Showing posts with label photography. Show all posts
Showing posts with label photography. Show all posts

Friday, March 15, 2024

Limited Edition of Lowrider Magazine Dedicated to the Women Shaping the Culture Features Photographs By Gabriela E. Campos

 

Special issue was completely written and designed by women.  



color screenshot from special digital edition of Lowrider Magazine shows a photograph of a woman in front of her custom lorwrider




Known for their hopping hydraulics, custom upholstery, and intricate paint jobs, lowrider cars are symbols of empowerment and freedom, and a celebration of the broader lowrider culture. To honor Women's History Month and celebrate women who have played integral roles in lowriding culture, Mexican beer manufacturer Modelo partnered with MotorTrend Group (the parent company of MotorTrend and Lowrider magazine) to produce a limited edition of Lowrider.

The special, one-time reissue of Lowrider (which you can read in digital format here) champions the women of lowriding. It's made by women, for women—from the editorial direction led by Dr. Denise Sandoval, a professor of Chicana/o studies, to the photographers, creative directors, writers, and more. Modelo donated advertising space in the publication to women-owned businesses to further support and spotlight entrepreneurs driving the lowrider industry.

The roots of lowriding trace back to the 1940s when car culture was beginning to take hold across post-WWII America. As the hot rod trend swept the country, Mexican Americans began to alter their cars as a means of distinguishing themselves on and off the road. Eventually, the concept of lowriders and the broader lowriding culture stretched far beyond customizations and the Mexican American community.

Historically, depictions of women in Lowrider magazine were often limited to models on the hoods of cars. This limited-edition revival highlights the women behind the wheel who have fought for their place as drivers, builders, mechanics, painters, and welders in a male-dominated world.

Lowrider magazine ceased regular print publication in 2019. Fans in the Los Angeles area can be the first to get a copy of the magazine at the Lowrider Long Beach Super Show at the Long Beach Convention Center on Saturday, March 9, from 11 a.m. to 6 p.m. Pacific time. Fans nationwide can access the digital version of the issue here.

Monday, March 11, 2024

'A walk back in time': Monroe Gallery of Photography takes viewers back to classic Hollywood

Via The Albuquerque Journal

March 11, 2024

By Kathaleen Roberts


Francis Ford Coppola directing Marlon Brando.

Jimmy Stewart working on “Harvey.”

James Dean taking a nap in his truck.


Santa Fe’s Monroe Gallery of Photography is taking viewers back to old movie glamour with photographs from classic Hollywood.


“We wanted to take a little break from some of our more serious exhibitions,” said Sidney Monroe, gallery co-owner. “And this being awards season with the Academy Awards coming up, there’s a great range of materials with the photographers we represent.”

The 45 images feature such Hollywood icons as Marilyn Monroe, Clark Gable, Steven McQueen, Robert Redford, Rock Hudson, Audrey Hepburn and more. The photographs depict them both on and off the set and in studio portraits.

“It’ll be a little bit of a walk back in time,” Monroe said.

Steve Schapiro was the on-set photographer for “The Godfather” (1972).

black and white photograph of Marlon Brando and Francis Ford Coppola, “The Godfather”

Marlon Brando and Francis Ford Coppola, “The Godfather,” Steve Schapiro.
Courtesy of Monroe Gallery


“I remember him telling us they were collaborating,” Monroe said. “Coppola’s telling Brando where the camera’s going to come in. It’s an interesting behind-the-scenes moment with an actor and director.”

Photographer Richard Miller captured James Dean sleeping during a break in the filming of “Giant” (1956).

“He’s napping in his truck with his feet up in the window,” Monroe said. “That James Dean was killed shortly after contributed to that icon. (Miller’s) got another one of Elizabeth Taylor and James Dean taking a break.

black and white photograph of James Dean's cowboy boots in car window as he naps during filming on "Giant"
James Dean takes a break from filming “Giant,” Richard C. Miller, Texas.
Courtesy of Monroe Gallery


“It’s photography that creates images of these bigger than life characters,” he added.

In “Harvey” (1950), James Stewart played a man dubbed crazy due to his insistence that he has an invisible six foot-tall rabbit for a best friend. Life magazine’s Ida Wyman, best known for her images of New York street life, shot Stewart during the filming. Wyman was one of the early female photographers. The field was almost exclusively male when she started during the 1940s.

black and white photograph of actor James Stewart in profile on the set of the mobie "Harvey"



“She found a lot of work for Life in Los Angeles,” Monroe said.

Sonia Handelman Meyer’s striking 1948 image of the Paramount Theater encapsulates the glitz and glamour of the movies.

black and white 1948 photograph of The Paramount Theater marqee with well-dresses people walking by, New York



“We’ve got a beautiful photograph of the marquee.” Monroe said. “The movies (functioned) as an escape from hard times.”

Tony Vaccaro’s on-set shot of Federico Fellini directing 1960s “La Dolce Vita” reveals the old school cameras used in the production.

black and white photograph of directo Fellini giving instructions on beach set of "La Dolce Vita"
Fellini on the set of “La Dolce Vita,” Tony Vaccaro, Italy.
Courtesy of Monroe Gallery



“The director’s stepping in,” Monroe said. “To me, it looks like he’s telling the actress how to pose.”

black and white photograph of the cast of the 1960 movie "Oceans 11" around a pool table
Ocean’s Eleven” cast, Sid Avery/mptv images
Courtesy of Monroe Gallery


Sid Avery’s photograph of the 1960 “Ocean’s 11” cast features Joey Bishop, Sammy Davis Jr., Frank Sinatra, Dean Martin and Peter Lawford, among others.

“Now there’s been I don’t know how many remakes or new versions have been made,” Monroe said. “We actually had that picture in the gallery in New York when the first remake was being made. Julia Roberts came in and bought it as a gift for the director (Steven Soderbergh.)”





'THE MOVIES'

WHEN: Through April 14

WHERE: Monroe Gallery of Photography, 112 Don Gaspar Ave., Santa Fe

MORE INFO: monroegallery.com, 505-992-0800

Saturday, July 22, 2023

The Real Frame In The Digital Age

 Via David Butow/The Real Frame

July, 2023


David Butow: The AI/photography space is moving so fast I created a website with fellow photog David Paul Morris to help keep track and open a dialogue as things unfold, for better or worse.


By David Butow and David Paul Morris –

There are existential questions about how Artificial Intelligence will modify the appeal and strength of photography. The principle one is: what impact will the technology have on viewers, from the pure enjoyment of an aesthetically pleasing image to the usefulness of pictures to tell us something truthful about the social and natural conditions of the world?

That is why we’ve created this website, to consider these questions as they’re unfolding, and allow people to contribute to the discussion in comments at the bottom of the posts. The have been many articles about the subject in the last few months so we’ve consolidated several of them onto the posts marked “AI & Fautojournalism.”

We’ll also discuss the opposite of AI photography, with gear reviews and posts tagged “Real Frames” which feature single, non-computer generated photographs, from ourselves and various contributors, and tell the backstory about how they were created. Our first RF post is from Rian Dundon‘s new book “Protest City“.

Welcome and thank you for joining us. If you’d like to sign up for our mailing list write us at TheRealFramePhoto@gmail.com and put “subscribe” in the subject line. You can find more about us on our “About” page.

So let’s go…

The recent rapid advances in artificial intelligence raises a question for many people who like making photo-style images: “Do I even need to leave the house?” For some I think the answer will be “no.” Before the emergence of AI imagery there has been a dynamic emerging of enthusiasts who take photo tours to get specific types of pictures that are essentially set up for them when the get to the destination. The less adventurous wing of that crowd will probably gravitate towards AI, doing everything at home or perhaps creating some combination of real and imagined pictures.

THE EXPERIENCE

The other approach, the thing we most enjoy about making real frames, is being there. The desire not just to create, but to experience something first-hand. The picture becomes of the synthesis of the two. It’s about taking chances and being open to fulfillment, or disappointment. This means witnessing something for the first time, not knowing exactly what will unfold, but knowing it’s often something more interesting than we could have imagined.

Great pictures were not made by photographers who knew exactly what they were going to get. They hiked mountains, went to neighborhoods that made them feel strange. They faced dangers, they ate weird food, they got too cold or too hot, they got lost, and then they found something no one had ever seen before. 

You don’t have to travel far and wide to find of these moments, they might occur in your own home or walking down the sidewalk. But being “present” in that moment, connecting with your environment in some way enriches your own experience and the picture becomes a reflection of that experience.

TRUTH AND RESPECT

The value of that experience runs through the whole process of making the images, starting with the subjects, be they people, animals, cityscapes or natural scenes. If a photographer has been physically present in the environment there will always be an element of truth to the work, no matter how interpretive it is. 

We’re already seeing very clever and fun uses of the technology. Good art always pushes boundaries and I think in the broad field of visual communication, we should embrace the possibilities. The trouble lies in the potential for misuse of these pictures for disinformation, false historical revisionism, and deceitful propaganda.

Beyond just a single fake image or video being used to mislead people, the cumulative effect of repeated examples is likely to have a detrimental effect on the public such that people might question the veracity of nearly everything they see online, particularly things that challenge them in some way. In other words, they might believe the stuff that’s fake, and not believe the things that are real. This could be a gnarly combination of cynicism and denial, accelerating the “post-truth” dynamic.

So while we’ll discuss AI and its alarming implications, we’ll also have a lot of upbeat discussions about making real frames. The photographer gets satisfaction from making these kinds of pictures and the viewer is served by seeing something that is really out there, something they might have seen themselves, albeit in a different way. That’s where the value of photography lies and that’s what separates it from other art forms. It’s what’s kept photography alive for nearly 200 years and hopefully what will keep it relevant in the midst of these profound technological changes.


The Real Frame

Wednesday, July 12, 2023

AIPAD The Photography Show fair will relocate to New York’s Park Avenue Armory in 2024

 Via The Art Newspaper

July 12, 2023


The Photography Show, the longest-running fair devoted specifically to the medium, will mark its 43rd edition in April 2024 with a return to the Park Avenue Armory in New York, organisers say. Put on by the Association of International Photography Art Dealers (Aipad), the fair is open for applications only from member galleries.

“The Park Avenue Armory has always been the favourite venue of our members, collectors and curators,” Aipad executive director Lydia Melamed Johnson said in a statement, adding that the organisation has “evolved post-Covid with a renewed sense of optimism and vitality and a burgeoning membership of young galleries offering new perspectives on the medium”.

The fair previously took place at the Park Avenue Armory on 67th Street and Park Avenue from 2006 to 2016. The event moved to Pier 94 in Hell’s Kitchen in 2017, where it was held until 2019. After the onset of the Covid-19 pandemic, the fair was held at Center415 in Midtown Manhattan in 2022 and 2023. Last year, the Photography Show welcomed 44 galleries to the fair.

Aipad’s new president, Martijn van Pieterson, says the expansive Park Avenue Armory will give the fair more space for galleries to take part. Aipad says between 70 and 80 galleries will be able to participate in next year’s edition, similar to the exhibitor numbers of other fairs held at the Park Avenue Armory, such as Tefaf New York and the Art Dealers Association of America's fair, The Art Show.

Originally built as a headquarters for a militia regiment made up of many members of New York’s social elite during the American Civil War, the sprawling Gothic Revival building is now leased to the non-profit arts organisation Park Avenue Armory Conservancy, which works to support art, music and performances in the Armory’s 55,000-square-foot drill hall and historic Gilded Age rooms.

The Photography Show 2024 April 25 - 28, 2024

Wednesday, February 22, 2023

"In Conversation: Zaiga Minka Thorson, Dana Keeton, & Ryan Vizzions,” February 23

 

Via River Cities Reader

Thursday, February 23, 6:30 p.m.

Figge Art Museum, 225 West Second Street, Davenport IA

Protestor on illegal wall of shipping containers straddling the AZ / Mexico border , December, 2022
Ryan Vizzions


A lauded painter, a noted art therapist, and an award-winning photojournalist will share their histories and thoughts at the Figge Art Museum on February 23 when the Davenport venue hosts In Conversation: Zaiga Minka Thorson, Dana Keeton, & Ryan Vizzions, an informal and enriching conversation about how artists address personal trauma through their artistic practices.

Michigan native Thorson is a Black Hawk College Professor Emerita, having taught at the Moline institution since 1999. She holds a BFA in Painting from Western Michigan University and an MFA in Painting from Northern Illinois University, and is represented by Iowa Artisans Gallery in Iowa City. Having received numerous awards for her graphic design and artwork, which she exhibits both regionally and nationally, Thorson has served on the education committee for the Figge Art Museum, as well as on the Rock Island Preservation Commission and the Visual Arts Committee of Rock Island's Quad City Arts. She has stated that her reverence for nature is rooted in her Latvian heritage and growing up in Michigan, and her interests include research and travel to America's National Parks and UNESCO World Heritage sites, her points of interest particularly focused on sacred sites.

Based in Iowa City, Keeton is a registered, board-certified art therapist and a licensed mental health counselor whose trauma-informed psychotherapy work incorporates art therapy, EMDR, mindfulness, and breath work, as well as cognitive behavioral, client-centered, and strength-based approaches. She is also trained in EMDR (Eye Movement Desensitization and Reprocessing), a therapeutic technique that assists in reducing the intensity of emotions associated with disturbing life experiences; YogaCalm, an integrated wellness approach utilizing yoga movement, meditation and mindfulness; and a certified Victim Service Provider with the Iowa Organization for Victim Assistance.

Vizzions has been named Creative Loafing's 2014 "Best Fine Art Photographer" (readers choice) and 2015 "Best Cityscape Photographer" (critics pick); worked alongside international brands such as Adidas and artists such as Pharrell Williams; collaborated with local companies including #WeLoveATL, The Atlanta Opera, and Van Michael Salon; and covered many music festivals, among them Outkast's long awaited reunion series "Outkast ATLast." In hosting his own annual photo exhibition Wander Never Wonder, Vizzions connects local photographers and helps provide a platform for local artists to make money off of their craft. The artist and photojournalist is also deeply involved with the community of Atlanta, Georgia, often donating portions of his art sales to various local charities and foundations.

In Conversation: Zaiga Minka Thorson, Dana Keeton, & Ryan Vizzions will take place on February 23, the 6:30 p.m. program will be preceded by a 5 p.m. cash bar, and participation in the evening discussion is free. For more information, call (563)326-7804 and visit FiggeArtMuseum.org.


Sunday, November 29, 2020

Photography exhibition at Sioux City Art Center tells story of the American West; Features Ryan Vizzions photographs of demonstrations against the Dakota Access Pipeline


Photo of Mary Anne Redding, curator at the Sioux City Art Center, while discussing the center's new exhibition, "Magnetic West."

Mary Anne Redding, curator at the Sioux City Art Center, while discussing the center's new exhibition, "Magnetic West." Photo by Jim Hynds, Sioux City Journal

Via Sioux City Journal
November 29, 2020

By Dolly Butz

SIOUX CITY -- Nearly 130 photographs of various aspects of Western life cover the third floor gallery space at the Sioux City Art Center.

"Magnetic West: The Enduring Allure of the American West," which is organized by the Figge Art Museum, Davenport, Iowa, is the first photography exhibition of this scale organized and presented by an Iowa museum. The exhibition explores the complicated history of the United States from the Mississippi River to the Pacific Ocean and touches on five interwoven themes: An American Eden, Theme and Variation, Identity and Experience, Going West and Home on the Range. 

Art Center Curator Mary Anne Redding said the earliest images in the exhibition are from the 1860s and 1870s. She said those images were used to create national parks and monuments in the late 1800s. 

"That was Andrew (Wallace's) premise for starting to look at how photography influenced then and continues to influence now how we understand the West," Redding said of Wallace, the Figge's director of collections and exhibitions, who curated "Magnetic West."

Mary Anne Redding, curator at the Sioux City Art Center, gestures toward "How the West Was One" by William Wilson while discussing the center's new exhibition, "Magnetic West."

She said Wallace also wanted to bring in "contemporary photographic voices," so many female, Native American, African American and Hispanic photographers' works are featured. 

"Traditionally, we have a Western European idea of what the West is, and so, a lot the photographs in this exhibition really say there are other voices that need to be part of this narrative," she said. "I do think that is the strength of the show."

You'll see Diné photographer William Wilson's self-portraits and a New Mexico moonrise by Ansel Adams, as well as photographs that touch on different aspects of Western life, including rodeo, architecture, car culture and demonstrations against the Dakota Access Pipeline.


Rider on horse faces aremed law enforcement, Standing Rock protest, 2016
Ryan Vizzions: "Defend The Sacred": Standing Rock, Cannon Ball, North Dakota, 2016


"In a lot of ways, these issues have never been resolved and we're still trying to figure it out," said Redding, who also worked with the Sioux City Public Museum to select 14 additional photographs for an auxiliary exhibition, which grounds the issues depicted in "Magnetic West" in Siouxland. 

Redding said the kinds of photographs included in "Magnetic West," which range from gelatin silver photographs to digital prints, are just as diverse as the subject matter. She pointed to a photograph of the Cerrillos Hills outside of Santa Fe, New Mexico, which was taken by movie director Wim Wenders when he was scouting movie locations in the Southwest.

"It's so cinematic and it's just so romantic," she said. 

What really ties the whole show together, Redding said, are the same locations and iconic symbols of the West that photographers, both amateur and professional, are drawn to again and again, such as the Golden Gate Bridge and American bison.

"There's something for everyone to see. There's so many different points of entry," said Redding, who noted this is the last chance to see the exhibition, which debuted at the Figge over the summer. "It's here now through January 17, and then, all these photographs go back to their original owners, be it other museums, private collectors, the Figge."


Friday, February 19, 2016

"When People Can See Time"


Via NPR All Tech Considered
February 19, 2016
Nina Gregory

Of all of the arts, photography may be the discipline most accustomed to the nudge of technology, and photographer and artist Stephen Wilkes fully embraces the challenge. His latest project, "Day to Night," takes on the idea of showcasing, in one composite still image, the transformation of a place over the course of a day.

Take his photo of Serengeti National Park in Tanzania. For 26 hours, Wilkes shot 2,200 photos without moving the camera and while suspended in the air in a tent-like structure with a little window, so that animals wouldn't see or hear him as he photographed them coming to a watering hole from sunrise to deep into the night.

"I photograph by hand; this is not a time lapse. ... It's my eye seeing very specific moments," Wilkes says. "I like to describe myself as a collector of magical moments."

Serengeti, Tanzania, Day to Night, 2015

Serengeti National Park, Tanzania, Day to Night, 2015
Courtesy of Stephen Wilkes                     

Once Wilkes has all the images, he picks the best moments of the day and the night and creates what he calls a master plate. Those images then get seamlessly blended into one single photograph, where time is on a diagonal vector, with sunrise beginning in the bottom right-hand corner. That process of creating a single image can take about four months — though it's photographed in a single day.

I spoke with Wilkes in Vancouver, ahead of his TED talk, about the powers of digital photography, the experience of looking in the face of time and the challenge of sharing emotion through an image. Below are some of the highlights of our conversation.



Interview Highlights

On watching animal life unfold during the Serengeti shoot

Times Square,  New York, 2010

Times Square, NYC, Day to Night, 201   

          
I'm changing time within the picture. As the sun is rotating, light is changing and all these animals, you can see time change on the light in the animals. It's all based on time. ... (At) sunrise you begin to see the watering hole is quiet and the animals migrate in as the sun rises. Wildebeests and zebras graze together; one has terrible eyes and the other has lousy hearing — the blind leading the deaf. There are meerkats. It was like watching the movie Jungle Book. As time is changing, you see the sun getting higher, you see the light begins to rotate and starts to go behind the animals. I'm watching them. Guess who else is watching them? A lion.

They have this whole process of coming in and going out, it's a rhythm. I'm telling the story based on time. It's such a complicated process and yet there's so much luck involved.

Paris, Tournelle Bridge, Day To Night

Pont de la Tournelle, Paris, Day to Night, 2013      
Courtesy of Stephen Wilkes             

On evolving as a photographer

I discovered digital in 2000 and started to realize, because I had to come through the process of analog ... I wanted to push the medium outward. So what I've been exploring is this concept of day-to-night, where I change time within a photograph. I'm really exploring the space-time continuum within a two-dimensional photograph. And it's really cool because I can tell stories that photographs could never tell before. Compressing an entire day into a single image, the best moments, allows me to share things on a narrative level that you just couldn't see.

On the power of seeing the face of time

The most exciting part of it really is how people respond to the work. It's an amazing, emotional thing. When people can see time, the face of time in a way, it's this thing we can never put our hands around. But yet, when you look at it, it makes you feel a different way and there's an emotional thing that happens and that's exciting. I just think it's the best time to be alive as a photographer, really. I think as technology keeps evolving the things you could only imagine or dream are at your fingertips now. It's just about where you want to go.

London, View from the Savoy, Day To Night

View from The Savoy, London, Day to Night, 2013      
Courtesy of Stephen Wilkes             

On the advantages of digital photography

When you can capture an image on a silicon chip versus a piece of film you can see it instantly, that's the first thing. For me, when I do one of my photographs, I can shoot 2,500 images in a single day. Now, if I was doing that with an 8x10 camera, which is the image quality I have in my digital back*, that would be 2,500 sheets of 8x10 film. It would be impossible to do what I'm doing, just the visualization of that would be impossible — and financially, to boot. And my assistant would probably jump out of the cherry picker!

*Editor's Note: A digital back is a piece of equipment you can add to the back of a film camera to modify it to take digital images.

On the high level of detail in digital photography

So if I'm a storyteller, I love that, suddenly things that were insignificant are really significant now. And that's the power of what's happening now. Eventually photography is going to look like a window; you're going to have a visceral experience with my pictures on the wall. Because the way you'll see into my pictures is almost the way the eye sees, and that's the way it's going. For me, I want you to feel the way I felt when I stood there and took the picture.


On the future of photo printing
I work with a master printer in New York and I actually print on conventional photographic paper because of the depth perception. I really want to enhance that, but there are so many new technologies that are coming out in terms of 3-D printing and all kinds of different things. Who knows where we're going to be five, 10, 15 years from now based on what's happening and the speed of what's happening.



View the full Day To Night Collection here.




Ellis Island, then and now

The Picture Show

Eerie Ellis Island, Then And Now



Tuesday, October 27, 2015

Wednesday, February 4, 2015

Joe McNally is the #1 Most Inspiring Photographer (Again)

 
2015 Survey Results: Joe McNally is the #1 Most Inspiring Photographer (Again)
 
 

2015 Survey Results: Joe McNally is the #1 Most Inspiring Photographer (Again)

Via Photoshelter
 
For the third year running, we’re excited to release our annual survey results from The Photographer’s Outlook on 2015. This survey, sent to thousands of photographers worldwide from the greater PhotoShelter community, aims to provide the industry with a solid understanding of what photographers hope to accomplish in the coming year – including how they plan to invest their money, hone their craft, and build a presence online.

As we did in 2014, this year’s survey compares the similarities and differences between the business goals and challenges among photo enthusiasts and professional photographers.* The survey includes responses from 7,408 people total.
 
For the complete overview of The Photographer’s Outlook on 2015, download the full survey results here.


Tuesday, October 14, 2014

Screening of the film Remembering Edward Weston


 
October 18, 2014
2:00 pm
Via The New Mexico Museum of Art

Celebrating its rich collection of photographs and the key role the medium has played in shaping New Mexico history, culture, and tourism, the museum presents a series of exhibitions in the year-long series Focus on Photography (March 7, 2014 – April 19, 2015). In conjunction with these exhibitions, the museum will host gallery talks by photographers as well as a photography film series:

October 18: Remembering Edward Weston is filled with stories and memories of this much-loved and influential photographer. The film includes interviews with two of Weston’s sons, his former wife Charis Wilson, historian Beaumont Newhall, and many others. Curator of Photography Katherine Ware will introduce the film with a short slide presentation about Edward Weston in New Mexico.

 
107 West Palace
Santa Fe, NM 87501
505.476.5072
www.nmartmuseum.org

Monday, September 29, 2014

Joe McNally: View from Top of Burj Khalifa, Dubai, 2013


 
Archival pigment print from an iPhone
8 x 10 inches, signed, limited edition of 100
Special exhibition print now available, please
 
 


Watch: Photographer Joe McNally climbs to the top of Dubai's Burj Khalifa (the World's tallest building), in hopes is seeking an unusual vantage point:






And you can watch our conversation with Joe McNally about the exhibit here:


Monday, June 23, 2014

REVIEW SANTA FE JUNE 26 - 29

CENTER


"Review Santa Fe is the premier juried portfolio review event in the world. Considered one of the most important events for photographers who seek career advancement, Review Santa Fe is designed to facilitate relationships between photographers and leading industry professionals looking for new work.

Nestled in the foothills of the Sangre de Cristo Mountain, up to 100 photographers meet with up to 45 of today’s most relevant and esteemed reviewers comprised of curators, editors, publishers, gallerists and others who can offer professional development advice and opportunities."

See the Review Santa Fe 100

CENTER is expanding the long-standing conference Review Santa Fe, to include more exhibitions, ongoing artist’s presentations, a night of Portfolio Viewing and a Party in Black & White. Please join us in celebrating our favorite medium with many public programs before and throughout the weekend.

PHOTO EXHIBITION
May 30 – August 1, Alumni exhibit at the Marion Center
PHOTO EXHIBITION
June 14 – August 10, The Curve exhibition at the CCA
WORKSHOP
PORTFOLIO VIEWING
June 27, Review Santa Fe 100 at the Farmer’s Market Pavilion
ARTIST’S PRESENTATIONS
June 27-28, hear from the artists at Zane Bennett Contemporary Art
PARTY IN BLACK & WHITE
June 28, Print auction and more at the CCA
Click to learn more about the full schedule of events.

Tuesday, December 31, 2013

A NEW YEAR



As the final hours of 2013 elapse, we pause to remember two great friends that passed away in 2013: Bill Eppridge and John Dominis, along with so many other truly great photographers.

We are grateful that our lives have  made it possible to know, or to have known, so many great photographers personally in our careers, and their humanistic photography and kind hearts have informed us in both our personal and professional lives.

2013 has once again affirmed our steadfast belief in the power of a photograph.  To all of the photographers out there, past and present, we honor your commitment and service to humanity.

We are so very thankful to all who have visited the gallery and our booths at art fairs this year (we'll be in booth #302 at photo la 2014 January 16 - 19).

In a small way, this our "thank you" for 2013. We wish you the very best in 2014.

--Sidney and Michelle Monroe


Related: 2013 in Pictures, and more

Tuesday, October 1, 2013

AUTOPHOTOGRAPHY in Santa Fe


 


Via Axel Contemporary

Autophotography
Self- Portraits by 84 New Mexico Photographers
Exhibition and Book

 
Opens in the Railyard (Farmers Market shade structure)
5-7 pm, Friday, October 4th
Booksigning at Photo-Eye. Friday, October 18th, 5-7 pm.
Photo-Eye is at 376 Garcia Street, Santa Fe
Exhibition continues through October 23rd.

 
Photographers are: V. Amore, Henry Aragoncillo, Laurie Archer, Phillip Augustin, Brad Bealmear, Jonathan Blaustein, Gay Block, Iscah Hunsden Carey, Matthew Chase-Daniel, Carola Clift, William Clift, Eric Cosineau, Guy Cross, Ungelbah Davilla, Antone Dolezal, Dianne Duenzl, Jennifer Esperanza, Steve Fitch, Patricia Galagan, Kirk Gittings, Lydia Gonzales, Sondra Goodwin, Meggan Gould, Lauren Greenwald, James Hart, Sol Hill, Megan Jacobs, Jen Judge, David Michael Kennedy, Lisa Law, Willis F. Lee, Louis Leray, Patti Levey, Tamara Lichtenstein, Herbert Lotz, Jessamyn Lovell, Richard Lowenberg, Helen Maringer, Gabriella Marks, Elliot McDowell, Nick Merrick, Philip Metcalf, Lia Moldovan, Duane Monczewski, Delilah Montoya, Sarah Moore, Jonathan Morse, Joseph Mougel, Teresa Neptune, Nic Nicosia, Clay Peres, Jane Phillips, Daniel Quat, Dave Reichert, Meridel Rubenstein, Janet Russek, Kate Russell, Ward Russell, Tara Raye Russo, Key Sanders, Celia Luz Santos, Suzanne Sbarge, David Schienbaum, Jennifer Schlesinger Hanson, Andrea Senutovitch, Frances Seward, Laura Shields, Brandon Soder, Catie Soldan, Nancy Sutor, Anne Staveley, Sharon Stewart, Jamey Stillings, Dianne Stromberg, Jim Stone, Martin Stupich, Carrie Tafoya, Laurie Tumer, Lisa Tyrrell, Marion Wasserman, Melanie West, Will Wilson, Baron Wolman, Francesca Yorke, Joan Zalenski, and Zoe Zimmerman.
 
 
 
 
Related events on Oct 4: Ernest C. Withers: A Life's Work

Wednesday, August 1, 2012

Appropriation Art and Fair Use in the Digital Age



Via Photo Eye



The REMIX Culture: Appropriation Art and Fair Use in the Digital Age

A  PANEL DISCUSSION
Wednesday, August 15, 2012
6:30-8p.m at Photo Eye Gallery
376 Garcia Street Santa Fe, NM
(505) 988 -5152

photo-eye Gallery is pleased to announce part three of our Summer Lecture Series presented in collaboration with New Mexico Lawyers for the Arts, a nonprofit organization dedicated to providing artists and arts organizations with pro bono legal assistances and educational programming.

As issues of appropriation and remixing increasingly flood our culture, copyright infringement lawsuits are on the rise. In the final part of our Art Law series, a range of experts from across the legal, business and creative realms of art (an attorney, a dealer, an arts consultant and an appropriation artist), will discuss the creative methods and ideas associated with appropriation in art today.

Using the facts from the high profile Cariou vs Prince appropriation case, the panel will discuss the importance of appropriation and forms of visual referencing in our culture, the differences between transformative works and infringement and whether current copyright laws provide sufficient protection while preserving an artist's freedom to reference the work of others.

All events are free and open to the public on a first come, first serve basis.



Panelists:

Benjamin Allison: a copyright and trademark lawyer at Sutin Thayer & Browne PC in Santa Fe, where his practice also includes commercial and art litigation. He has practiced law in New York City and clerked for U.S. Court of Appeals Judge Paul J. Kelly Jr. He teaches Art Law at Santa Fe Community College.

Craig Anderson: Works as an independent curator and art and museum advisor. He served as the Executive Director and Curator at Center for Contemporary Art in Santa Fe from 2010 to 2012. He has been watching closely the unfolding Prince v. Cariou case closely.

Sid Monroe: Sidney Monroe has been engaged in the fine-art and photography field for over 30 years. Previous to establishing Monroe Gallery of Photography with is wife and business partner Michelle, he was the Gallery Director for the flagship New York location of a leading national art gallery organization, and later a founding partner of an leading gallery of photography in New York City, SoHo Triad Fine Arts. His comments on photography have been published in numerous magazines and newspapers, and he has appeared on television programs throughout the world in conjunction with exhibitions and photography sales.

Monroe Gallery specializes in 20th and 21st Century photojournalist imagery. The gallery also represents a select group of contemporary and emerging photographers and exhibits nationally at prestigious Photography Fairs. Monroe Gallery was the recipient of the 2010 Alfred Eisenstaedt Award for Excellence in Photojournalism.

Casey Bock: Casey is a student and an artist. Casey received her Bachelor of Arts from University of New Mexico in Communication/Media Studies. She is Vice President of AAF Lobo Edge Advertising, UNM Art Student and artist. She currently works at UNM as an administrative assistance and at Sandia Prep as a marketing intern. Casey has also been following trends in appropriation art and has created appropriated works for school projects.

Thursday, November 24, 2011

"Things To Be Thankful For"

Via Joe McNally's Blog:


"I’m thankful Ernst Haas made a book called The Creation. At the end of a tough day in the field, just looking at it is like taking a shower....


I’m thankful I’ve been around long enough to have known Eisie, Gordon, Carl, and Mr. Mili. And to still know John Loengard, Ralph Morse, Jim Stanfield, David Douglas Duncan, Neil Leifer, Walter, Johnny I, and so many, many legends who have taken up a camera over time. Their work is the bedrock on which we all stand."


We add:   Thank you to all photographers.

Saturday, April 23, 2011

Editor and Writer David Schonauer on the Risky History of the War Photographer

David Schonauer
David Schonauer
Former editor-in-chief, American Photo magazine


Via The Huffington Post
Hetherington, Hondros, and the Risky History of the War Photographer



To the list of photographers who have died while covering war and conflict, we must now add the names of Tim Hetherington and Chris Hondros, killed in Misurata, Libya on Wednesday. They join the likes of Ken Oosterbroek, a member of the so-called Bang Bang Club of photojournalists immortalized now in a new movie. Oosterbroek was killed in 1994 while covering the violence in South Africa during the final days of apartheid. They join Olivier Rebbot, killed in El Salvador in 1981 while on assignment for Newsweek. Rebbot was a model for the photographer played by Nick Nolte in the 1983 film Under Fire. They join Robert Capa, killed near Thai Binh, Vietnam in 1954, who was the model for all who would follow in his profession. If the war photographer has come to be seen as a romantic figure, we have the Hemingwayesque Capa to thank.


It was Capa, famed for covering the D-Day landing on Omaha Beach, who said, "If your pictures aren't good enough, you're not close enough," and the photographers who followed him into Vietnam took his advice. Vietnam was a particular deadly place for photographers, who jumped aboard helicopters alongside soldiers to fly into firefights. The names of the dead -- Larry Burrows, Gilles Caron, Henri Huet, Robert Ellison, Dickie Chapelle, Charles Eggleston, and Oliver Noonan among them -- have become legend. The haunting 1997 book Requiem memorialized these journalists -- 135 photographers from different nations known to have died in Vietnam. In the book's introduction, David Halberstam described why their job was so dangerous:

"War correspondents always know who is real and who is not. A war zone is not a good setting for the inauthentic of spirit and heart. We who were print people and who dealt only in words and not in images always knew that the photographers were the brave ones, and in that war... they held a special place in our esteem. We deferred to them, reporter to photographer, in that venue as we did in few others."

They were real because they had to be real; they could not, as we print people could, arrive a little late for the action, be briefed, and then, through the skilled use of interviews and journalism, re-create a scene with stunning accuracy, writing a marvelous you-are-there story that reeked of intimacy even though, in truth, we had missed it all. We could miss the fighting and still do our jobs. They could not. There was only one way for them to achieve intimacy: by being eyewitnesses.

I knew Tim Hetherington and Chris Hondros, but not especially well -- in the case of Chris, we went out for beers on a couple of occasions and spoke on the telephone a few times when he wrote a story for the photography magazine I edited. (He was a fine writer, too; urgent, clear, and caring.) My acquaintance with Tim was very brief -- I interviewed him last November, over coffee at a hotel lobby in New York, about his book Infidel, which had just come out. In similar ways, Chris and Tim impressed me, immediately and lastingly, as superior people -- humble, humorous, dedicated, and very intelligent. Real, as Halberstam put it.

Halberstam noted that the Vietnam War began "in an era of black-and-white photography and ended in one of color videotape beamed by satellite to television stations all over the world." The world of photography has changed just as radically in the past ten years. On 9/11, when photographers raced to downtown Manhattan to document the devastating scenes there, most carried film cameras. At the time, the first professional-quality 35mm SLRs were just coming onto the market. News organizations and photo agencies anticipated America's reaction to the terrorist attacks and retooled, almost overnight. When American troops went to war in Afghanistan a few weeks later, photojournalists covered the story with digital cameras and satellite uplinks, ramping up the speed with which they could deliver pictures. Later in the decade, as the Internet took hold and the old-media world imploded, photographers began doubling as videographers and writers. (Underscoring the evolution, last year the Associated Press dropped its time-honored byline, "Associated Press Writer," with the more ambiguous "Associated Press.")

Tim Hetherington thrived in this new journalistic landscape. A skilled filmmaker as well as a photographer, he could tell a story through a number of media platforms. In his Oscar-nominated film Restrepo, and in his small but powerful photo book Infidel, he told the story of a U.S. combat unit in Afghanistan's Korengal Valley, never veering far from the everyday reality of the soldiers' lives. "Symbols or representations of soldiers are often claimed by the far left and far right to mean a certain thing," he told me, "and we do these men an injustice by not digesting fully their reality."



2011-04-22-INF_FINAL_CMYK_HR_0096.jpg
An image from Hetherington's book Infidel



It's a dangerous job they do, and like others who do dangerous jobs they learn how to cope as best they can. A correspondent friend of mine who traveled with Chris Hondros on several stories in Iraq later told me that the photographer had taught him a valuable lesson about working in a combat area: to sleep when sleep was possible, in the lulls between action and danger. Chris, a recipient of the Robert Capa Gold Medal, a prestigious award for the highest level of war photography, knew what he was doing and why. And he no doubt understood the implications of another of Capa's famous comments: speaking of his work on D-Day, Capa said, "The war correspondent has his stake, his life, in his own hands and he can put it on this horse or that horse, or he can put it back in his pocket at the very last minute. I am a gambler. I decided to go in with Company E in the first wave."


Please take a moment to write a message to Tim Hetherington's family and share it with his friends

Friday, November 12, 2010

JOHN F. KENNEDY: NOVEMBER, AND PHOTOGRAPHY

On November 8, 1960, John F. Kennedy was elected in the 44th American presidential election.

Alfred Eisenstaedt: Vice President-elect Lyndon Johnson chatting with President-elect John Kennedy and his wife Jackie at the president's inaugural ball, Washington, DC, January 1961



On November 22, 1963, John F. Kennedy was assassinated in Dallas, Texas.

Carl Mydans: On the 6:25 from Grand Central to Stamford, CT, November 22, 1963


On November 25, 1963, he was laid to rest at Arlington National Cemetery in Virginia.

John F. Kennedy Jr. saluting his father's coffin, November 25, 1963 with Ted Kennedy, Jacqueline Kennedy, Rose Kennedy, Peter Lawford, and Robert F. Kennedy in background

John F. Kennedy laid to rest, Arlington, 1963
Bob Gomel: John F. Kennedy laid to rest, Arlington, 1963


John F. Kennedy was the first American president to understand the power of the image and photography, and he also understood the opposite impact of the wrong image. As recounted in the book The John F. Kennedys: A Family Album (Rizzoli):

"John spend hours looking at photographs of himself and his family. That was neither narcissism nor pride to Jack Kennedy, but recognition of polities as a show of fleeting images. In the mostly black-and-white world of the early 1960s, the right picture in the right place duplicating itself forever was worth a great deal more than any thousand words. One enduring image, say a photograph of the young senator walking away from the camera through Hyannis Port dunes to the sea, might have the political impact of a small war. Selecting the right image at the right time was at the heart of winning the elusive twin goddesses the man pursued, power and history.

This photograph by Mark Shaw was said to have been John F. Kennedy's favorite photograph of himself


The man who would be president also understood the opposite impact of the wrong image. That same year, Life's sister magazine, Time, assigned one of its most talented young writers, Hugh Sidey, to write about Kennedy, to get to know him. On second meeting, Sidey and Kennedy were walking near the short subway that connects the U.S. Capitol with the Senate Office Building. They bumped, almost literally, into Kennedy's buddy Senator George Smathers of Florida, who was posing for a Senate photographer with a small claque of pretty young women from his state. All laughing, they pulled the handsome young senator from Massachusetts into the group and he smiled for the birdie.

Waving goodbye to the gigglers, Kennedy said to Sidey, "Get hold of that photographer and destroy the negative."

Sidey did it.

President Kennedy had learned the power of the image, of the visual, from his father, who was for a time a power in the movie business. Joseph P. Kennedy was the first, or among the first, to merge the creation and marketing of the celebrity trade, the tricks of public relations, to the business of politics and governing. With politics aforethought, the founding father had created an archive—still and moving pictures of his children—ready to be used to entice a nation into a cause in the same way they were pulled into movie theaters."

John Kennedy's campaign, presidency, and tragic assassination resulted in countless photographic images, many now considered to be iconic. In the mostly black-and-white world of the early 1960s, the right picture in the right place duplicating itself forever was worth a great deal more than any thousand words.


Related: 50 Years Ago: the Kennedy Nixon Debates

             Marilyn Monroe, Kennedys Recalled in White House Archive Sale