism to architectural and street photography. He views his work as a medium for raising awareness and documenting social movements.

Standing Rock and Activism


color photograph of back of person on horseback facing a line of heavily armed police during the Standing Rock protests in North Dakota

This photo from Standing Rock is one of the most influential in Ryan’s career.
(Photo by Ryan Vizzions)

One of the defining moments in Vizzions’ career was his documentation of the Standing Rock protests against the Dakota Access Pipeline. Inspired by a haunting resemblance to the Civil Rights era, he felt compelled to witness the movement firsthand. What began as a spontaneous trip turned into a six-month immersion, during which he lived at the camp and captured some of the most recognized images of the movement.

Honoring Atlanta’s Modern-Day Leaders

color photograph of civil rights attorney and activist Gerald Griggs, president of the Georgia NAACP, in front of brick wall with grafitti and a church spire in background with sign "Jesus Saves"

This is one of Ryan’s final images for Colors of Atlanta.

(Photo by Ryan Vizzions)


Vizzions chose to highlight contemporary changemakers for his Atlanta-focused project for “Colors of Atlanta.” He selected civil rights attorney and activist Gerald Griggs, president of the Georgia NAACP. Vizzions first met Griggs during the Black Lives Matter protests in Atlanta and later during the Ahmaud Arbery murder trial. Impressed by Griggs’ relentless advocacy in the courtroom and on the ground, Vizzions wanted to create a powerful portrait that Griggs and his family could be proud of.

Auburn Avenue: Connecting Past, Present and Future

Vizzions selected Auburn Avenue, a historic street in Atlanta, as the backdrop for his photograph. Known as Black Wall Street, Auburn Avenue holds deep cultural significance. It was home to jazz legends at the Royal Peacock and the pulpit of Dr. King at Ebenezer Baptist Church. Vizzions sought to intertwine Atlanta’s rich past with its present and future.

Stepping Beyond Photojournalism

color photograph of Ryan Vizzions photographing  on Auburn  Avenue in Atlanta
Ryan captured the image in Auburn Avenue. (Photo by Andrew Clark)

Although Vizzions’ background is rooted in documentary and photojournalism, this project pushed him into the editorial realm. Initially nervous, he quickly found his rhythm, collaborating with Griggs to create powerful, meaningful images. He expressed pride in the final result, seeing the work as a collective achievement.

Atlanta’s Influence on his Art

Vizzions draws continuous inspiration from Atlanta. For him, photographing Atlanta is more than capturing its skyline; it’s about preserving the spirit of its people, honoring its leaders and ensuring that its legacy endures.


Learn more about other talented photographers featured on “Colors of Atlanta” and watch the TV series.


Thursday, March 27, 2025

Introducing the 2025 World Press Photo Contest winners

 Via World Press Photo

March 27, 2025


 

Reflections from the ​​2025 Contest global jury (With Nina Berman)


 Chosen from nearly 60,000 entries by 3,778 photographers from 141 countries, the award-winning images are those of struggle and defiance, but also of human connection and courage – visually stunning work that draws you deeper into stories behind the news. This enriching selection of the world’s best photojournalism and documentary photography was chosen by an independent international jury based on their visual quality, storytelling approach, and commitment to diverse representation.

"My hope is that tomorrow’s lawyers, reporters, and policymakers will be affected and moved by these images, and that perhaps they will strike a chord in some of today’s 11-year-olds, who, having forged the beginning of a relationship with them, will continue their life journey knowing that pictures, and the stories they tell, matter.

We made our choices with an eye on the final mix: as much as a World Press Photo Contest award is an immense recognition for photographers, often working under difficult circumstances, it is also a recap of the world’s major events. Yet, what we have here is just a partial overview. Not all the events that were topical in 2024 were covered by the photos submitted, but the jury selected images, I believe, fully aware of their power, and of the legitimacy that the award would lend them." – Lucy Conticello, director of Photography, Le Monde, and 2025 Contest global jury chair


Full collection of awarded photos and stories here.

Tuesday, February 4, 2025

"I Photographed January 6. Trump’s Pardons Can’t Erase What I Saw." --Gallery Photographer Nate Gowdy

Via Columbia Journalism Review

February 4, 2025

Reflections from an independent photojournalist.

black and white photograph view of the steps of the US Capitol swarming with rioters and Trump flags with  a cloud of tear gas on January 6, 2021
America loves to rebrand its sins as myth. In four years, MAGA loyalists have recast the January 6 insurrection as resurrection. (All photos by Nate Gowdy)

February 4, 2025

By Nate Gowdy


"This is why I document: America loves to rebrand its sins as myth. In four years, MAGA loyalists have rewritten January 6 from every angle. Rioters have been framed as leftists in disguise, police as “crisis actors,” the attack an FBI setup—or, more outrageously, citizens on a “normal tourist visit.” By 2025, revisionism is big business. Conservative media churns out books, podcasts, and stump speeches recasting insurrection as resurrection. But my images tell another story: they depict a nation in fracture, where well-meaning neighbors and dutiful relatives cling to their “Big Lie” with an unwavering sincerity that doesn’t just reject facts—it inoculates against them, leaving everyone vulnerable to propaganda and less capable of critical thought." 

Full article here:  I Photographed January 6. Trump’s Pardons Can’t Erase What I Saw. - Columbia Journalism Review

Tuesday, January 28, 2025

Free screening of the acclaimed documentary "The Loving Story" February 15

 




Monroe Gallery of Photography is pleased to present a free screening of the acclaimed documentary film "The Loving Story", a simple, profound love story between one man and one woman who in and of themselves were unlikely crusaders in the fight for equity.


Saturday, February 15. Film begins promptly at 4:30. Seating is limited, RSVP essential.


In conjunction with the new exhibition "Loving", on view through April 12, 2025



black and white promotional movie poster for The Loving Story, with text over photograph of man and woman standing in doorway


Friday, January 17, 2025

Monroe Gallery Photographs In Feature On Martin Luther King Day Celebrations Across New Mexico

 Via Pasatiempo

January 17, 2025


Come together: MLK celebrations across New Mexico

black and white photograph of Martin Luther King Jr speaking on stage with a trash can labeled "give" at a rally in Detroit, 1963 Photo by Francis Miller Courtesy ©LIFE Picture Collection

Martin Luther King Jr at a rally in Detroit, 1963 Photo by Francis Miller Courtesy ©LIFE Picture Collection/Monroe Gallery of Photography


black and whote photograph of  Martin Luther King at Police Headquarters near cash register as he argued to reject bail and serve his sentence for disturbing the peace in Montgomery, Alabama, 1958

©Grey Villet: Martin Luther King at Police Headquarters, as he argued to reject bail and serve his sentence for disturbing the peace in Montgomery, Alabama, 1958  Courtesy of Monroe Gallery of Photography


As we enter a new era in American history on Monday, we would be wise to remember the following two sentences that the Rev. Martin Luther King Jr. spoke in the auditorium of the University of Oslo, Norway, upon receiving his Nobel Peace Prize on December 10, 1964:

“I believe that unarmed truth and unconditional love will have the final word in reality. This is why right, temporarily defeated, is stronger than evil triumphant.”

The New Mexico Martin Luther King Jr. State Commission and other related or affiliated organizations invite everyone to come together this weekend to reflect and celebrate Rev. King’s legacy of nonviolent protest and resistance, of love and unity, and to help further build on Rev. King’s dream of a “Beloved Community.” Full article here.


black and white photograph of Martin Luther King marching with an American Flag behind him in Alabama, 1965
©Steve Schapiro: Martin Luther King, Selma March, Alabama, 1965 Courtesy of Monroe Gallery of Photography


black and white close up photograph of Martin Luther King speaking into a microphone at the Dexter  Dexter Avenue Baptist Church in Montgomery, Alabama, 1955
©Grey Villet: Martin Luther King, Dexter Avenue Baptist Church in Montgomery, Alabama, 1955 Courtesy of Monroe Gallery of Photography



details

Statewide MLK events, coordinated by the New Mexico MLK State Commission

Various times, Friday, January 17, through Monday, January 20

Albuquerque, Clovis, Santa Fe, Grants, Las Cruces, Farmington, Rio Rancho, Hobbs

Many events are free while some are ticketed and require registration

nmmlksc.org







Wednesday, January 8, 2025

Virtual Project: James Earl Carter 1924 - 2024

 

Virtual Project Exhibition

James Earl Carter Jr. (1924 - 2024) was the 39th president of the United States, serving from 1977 to 1981. A member of the Democratic Party, Carter served as the 76th governor of Georgia from 1971 to 1975 and in the Georgia State Senate from 1963 to 1967. He was awarded the 2002 Nobel Peace Prize for work to find peaceful solutions to international conflicts, to advance democracy and human rights, and to promote economic and social development. After lying in State in Washington, DC, Carter's remains will return to Georgia on January 9, 2025 for a private service at Maranatha Baptist Church in Plains, where Carter taught Sunday School well into his 90s, before he's buried at the family home next to his wife, Rosalynn Carter. View the on-line exhibit here.



black and white photograph of Jimmy Carter holding a newspaper with the headline "Carter Wins" in 1977
Ken Hawkins: Carter Wins!, 1977


Sunday, January 5, 2025

WITNESS: Nate Gowdy’s Lens on January 6, 2021

 Via Spectrum Fine Art



WITNESS: Nate Gowdy’s Lens on January 6th, 2021

 

On January 20, 2017, Nate Gowdy stood at the U.S. Capitol, camera in hand, as Donald J. Trump—with right hand raised and left atop the Lincoln Bible—took the oath of office, vowing to end “American carnage.” It was an ominous prelude to a presidency that would redefine American political expression.

 Four years later, on January 6, 2021, Gowdy returned to Washington, DC, prepared to document Trump’s “Save America” rally at the Ellipse. Instead, he witnessed surreal scenes unfold: militants marching, kneeling in prayer, posing for group photos, breaking for hotdogs, rampaging against the Capitol’s sworn protectors, and leading thousands to defile the Inauguration Day stage.

 This fine art exhibition, WITNESS: Nate Gowdy’s Lens on January 6th, 2021, examines that day as a theater of chaos and conviction. Gowdy's stark, unflinching images depict the U.S. Capitol, one of democracy’s most sacred symbols, as it becomes a haunting set piece in a dystopian tableau of domestic terror—an inside job.

 Twice assaulted for being deemed "fake news," Gowdy persisted in exposing the truth. Shot on assignment for Rolling Stone, his images transcend traditional photojournalism, revealing the kinetic energy and raw emotions of insurrection: vulnerability, rage, fear, and euphoria. These are not just photographs of an event but intimate portraits of the humanity—and inhumanity—that defined it.

 Through this collection, Gowdy challenges viewers to confront the complexities of identity, power, and the fragility of democratic ideals. WITNESS invites us to reflect on the contradictions of that day, presenting the Capitol not only as a battleground but as a mirror to the nation itself. What do these images reveal about us—and what do they demand we reckon with?


In association with Monroe Gallery of Photography

Artist Reception 

Thursday January 16 // 6 - 9 p.m.

The artist will be in attendance.

1411 34th Avenue

Seattle, WA 98122

206.420.5495

Saturday, December 21, 2024

Eugene Tapahe's Jingle Dress Project Featured: Embracing Native American Traditions This Winter Solstice

Via Cowboys and Indians Magazine 

December 21, 2024


The Gift, Eugene Tapahe, 2022, Yellowstone National Park, WY, Art Heals: The Jingle Dress Project


"Earlier this fall, I had the wonderful opportunity to connect with and learn from Umatilla/Cayuse/Nez Perce jingle dress dancer Acosia Red Elk. In addition to sharing her beautiful performances, she is also a yoga instructor and a wellness advocate who has gained her wisdom by overcoming countless obstacles throughout her life, including losing her father at a young age and being burned in a fire as a child. The minute I met Acosia, I could feel that deep wisdom radiating from within her." --click for full article


The Gift, Eugene Tapahe, 2022, Yellowstone National Park, WY, Art Heals: The Jingle Dress Project

Eugene Tapahe is featured in the current Gallery exhibition Frozen In Time, on view through January 19, 2025.

Wednesday, December 18, 2024

Gallery Photographers Mark Peterson and Ashley Gilbertson Featured In NY Times "The Photos That Defined 2024"

 Via The New York Times

December 18, 2024

The Year In Pictures 2024


color photograph of seated row of young men in red MAGA hats and suites waiting for election results in 2024

West Palm Beach, Fla., Nov. 5

Waiting for election results at a Trump watch party at the Palm Beach Convention Center. They came faster than expected, with former President Donald J. Trump declared the winner early the next morning.

Mark Peterson for The New York Times

“It was before people knew Trump was going to win. It was shortly after they let a lot of the public in. They could have been waiting hours in line. They kept filing in and filling up the chairs until all of them were full. They were all dressed so alike. I took five frames and that was that.” — Mark Peterson


color photograph of young boys wit colorful-rimmed protective sunglasses watching solar eclipse


From the project “Watching the Total Eclipse Across North America,” April 8

As darkness raced across the sky during the total solar eclipse, people in Niagra Falls gathered outside to look up for a moment of reverence.

 Ashley Gilbertson for The New York Times







Monday, December 16, 2024

The Battle of The Bulge: December 16, 1944 to January 25, 1945

 December 16, 2024


black and white photograph of soliders in deep snow movinf in a line during the Battle of Ardennes, winter, 1944


#onthisday, December 16, in 1944, The Battle of the Bulge, also known as the Ardennes Offensive, the last major German offensive campaign of WWII began. With the onset of winter, the German army launched a counteroffensive that was intended to cut through the Allied forces in a manner that would turn the tide of the war in Hitler's favor. 

The "Bulge" was the largest and bloodiest single battle fought by the United States in World War II.

“I never wanted to be a fighter, but I always wanted to be a photographer. I decided to photograph portraits of the people in my unit, because they were the people I lived with. We slept together, we risked together. We did so much together. I never saw soldiers. I saw human beings. I saw red blood, human blood. The battlefield, in a way, helped me, because when the war is on, that’s all that it is, fighting all the time. You know that it can happen to you. What do you do about it? I took pictures.” –Tony Vaccaro


black and white photograph of 2 soldiers in deep snow near a snow-covered wagan during the Balltle of Ardennes, near Ottre, Belgiun in January, 1945


In the spring of 2025, Monroe Gallery of Photography will present a major exhibition commemorating the 80th anniversary of the end of World War II. Details to be announced soon.


black and white photograph os 3 American soldiers aiming their rifles in snow covered foxhole during the Battle of the Bulge in the Hurtgen Forest



Monday, December 9, 2024

Monroe Gallery – A Photography Show for the Winter

 Via Joe McNally

December 9, 2024

black and white photograph of Mikhail Gorbachov standing in black coat and hat in a forest with snow



The new Monroe Gallery show is called Frozen In Time, which is the business we are in as photographers, no matter the temperature. But as painful as it can be to expose our fingers and cameras to the occasionally brutal ministrations of winter, those cold times of the calendar, and the resultant ice and snow make for truly memorable imagery. Hence the power of this show. A must see if you are in Santa Fe, and also important viewing online. Monroe’s archive of historically important imagery is so telling, and reverberates so deeply, that a perusal of their archives is basically a tour through our history.

Everything is harder to do in the cold, and so many of these images reflect the struggle of humankind to overcome the piercing blasts of deeply cold environments. In this show are the desperate attempts to fight off winter’s hold on the land, as well as the beautifully lyrical snow scenes of mountains, and the American West. And pictures of joy, as people enjoy the snow and ice, gliding and sliding and skating. But also seen are searing pictures from the front lines of war, as if war itself wasn’t enough utter misery.

I’m fortunate to be included in the show, with a hard won picture of the former president of the Soviet Union, Mikhail Gorbachev. He was a pivotal figure in Russian history, presiding over the dissolution of the Soviet bloc in Eastern Europe, and guiding Russia, despite threats and opposition to a place of more openness to the West, and within its own politics. At once hailed and reviled, he won the Nobel Peace Prize, and became one of the most significant figures in history. At the same time, the reforms he tried to initiate earned him the enmity and disapproval of many Russians, particularly those in positions of power.

Hence the head shot in his office was insufficient in terms of storytelling. I wanted to bring him to the woods, where I could photograph him alone, in a stark environment indicating his isolation. It took some doing. I had to wrangle and push in the best persistent, annoying photographer mode I could. He wasn’t happy about it, but he came to the woods about three days after the office shoot, and stepped into the snow with his fancy shoes. He posed for about five minutes. And then, he shook my hand and spoke the only English word he said to me while we were together: “Goodbye.”

And he meant it.

Tuesday, December 3, 2024

The story behind the 'iconic' Buna shot from WWII

 Via Australian Photography

By Stephen Dando-Collins | 4 December 2024

black and white photograph of a wounded Australian soldier, Private George ‘Dick’ Whittington.  Barefoot, walking with the aid of a long stick, his eyes were covered by a rough bandage. Guiding Whittington was volunteer Papuan carrier Raphael Oimbari

George Silk’s The Blind Soldier. Later, Silk would say there was something distinctive about the two subjects. The Papuan carrier in particular grabbed his attention: “He was helping him so tenderly,” he said. Image: Australian War Memorial


Early on Christmas Day, 1942, 26-year-old George Silk rose from his cot at battalion HQ at Soputa in northeast Papua and began walking to the Buna battlefront 10km away.

Around his neck hung his two cameras – a Rolleiflex Standard for close-ups, and a 35mm Zeiss Ikon Contax fitted with a telephoto lens for distance shots.

Silk was a New Zealand camera shop assistant who’d turned up in the Canberra office of Australian Prime Minister Robert Menzies in January 1940.

He talked Menzies into hiring him as Australia’s second government combat photographer, and after working in North Africa, Silk was reassigned by the Australian Department of Information (DOI) to the New Guinea campaign.

For close to three years Silk had striven to take the ‘great’ war picture, something to emulate or surpass Robert Capa’s famous 1937 shot from the Spanish Civil War, The Falling Soldier.

Now, with the Australians and Americans starting to gain the upper hand in the fight against the Imperial Japanese Army in Papua, Silk was anxious to get his best shot before the Battle of Buna-Gona ended.

So, on December 24 he dragged himself from his hospital bed outside Port Moresby, where he’d been laid low by malaria, and hitched a ride back to the front.

On the track to Old Strip, Silk, rounding a bend in the tall kunai grass, saw two men approaching side-by-side. One was a wounded Australian soldier, Private George ‘Dick’ Whittington.

Barefoot, walking with the aid of a long stick, his eyes were covered by a rough bandage. Guiding Whittington was volunteer Papuan carrier Raphael Oimbari, a farmer in his twenties.

It almost seemed as if Silk would be intruding if he photographed the pair. “I wanted to take the picture, but I didn’t at first,” he later recalled.

But his documentarian’s instincts kicked in. Using his Rolleiflex from the waist with the pair less than two metres away, Silk snapped a single shot without even looking down into the viewfinder.

Seemingly unaware of him, the wounded soldier and carrier passed Silk by. Hurrying after them, he obtained the soldier’s details before the pair continued on.

Later that day, Silk joined Whittington’s 2/10th Battalion. Clicking away in the thick of the fighting that afternoon, he collapsed face-down on the battlefield. Malaria had caught up with him. 

Towards sunset, an Aussie soldier found the photographer lying with the dead all around him. Evacuated to Moresby, Silk ended up in a malaria ward.

You can’t keep a good photographer down. Silk was soon back at the front. At Giropa Point on December 31 and January 1, he took what he considered his two best pictures of the war, close-ups beside Bren-gunners and Vickers-gunners with bullets whistling all around. Again, Silk collapsed with malaria, and again he ended up in hospital.

Meanwhile, another George, American Life photographer George Strock, snapped three dead American soldiers on Buna Beach.

In hospital, George Silk learned the DOI had banned his two Giropa Point photos – one showed a dead Digger, while one of the Bren-gunners had dropped down dead beside him seconds after he took his picture.

At the same time, Silk’s photo of Whittington and the ‘Fuzzy Wuzzy Angel’ was also banned for being ‘too graphic’.

Silk was incensed. So, he wined and dined a young female clerk working in the DOI’s Port Moresby office and brought her into a conspiracy.

She had prints of his three banned pictures made at the DOI’s Sydney photographic laboratory and sent to her.

She gave them to Silk, who passed them to a war correspondent friend, who had them approved by the American censor at GHQ in Brisbane. Silk then gave his prints to George Strock, who smuggled them to Life.

Strock knew the Pentagon banned publication of photos of American dead, but was appalled by apathy towards the war at home. He was determined to jolt his fellow Americans into getting behind their troops.

On March 8, 1943, Life published Silk’s The Blind Soldier, full page.

Readers hailed it the best picture of the war. A month later Silk was fired by the DOI. Parliamentary backbenchers called for him to be charged with treason. His friend Damien Parer resigned in protest at his treatment.

Meanwhile, Life management struggled for seven months to gain War Department approval to publish Strock’s Three Dead Americans.

Going all the way to the White House, they discovered that, like George Strock, President Roosevelt was determined to cement Americans behind the war effort by being honest with them. With his approval, Three Dead Americans appeared in Life on September 20, 1943, shocking America.

In 2014, Time magazine would describe it as ‘the photograph that won the war’. Two iconic images, and one amazing story. ❂


The Buna shots: The Amazing Story Behind Two Photographs that Changed the Course of World War Two, by Stephen Dando-Collins, is published by Australian Scholarly Publishing. It’s the never before told story of two arresting photographs, two courageous photographers, and the quest for truth in war. You can order a copy here: https://bit.ly/3ZQ5DpV


Friday, November 29, 2024

Images of Winter Are Frozen in Time

 Via Pasatiempo

November 29, 2024

black and white photograph of a design formed by snow in a wrought iron banister in New York in 1947

In the 2023 photograph Ancestral Strength by Eugene Tapahe, four Indigenous women — Cayuse, Umatilla, Newe Sogobia, and Tséstho’e — stand side by side wearing brightly colored traditional garb, staring toward the sky behind the photographer. The stark winter beauty of the background in Wyoming’s Teton National Park further highlights the women’s projected power.

In the 1949 photograph Southern Pacific Steam Engine by John Dominis, a steam engine plows through a snowy landscape at Donner Pass, California.

Both images showcase forms of strength, but that’s not the tie that binds them. Both are part of Frozen in Time, an exhibition that Monroe Gallery of Photography describes as an “imaginative survey of compelling images.” It covers a range of human experiences, from the joy of exploration in George Silk’s 1946 shot Tourists Climb Fox Glacier in Tasman National Park, taken in New Zealand, to the ugly brutality of war in Tony Vaccaro’s White Death, Pvt. Henry Irving Tannebaum Ottre, taken in Belgium in 1945. 

It opens with a reception from 4-6 p.m. Friday, November 29. — Brian Sandford


details

Through January 19

Monroe Gallery of Photography

112 Don Gaspar Avenue

505-992-0800, monroegallery.com