Showing posts with label iconic photographs. Show all posts
Showing posts with label iconic photographs. Show all posts

Saturday, November 7, 2020

Library of Congress Magazine: Great Photographs

 



Via Library of Congress magazine
November/December 2020



photo of then-Cassius Clay at lunch counter surrounded by fans with Malcolm X taking a picture in Miami, 1964
Bob Gomel. “Black Muslim Leader Malcolm X Photographing Cassius Clay Surrounded By 
Fans After He Beat Sonny Liston For The Heavyweight Championship, Miami, February, 1964.” Gelatin Silver Print. © Bob Gomel, Used By Permission. 



Malcolm X and Cassius Clay

Memorable photographs often capture historic moments, such as this meeting of two consequential figures.

On Feb. 25, 1964, Cassius Clay defeated Sonny Liston to become the heavyweight boxing champion of the world. Afterward, Clay’s family and friends gathered for a victory celebration at a diner in Miami. They were accompanied by Life magazine photographer Bob Gomel and Clay’s own photographer, Howard Bingham.

Gomel climbed up on the counter to record Malcolm X, civil rights activist and a leader of the Nation of Islam, aiming his camera at a tuxedo-clad Clay. The next day, Clay announced his conversion to Islam.

He would adopt a new name, Cassius X, which later changed to Muhammad Ali.

—Beverly Brannan and Adam Silvia



Monroe Gallery of Photography was honored to work with the Library of Congress on their acquisition for their permanent collection  of Bob Gomel's iconic photograph.

Monday, August 14, 2017

August 14, 1944 - 1945

Tony Vaccaro: Kiss of Liberation: Sergeant Gene Costanzo kneels to kiss a little girl during spontaneous  celebrations in the main square of the town of St. Briac, France, August 14, 1944


Tony Vaccaro: War and Peace is on exhibit in the gallery through September 17, 2017




Alfred Eisenstaedt/©Time Inc: VJ-Day in Times Square, New York, August 14, 1945



Friday, November 18, 2016

Join Us Friday, November 25 to Welcome Art Shay



Art Shay: Chili Con Carne, Chicago, 1949



A major exhibition of photographs from one of America’s most accomplished photographers, Art Shay, November 25 through January 22, 2017. Opening reception with Art Shay Friday, November 25, 5-7 PM.

For over 70 years, Art Shay has documented life, combining his gifts of storytelling, humor and empathy. Born in 1922, he grew up in the Bronx and then served as a navigator in the U.S. Army Air Forces in World War II, during which he flew 52 bomber missions and a series of pictures he took of a collision between two B-24s above his air base in East Anglia was published in Look magazine. Shay joined the staff of Life magazine as a writer, and quickly became a Chicago-based freelance photographer for Life, Time, Sports Illustrated and other national publications. He has photographed nine US Presidents and many major figures of the 20th century. Shay also wrote weekly columns for various newspapers, several plays, children's books, sports instruction books, many photo essay books and authored several pays. Shay's photography is in the permanent collections of major museums including the National Portrait Gallery, the Museum of Contemporary Photography, Chicago, and The Art Institute of Chicago. Although his last formal assignment was in 1988, when he shot the night the lights went on at Wrigley Field for Time Magazine, Shay has continued actively photographing in his later years.

View the exhibition on-line here.

Also on exhibit: Tony Vaccaro: War, Peace, Beauty

Monday, September 26, 2016

History in a Moment


Joe Rosenthal/©AP
Marines of the 28th Regiment of the 5th Division Raise the American Flag Atop Mt. Suribachi, Iwo Jima, 1945

A major exhibition of iconic moments in history as captured by the leading photojournalists of the time. September 30 - November 20, 2016


"History In A Moment" mines the depth and breadth of Monroe Gallery's archives and is combined with new, never-before exhibited photojournalism masterpieces, from the early 1900's to the present day. The photographs in this exhibition are as much a history of American photojournalism as they are a history of the changing face of the latter part of the Twentieth Century. Through the images captured in these photographs, the eyes of a nation were opened as never before to a changing world.

Historic images featured in the exhibition include the Wright Brothers’ first flight, scenes of migrant workers in the 1930’s and the Great Depression, searing war and conflict photography from World War II, Vietnam, 9/11, and the Iraq War. Historic political campaigns are represented, as are key moments in the civil rights struggle from the 1960’s to the present day.

The exhibit includes several photographs by 93-year old Tony Vaccaro. This Fall, the documentary film “Under Fire: The Untold Story of Private First Class Tony Vaccaro” will premiere at film festivals nation-wide, and debut nation-wide on HBO on November 14, 2016. The film tells the story of how Tony 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. Monroe Gallery is the exclusive representative for Tony’s work and “History in a Moment” presents Tony’s historic photographs to the gallery public for the first time.

The unforgettable images in this exhibition are imbedded in our collective consciousness; they form a sort of shared visual heritage for the human race, a treasury of significant memories. Many of the photographs featured in this exhibition not only moved the public at the time of their publication, and continue to have an impact today, but set social and political changes in motion, transforming the way we live and think. Looking at the pictorial documentation of such extraordinary events we often get the impression that we are feeling the pulse of history more intensively than at other times.

Friday, January 22, 2016

Visit us during Photo LA 2016 this weekend


photo l.a. celebrates super snapshots at The Reef from Jan. 22-24. (Photo: Stephen Wilkes, Serengeti, Tanzania, Day To Night, 2015, Courtesy of the Monroe Gallery of Photography)


January 21, 2016

Weekend: photo l.a.
Celebrated shutterbugs, collectors, galleries, and fans converge to buy, admire, discuss.


photo l.a.: The yearly gathering of galleries, fans, buyers, and lauded photographers who capture elaborate stories with one click has a big name for the bigness it encompasses. The Reef downtown is the setting for The 25th Annual International Los Angeles Photographic Exposition will be flush with photos and tours and panels and everything that has anything to do with the camera, the lens, and the eye. You don't have to buy or attend one of the programs to enjoy a day; a one-day ticket to the Jan 22-24 snapshot spectacular is twenty bucks.


Monroe Gallery is located in booth #205 /302, just to the right of the main fair entrance.
Friday, January 22, 11am - 7pm
Saturday, January 23, 11am - 7pm
Sunday, January 24, 11am - 6pm

More information here

Tuesday, June 16, 2015

Santa Fe Public Radio "At Noon" features Margaret Bourke-White exhibition



 
 
 
The exhibition Margaret Bourke-White: Pioneering Photographer was featured on "At Noon" June 15, 2015.



The work of trail-blazing photo-journalist Margaret Bourke-White is on display in downtown Santa Fe. The Monroe Gallery of Photography opened in Santa Fe in 2002, re-locating from Manhattan where it stood near the targeted World Trade Center towers on September 11th, 2001. The Monroe Gallery specializes in classic black & white photography with an emphasis on humanist and photojournalist imagery. Sid Monroe co-owns the gallery with his wife, Michelle. The Bourke-White exhibit at the Monroe Gallery runs through June 28th.


Listen here.

Friday, May 22, 2015

Sonny Liston landed on canvas below Muhammad Ali’s feet on May 25, 1965, and Neil Leifer snapped a photo


Muhammad Ali Knocks Out Sonny Liston, Lewiston, Maine, May 25, 1965

Via Slate

The photo languished unlauded—before it was (much later) recognized as one of the greatest sports photos of all time; Ali became the most hated figure in American sports—before he was (much later) named “The Sportsman of the Century”; and Liston was subjected to intense scrutiny—before (not much later) he fizzled into a mostly forgotten footnote.

Like many sports fans, I’d glimpsed this picture for years—in random Ali articles, atop “best of” lists, even on T-shirts—but it wasn’t until doing my own research, excavating layers, that I discovered its most astounding attribute:
 
Everything you’d initially imagine about the image is wrong.
 
But first, just look at that photo! It instantly hits your eyes haloed in a corona of potency—structured so soundly as to seem staged, this forceful frieze of physical dominance. The Victor yells, the Loser displays himself vanquished, and the Watchers are all caught in that moment. The kinetic poetry of moving bodies, momentarily frozen, such is the stuff of the best sports photos—this has that.
There are also the incongruities! The Victor, appearing to proclaim dominance, is in fact pleading for the bested man to rise; and, for that matter, there is secretly a second bested rival below Ali; and though this looks like the moment after a vicious put-down punch, the photo was actually preceded by the puniest of blows, a “phantom punch,” as it would later be known—a wispy, theoretical mini-hook that none in attendance even observed. That Crowd so multitudinous that it stretches beyond the horizon line? They were actually the smallest assembled crowd in heavyweight championship history—there to witness a bumbling conclusion, filled with calls that the fix was in. This bout: still boxing’s biggest unsolved mystery. This image: still iconic, even (especially) with the controversy, for a sport as mythologized as it is crooked. Click for full article.

Thursday, May 7, 2015

Margaret Bourke-White: Pioneering Photojournalist



Via Photograph Magazine

Margaret Bourke-White: Pioneering Photojournalist

Monroe Gallery of Photography, Santa Fe


Margaret Bourke-White, Buchenwald Prisoners, 1945. Courtesy Monroe Gallery of Photography ©Time In.


Referring to the French Impressionist painter Claude Monet, fellow painter Paul Cézanne famously quipped to art dealer Ambroise Vollard: “Monet is only an eye, but my God what an eye!” The same could be said for American photographer Margaret Bourke-White (1904-1971). Examining Bourke-White’s work, from the late 1920s through the 1950s, one quickly senses her complete command of the photographic tools at her disposal that resulted in compositions filled with formal elements of design that were part and parcel of narratives that documented times of significant events. Soaring heights of urban construction, extreme poverty in the South, and World War II are only a few of the historic moments captured in photographs by Bourke-White – many of which are iconic in American photography.

In 50 photographs on view at Monroe Gallery of Photography through June 28, Margaret Bourke-White: Pioneering Photojournalist gives a brief, yet fine overview of her prolific career.
 
Margaret Bourke-White, Fort Peck Dam, Fort Peck, MT, 1936. Courtesy Monroe Gallery of Photography  ©Time Inc

 
Included are instantly recognizable images such as At the Time of the Louisville Flood, Louisville, Kentucky, 1937, where people are queued in a bread line below a billboard exuding the good life, as well as Buchenwald Prisoners, Germany, 1945, in which prisoners confined behind barbed-wire await liberation -- the latter taken when Bourke-White was on assignment for Life Magazine traveling with Patton’s army. In one of her most artistic images, Patterns Made by Steel Liners for Diversion Tunnels, Fort Peck Dam, Montana, 1936, geometric patterns fill the frame composed of various machine-hewed disks with radiating spokes. Bourke-White, whose career was cut short by Parkinson’s disease in 1956, once said, “To understand another human being you must gain insight into the conditions which made him what he is.” She was tenacious in her pursuit of photographs that conveyed truths about the human condition, as well as the beauty in things produced by humankind. 
 
 

— By Douglas Fairfield  05/04/2015

Thursday, April 23, 2015

Trailblazer: Monroe Gallery tips artistic hat to Margaret Bourke-White









Pick-MAIN
©Time Inc. Courtesy Monroe Gallery
Image result for santa fe reporter


Via The Santa Fe Reporter
April 22, 2015
As a symbol for globetrotting photojournalism, Margaret Bourke-White’s brand in the field is still felt today. Born on June 14, 1904, in New York City, she soon would become a beacon for editorial photography, focusing on subjects both live and inanimate, and securing the first cover image for LIFE magazine—an iconic study of the dams in the Columbia River basin.


“There is so much to talk about Margaret Bourke-White,” Monroe Gallery of Photography’s Michelle Monroe muses. “Her vision directed LIFE. It was her global look at why things mattered; why the Russian Revolution was going to affect ours; why man’s industry and this sort of race toward that conclusion mattered; why humans in India who were trying to gain independence from Britain mattered to America. It was a really sophisticated worldview for that time.”

Monroe continues, “America was largely illiterate in 1936, and this woman met [LIFE editor] Henry Luce and was the first person hired for his magazine, which is also extraordinary—because she’s a girl,” she says, with a playfully scandalized tone.
The Don Gaspar gallery showcases 54 of Bourke-White’s emblematic images, starting this Friday and going through June 28.

Before her death of Parkinson’s disease in 1971, Bourke-White managed to stamp her unique perspective on historic events like Gandhi’s release from prison in 1946, the ripple of the South African labor exploitation during the 1950s and the liberation of German concentration camps by General Patton.

The breadth of Bourke-White’s oeuvre as well as her approach, Monroe stresses, far surpasses whatever labels one might want to stick on her based on gender.

“I try not to talk about ‘female artists’ or ‘female gallerists’ because that puts us in a kind of margin,” Monroe says. “You have to think that in 1936, it was extraordinary that this woman was hired as the first journalist in what would become Henry Luce’s magnum opus.”




Margaret Bourke-White
5-7 pm Friday, April 24
Monroe Gallery of Photography
112 Don Gaspar Ave., 
505 992 0800

Monday, January 26, 2015

San Antonio McNay exhibition offers snapshot of World War II




Alfred Eisenstaedt, V-J Day in Times Square, New York, Aug. 14, 1945. ©Time Inc. All Rights Reserved. Courtesy of Monroe Gallery of Photography, Santa Fe, New Mexico A jubilant Amererican sailor clutching a white-uniformed nurse in a back-bending, passionate kiss as he vents his joy while thousands jam the Times Square area to celebrate the long awaited victory over Japan.

Monroe Gallery of Photography is very proud to have contributed numerous photographs from its collection to this exhibit.


Via The San Antonio Express News

From iconic images such as Joe Rosenthal’s U.S. Marines raising the flag atop Mt. Suribachi on Iwo Jima, to intimate shots from the home front, “World War II in Photographs: Looking Back” offers a slice of life from “the good war” — which ended 70 years ago this year — chronicling both its triumphs and horrors.

The exhibition of more than 40 prints — as well as video and memorabilia — opens Tuesday at the McNay Art Museum and continues through May 10. There are sections on the European and Asian theaters, the home front, the Monuments Men who rescued stolen art from the Nazis, and the Tuskegee airmen.

“It’s an interesting mix,” said McNay director William Chiego, who organized the show from a wide variety of sources, including the Fort Sam Houston Museum and the Library of Congress. “We intentionally interspersed these iconic images with lesser known works to show all sides of the war. We show leaders, but also the ordinary soldiers, sailors, Marines and civilians.”

The exhibition not only commemorates the 70th anniversary and pays tribute to San Antonio’s rich military history, but also honors museum founder Marion Koogler McNay, who was a strong supporter of the war effort at home.
 
McNay’s first husband Don McNay died in the World War I flu pandemic of 1918, which had a lasting effect on her, Chiego said.

“She really cared about servicemen in San Antonio,” Chiego said. “She even provided housing for servicemen here on the grounds and bought houses around town and made them available to servicemen. She knew how important it was to have a place to live and have family nearby.”

“World War II in Photographs: Looking Back” features the work of eminent names such as Margaret Bourke-White (Buchenwald prisoners), Alfred Eisenstaedt (the kiss in Times Square) and Carl Mydans, who captured two of the war’s most timeless moments: MacArthur returning to the Philippines and the Japanese surrender on board the U.S.S. Missouri in Tokyo Bay.

And then of course there’s the Rosenthal photo, probably the most beloved image of the war.

“I give lectures on history painting — French and American — and I often end with Rosenthal’s famous image as a 20th-century equivalent of history painting,” Chiego said.

But the exhibition also includes intimate moments such as Toni Frissell’s heartrending shot of a small abandoned boy holding a stuffed animal amidst the destruction of the London blitz.

“It’s important to show how much a photograph is able to document the war and how it relates to the history of photojournalism,” Chiego said. “For San Antonio it’s an important show, and I’m hoping we can get some veterans or children of veterans in here who can tell us more about some of these images. And I hope we can attract a younger audience as well, because I fear they don’t know these images at all.”

sbennett@express-news.net

More Information
“World War II in Photographs: Looking Back”
What: An exhibition of more than 40 WWII photographs ranging from iconic images such as Alfred Eisenstaedt’s V-J Day Times Square kiss to intimate images from the home front.
When: Runs through May 10.
Where: McNay Art Museum, 6000 N. New Braunfels
Museum admission: $5 to $10. www.mcnayart.org, 210-824-5368.

Saturday, January 24, 2015

"inspired by the photographs of the Selma-to-Montgomery march that are everywhere again"




 
 Barry Blitt drew the January 26, 2015 cover, inspired by the photographs of the Selma-to-Montgomery march that are everywhere again. “It struck me that King’s vision was both the empowerment of African-Americans, the insistence on civil rights, but also the reconciliation of people who seemed so hard to reconcile,” he said. “In New York and elsewhere, the tension between the police and the policed is at the center of things. Like Trayvon Martin and Eric Garner, Michael Brown and Officers Wenjian Liu and Rafael Ramos, Martin Luther King was taken way too early. It is hard to believe things would have got as bad as they are if he was still around today.”
 
 
 
 
 
Martin Luther King Marching for Voting Rights with John Lewis, Reverend Jesse Douglas, James Forman and Ralph Abernathy, Selma, 1965
Martin Luther King Marching for Voting Rights with John Lewis, Reverend Jesse Douglas,
James Forman and Ralph Abernathy, Selma, 1965
 



 
 
 
 
 

Tuesday, June 3, 2014

Jeff Widener, the photographer behind Tiananmen 'tank man' image




A lone man stops a column of tanks near Tiananmen Square, 1989 Beijing, China

June 5, 1989, Tiananmen Square: A day after the military opened fire on protestors, photographer Jeff Widener was setting up the shot for the now iconic "tank man" image: "I was leaning over the balcony aiming at this row of tanks, and the guy walks out with this shopping bag and I was thinking 'the guy is going to ruin my composition.'" The final photo won the Scoop Award in France, the Chia Sardina Award in Italy, and was a finalist for the Pulitzer Prize

The Charlie Rose Show:  Charlie Rose has a conversation with award-winning photojournalist Jeff Widener who took one of the most famous photographs of the 20th century

Time LightBox: Tank Man at 25: Behind the Iconic Tiananmen Square Photo


Bloomberg TV: `Tank Man’ Photographer Remembers Tiananmen Square


Voice of America: Q&A with Jeff Widener: 'Tank Man' Photographer



Jeff Widener is the photographer who took the famous ‘Tank Man’ photograph near Beijing’s Tiananmen Square on June 5, 1989, during a crackdown on pro-democracy students that stunned the world. On the eve of the 25th anniversary of the photograph, interviews with Weidner are featured in many news outlets, a few are linked below.


CNN: Jeff Widener, the photographer behind Tiananmen 'tank man' image


Widener: 'Tank Man photo changed my life'


The New York Times: 25 Years Later, Details Emerge of Army’s Chaos Before Tiananmen Square


Wall Street Journal: Forgotten Negatives From the ‘Tank Man’ Photographer


South China Daily Post: 'Many have forgotten the brief moment China was free', says Tiananmen 'tank man' photographer


Daily Mail: Tiananmen Square 'Tank Man' photographer shares forgotten negatives from bloody government crackdown on 25th anniversary



"Each year in the run-up to the anniversary of the Tiananmen Square killings, China tries to intimidate journalists into silence. The 25th anniversary seems to have prompted an even broader crackdown," said CPJ Deputy Director Robert Mahoney from New York.

Saturday, March 15, 2014

Navy veteran who claimed to be the man in the 1945 photo of a sailor kissing a nurse in Times Square amid World War II victory celebrations has died



V-J Day in Times Square, New York, August 14, 1945 (? Time Inc)

Alfred Eisenstaedt: V.J. Day in Times Square, New York, August 14, 1945
©Time Inc.


"In Times Square on V.J. Day I saw a sailor running along the street grabbing any and every girl in sight. Whether she was a grandmother, stout, thin, old, didn't make a difference. I was running ahead of him with my Leica looking back over my shoulder but none of the pictures that were possible pleased me. Then suddenly, in a flash, I saw something white being grabbed. I turned around and clicked the moment the sailor kissed the nurse. If she had been dressed in a dark dress I would never have taken the picture. If the sailor had worn a white uniform, the same. I took exactly four pictures. It was done within a few seconds.Only one is right, on account of the balance. In the others the emphasis is wrong — the sailor on the left side is either too small or too tall. People tell me that when I am in heaven they will remember this picture." --Alfred Eisensdtaedt, Eisenstaedt on Eisenstaedt, Abbeville Press
 
©Time Inc.


Glen McDuffie is one of several people who have claimed to be the man in the Alfred Eisenstaedt photo originally published in LIFE Magazine.

"While many people claimed to be the participants in the iconic photograph, McDuffie's assertion was backed up by Lois Gibson, a forensic artist with the Houston Police Department." (Via Gothamist:  Famous V-J Day Times Square Kiss Sailor Dies At 86)

Many others have also publicly claimed to be the participants in the photograph, as in this 2012 article, with one even going so far as to  file a lawsuit against Time Inc. alleging that both Time and Life had violated his right of publicity by using the photograph without his permission. He eventually dropped the lawsuit.

In October 1980, Life published a special spread entitled “Who Is the Kissing Sailor?” Ten sailors wrote to the magazine, each one insisting with convincing evidence — a distinctive hairline, a signature vein on the right hand, a newly acquired Quartermaster 1st Class patch — that he was the “kissing sailor”. Three women also wrote in and claimed to be the nurse.

At exhibitions of his photographs towards then of his life, Alfred Eisenstaedt would frequently encounter people claiming to be the sailor or the nurse. Always gracious, Eisie would simply shake their hands and say "How nice". He was working alone that day in Times Square, without a reporter, and never paused to get anyones name.



The New York Times: Man Known as Kissing Sailor in WWII-Era Image Dies

Wednesday, February 19, 2014

"Michelle and Sidney Monroe are here to [s]cool you"




AV MAIN 2_12_14
The Monroes strike a cool pose. - ENRIQUE LIMÓN


Via The Santa Fe Reporter
February 19, 2014

It’s no secret that Monroe Gallery of Photography houses some of the coolest art around. Owners Michelle and Sidney Monroe are taking their edge to the next level with When Cool Was King, an exhibit focused entirely around the concept of cool, which graces their walls through April 20.

The Don Gaspar Avenue spot is centered on black and white photography, and as Sid puts it, “even more specifically on photojournalism.”

“It took a few years to put together,” Sid continues. “It was inspired from us meeting Alfred Eisenstaedt.”

“The Stars of Ocean’s 11 stage a fight, Hollywood, 1960” by Sid Avery.
© MPTVIMAGES
Eisenstaedt was the German-born LIFE magazine photographer responsible for candid photographs featuring the likes of Marilyn Monroe and Jackie Kennedy, as well as the emblematic V-J Day celebration image that features a sailor passionately kissing a nurse in Times Square.

“There was a window in the late ‘80s early ‘90s when Eisenstaedt was in his 90s, he had no living relatives, and he still kept an office in the Time-Life building,” the gallery owner reminisces.

The encounter cemented the couple’s passion for photojournalism, and seeded what would eventually become Monroe Gallery.

“We were extremely passionate about his work and his colleagues’ work and he knew that we really got it,” Michelle says. “We left our respective jobs and decided to open a gallery and he agreed to join us—which was crazy because we were in our 20s.”

That same spirit lives on in When Cool, with shots depicting everyone from Andy Warhol and Edie Sedgwick, to the Rat Pack, Jane Fonda as “Barbarella” and Steve McQueen relaxing at home while aiming a pistol.

The term “iconic” comes to mind, though it’s clear, at the time, the people behind the lens were just doing their jobs.

“It’s interesting,” Sid says of the images that compose the show. “Because we’ve spoken to these photographers and in the day, in the moment, it wasn’t iconic.”

He cites chatting with veteran newsmen covering the Civil Rights Movement and other major events across US history, who didn’t realize in the moment what the transcendence of the moments they were recording would one day have.

“They didn’t know those images would go viral, so to speak,” Michelle says.


Actress Jane Fonda in publicity still for "Barbarella," 1968
Carlo Bavagnoli ©Time Inc

“Cool was really a rejection of the paradigms that were available to men and women,” she continues on the show’s theme. “It was a rejection of either the white-collar job, the blue-collar job, stay at home, raise your family and go to church America..cool was a very dangerous rejection of those shapes and that conformity.”

Expect images that defined a generation and put cool front and center—images developed way before what she calls “an American pushback on free press.”

One that is “extremely frightening and shocking.”

Just don’t hold your breath for any twerking shots.

“Miley Cyrus is not cool,” Sid says. “She’s great. She’s pushing boundaries and making people feel uncomfortable, but that’s not cool.”

More than a stagnant time capsule, the Monroes hope the exhibit serves as a jolt of energy and a reminder that documentary photography, like any other branch of the arts, should be buttressed.

“It was supported,” Sid says of the photography of that time gone by represented in When Cool. “You had institutions like LIFE magazine or the institute at CBS News; these were trusted institutions that employed journalists both visual and reporters.”

“It was a source of great American pride,” Michelle points out. “Our press was free, our press was dynamic and revolutionary…where is that now?”

Expect for the black and white shots to be peppered with some equally cool color stills.
“Our younger photojournalists, of course, they have to work digitally and they have to work in color,” Michelle says of the sign on the times. “You can’t be a photojournalist now without being able to transmit your images immediately.”

She pauses and continues her reflection: “The black and white happens to represent the history of photojournalism, but that is not our singular devotion. Sid says we like to preach the gospel of photojournalism—not only as an art form—but frankly, as the hands that hold civilization together because most great photojournalism is revealing something you’re not meant to know.”


WHEN COOL WAS KING
Exhibition continues through April 20, 2014 
Monroe Gallery of Photography
112 Don Gaspar Ave.,
992-0800

Friday, December 6, 2013

A Mushroom Cloud and the Twin Towers: the role of images in contemporary consciousness

 

Via CCA

Sunday, December 8, 2pm
LIVING ROOM
$5 Dollar Suggested Donation


 
How do images become placeholders for historic moments? What happens in the brain when images are no longer pictures, but rather icons loaded with emotion or politics? How is meaning-making changing as our world is increasingly flooded with images? This multi-media discussion event features short presentations by a panel of artists, journalists, and visual critics followed by a lively conversation about the ways that images (or the lack thereof) shape perception. Panelists include Nina Elder, Claudia X. Valdes, Dr. Khristaan Villela and others.


505.982.1338 CONTACT@CCASANTAFE.ORG This email address is being protected from spambots. You need JavaScript enabled to view it.
1050 Old Pecos Trail Santa Fe

Saturday, October 12, 2013

"one of the most courageous persons the Civil Rights Movement ever produced"





Photo  ©Timothy Hyde
Congressman John Lewis with Sidney Monroe, Monroe Gallery Booth,
DC Fine Art Photography Fair. To the right of Congressman Lewis' shoulder is:
 
Martin Luther King Marching for Voting Rights with John Lewis, Reverend Jesse Douglas, James Forman and Ralph Abernathy, Selma, 1965
 © Steve Schapiro Martin Luther King Marching for Voting Rights
with John Lewis, Reverend Jesse Douglas, James Forman
 and Ralph Abernathy, Selma, 1965


Photo ©Timothy Hyde
Congressman John Lewis viewing Ernest C. Withers' iconic
"I Am A Man" photograph
 
 
 
 © Steve Schapiro: John Lewis, Clarksdale, Mississippi, 1963