Thursday, July 14, 2022
Monroe Gallery of Photography : Imagine a World Without Photojournalism
Sunday, June 19, 2022
Monroe Gallery exhibit looks at history through Life’s photographs
By Kathaleen Roberts June 19, 2022
The Beatles, Miami 1964,” at a private residence after their appearance on “The Ed Sullivan Show.” (Courtesy of Bob Gomel)
SANTA FE – When Sidney and Michelle Monroe stepped into the workplace of the great photojournalist Alfred Eisenstaedt decades ago, they were more than intimidated.
“There’s a picture of Hitler and Mussolini shaking hands in his office,” Michelle Monroe said. “We’re not peers.
“Honestly, we could barely catch our breath, we were so star-struck.”
That meeting in New York’s Time-Life building would launch a career of exhibiting some of the most pioneering photojournalists in the country. Monroe Gallery will celebrate the glory days of Life magazine with about 40 images by such photographic luminaries as Eisenstaedt, Margaret Bourke-White, Bob Gomel and Bill Ray through June 26.
Known as the father of photojournalism, Eisenstaedt is best recognized for his image of a sailor kissing a nurse in a dance-like dip during Times Square’s V-J celebration in 1945. When the Monroes approached him, he had never shown his work in a gallery before.
In 1963, Life assigned the photographer a photo essay on life in Paris.
“He didn’t know what he could do that Henri Cartier-Bresson hadn’t done,” Sidney Monroe said.
While he was walking the streets, Eisenstaedt spotted a playground with a puppet show of “St. George and the Dragon.” He crawled under the stage and began shooting the crowd from beneath the drape. The photographer captured the children in the audience, their facial expressions tumbling from delight into fear and horror.
“It’s almost timeless, aside from their clothing, it could be any time,” Sidney said. “It’s a great example of what a photographer does.”
Gomel was already in Miami to shoot the Muhammad Ali-Sonny Liston fight when his editors asked him to photograph the Beatles. The foursome had flown south to relax immediately after their 1964 “Ed Sullivan Show” debut. Gomel shot them sunbathing at a private home.
“The editor of Life was really interested in the world of pop culture,” Sidney said. “The Beatles would sell so many magazines.”
Carl Mydans had been captured by the invading Japanese when the Philippines fell during World War II. He was freed during a prisoner exchange in 1943.
In 1945, Mydans photographed the Japanese formal surrender on the deck of the battleship USS Missouri in front of Gen. Douglas MacArthur.
Mydans had also shot the famous image of MacArthur wading onto a Philippines beach.
“When news came of the formal surrender, it was bedlam,” Sidney Monroe said. Mydans approached a MacArthur aide to make sure he gained entry to the ship.
The photographer captured the iconic moment while he was straddling a cannon. As soon as he shot the photo, a sailor pulled him off.
“The U.S. officials came in wearing their day-to-day khakis, much to the displeasure of the Japanese,” Sidney Monroe said.
Bourke-White was the first photographer hired by Life.
When she photographed Mahatma Gandhi in 1946, he insisted she learn to spin in order to have an audience with him.
“He had no time to digress from his campaign to free India from British oppression,” Sidney said. “She needed him and he knew he needed her.”
Founded by Henry Luce, publisher of Time magazine, Life was long one of the most popular and imitated of American magazines, selling millions of copies a week. Published weekly from 1936 to 1972, it emphasized photography.
“They’re all in their very defining moments,” Sidney Monroe said. “The moments are in our heads because they’re part of our history.”
If you go
WHAT: “The LIFE Photographers”
WHERE: Monroe Gallery of Photography, 112 Don Gaspar, Santa Fe
WHEN: Through June 26
CONTACT: monroegallery.com, 505-992-0800
Friday, May 20, 2022
BLIND Magazine: The Photography Show Presented by AIPAD
May 19, 2022
"On May 19 The Photography Show presented by AIPAD returns to New York City for the first time since 2019. Now in its 41st edition, The Photography Show is the longest-running and foremost exhibition dedicated to the photographic medium.
Although photojournalism has largely been overlooked by the art world, Sid and Michelle Monroe of Santa Fe’s Monroe Gallery remain steadfast in their determination to elevate the masters of the form, both present and past. “The role of photojournalists has perhaps never been as vital and important as it is today,” the Monroes say. “By encouraging photojournalists to make fine art prints, their work enters a new realm beyond the temporary, the printed page or a brief appearance in a web article. Exhibiting their work further establishes the images in our collective consciousness and our shared history.”“The names of conquistadors, like those of Confederate and colonial generals and leaders, have been memorialized as roads, schools, shopping centers, statues, even building names,” the Monroes say. “Americans have tended to ignore old political monuments without thought, or even knowing, of the histories behind them. Campos’s photograph brings awareness and perhaps a shift in consciousness and it confronts the issue of Native histories in America."
Read the full article here.
The Photography Show by AIPAD will be on view at Center415, 415 Fifth Avenue, between 37th and 38th Streets, New York City.
Friday, May 20
11:00 a.m. – 1:00 p.m. – VIP Early Access Hours
1:00 p.m. – 7:00 p.m. – General Admission
Saturday, May 21
11:00a.m. – 12:00 p.m. – VIP Early Access Hours
12:00 p.m. – 7:00 p.m. – General Admission
Sunday, May 22
11:00 a.m. – 12:00 p.m. – VIP Early Access Hours
12:00 p.m. – 5:00 p.m. – General Admission
Tuesday, May 3, 2022
Ukraine vs Russia - Witnessing War with acclaimed photojournalists including David Butow
May 2, 2022
John Stanmeyer, Julia Kochetova, Alex Lourie, David Butow and Ron Haviv will take us on their personal journey into the war zone of Ukraine.
Ukrainian Week at PROJECTIONS
WITNESSING WAR – UKRAINE
April 29th – May 6th
World renowned photojournalists John Stanmeyer, Julia Kochetova, Alex Lourie, David Butow and Ron Haviv will take us on their personal journey into the war zone of Ukraine.
These five highly acclaimed photojournalists have courageously been documenting war and human suffering in Ukraine and represent the heroic work of all documentarians.
They, like numerous colleagues and citizens are risking their lives every day and sadly many have paid the ultimate price. Their dignified and passionate courage has supplied the world with gut wrenching evidence of the war crimes perpetrated by Putin.
Each presentation promises to be painful, enlightening and a testament to the powerful unyielding Ukrainian spirit.
Presentations start at 7:00pm via zoom: https://zoom.us/j/6692503751
We’re dedicating these solo presentations to the Photojournalists and Ukrainians citizens we’ve lost. We ask everyone to support this struggle in whatever way they feel comfortable.
All presentations will be recorded and can be seen.
Subscribe to our YouTube
https://m.youtube.com/c/PROJECTIONSNYC
Schedule of Presentations
Friday 29th of April - Stanmeyer
Monday 2nd of May – Kochetova
Tuesday 3d of May – Lourie
Wednesday 4th of May – Butow
Thursday 5th of May – Open
Friday 6th of May - Haviv
Two of David Butow's recent photographs from Ukraine will be on exhibit May 20 - 22, 2022 during The Photography Show sponsored by AIPAD in the Monroe Gallery of Photography booth #113
Tuesday, April 19, 2022
Musee Magazine Review: Ed Kash: Abandoned Moments A Love Letter to Photography
April 19, 2022
Sunday, March 27, 2022
Portraits, Personalities, Passion: The Photography of Tony Vaccaro Exhibit at The Rye Arts Center April 7th – May 13th.
The Rye Arts Center is proud to present its second exhibition of works by world renowned photographer Tony Vaccaro, following its 1992 exhibit “The Vision of Tony Vaccaro – a Fifty Year Retrospective.” Curated by Patrick Cicalo and Gail Harrison Roman, the exhibition demonstrates how Tony’s visually eloquent photographs provide a cultural history of his time, providing a record of figures in arts and letters and in public life, and scenes of war and death.
As a combat photographer in the Second World War, Tony captured on film wartime images that evoke the determination and camaraderie of soldiers in combat, the pathos of defeat and death, and the joy of liberation, all represented in the exhibit.
Upon his return to the United States, Tony took up fashion and celebrity photography working for major magazines of the postwar era: Harper’s Bazaar, Flair, Life, Look, Newsweek, Time, Vogue, and other popular news and fashion magazines. He amassed a treasure trove of celebrity images from the worlds of television and film, art and architecture, politics, and fashion. Included in this exhibition are portraits of Irving Berlin, Leonard Cohen, Givenchy, Georgia O’Keeffe, Pablo Picasso, Jackson Pollock, and Frank Lloyd Wright, and others.
Much of what is creative in photography today has its birth behind Tony’s lens. His pioneering work in visual interpretation and artistic presentation was a catalyst in the advancement of magazine photojournalism and celebrity portraiture. A selection of Tony’s cameras and memorabilia will be on view as well.
A special section of Tony’s cameras and personal memorabilia, curated by Sarah Mackay, will be on view in the Gallery.
Photographs in the exhibition appear courtesy of Tony Vaccaro Studio and the Monroe Gallery of Photography.
Tony will speak about his work at the Opening Reception, free and open to the public, on Thursday, April 7th from 5:30-7:30pm. Reservations are suggested but not required.
The exhibition will be on view at The Rye Arts Center from April 7th – May 13th.
Gallery hours are Mondays, 9am-3pm; Tuesdays – Fridays, 9am-7pm; Saturdays, 9am-3pm; closed on Sundays.
For more information, go to www.ryeartscenter.org
Friday, March 25, 2022
Figge Museums "New Photography" Exhibit Includes Gallery Photographer Ryan Vizzions
March 24, 2022
The Figge Art Museum has an extensive photography collection that continues to grow. Beginning Saturday, visitors are invited to step into the Figge’s second-floor Lewis Gallery to view a small selection of the museum’s most recent photographic additions.
Important works by some of the most significant photographers of our time provide us with a brief survey of the collection’s recent growth and the varying impulses that guide contemporary photography, according to a Thursday museum release.
The New Photography exhibition series allows the Figge to share with the QC community some of the museum’s newly acquired works featuring objects, landscapes and figures, including photos that will adorn the Figge’s walls for years to come.
“Despite the proliferation of images made with our smart phones and circulated through social media, dedicated photographers continue to create iconic images that stand above the rest,” said Director of Collections and Exhibitions Andrew Wallace. “From the frontlines of conflict to the frontlines of daily life, photographers reward us with pictures that encourage us to look more closely at the world around us and so that we may better see ourselves.”
Acclaimed 20th-century masters including Lynn Davis and Douglas Prince — as well as recent works by Cara Romero, Victoria Sambunaris, Rebecca Norris Webb, and Ryan Vizzions — will be on view.
From the real to the surreal, the exhibition will highlight photography’s continued ability to engage, inform, and amaze. New Photography will be on view (at 225 W. 2nd St., Davenport) through July 3, 2022.
225 West Second Street
Davenport, Iowa
Thursday, November 25, 2021
Monroe Gallery of Photography: Tony Vaccaro 99th Birthday Exhibition
Monday, November 15, 2021
Gallery Photographers Margaret Bourke-White and Alfred Eisenstaedt Included in “Masters of Photography" Exhibit
Via The San Diego Union Tribune
November 14, 2021
“Things as They Are: City, Society and Conflict” covers everything from a chilling shot of Nazi minister of propaganda Joseph Goebbels by Alfred Eisenstaedt in 1933. Two of Bourke-White’s prints are on view in the “Things as They Are: City, Society and Conflict” section. One is a 1951 image of the U.S. Navy aircraft carrier Boxer, stationed in San Diego, the other is of the Buchenwald concentration camp liberation in 1945. "
Tuesday, November 2, 2021
We look forward to exhibiting and seeing you in New York! Save the dates: The Photography Show presented by AIPAD, May 19 through 22, 2022, at Center415
NEW YORK – The Association of International Photography Art Dealers (AIPAD) has announced new dates and a new midtown Manhattan location for The Photography Show presented by AIPAD. The highly anticipated 41th edition will be held from May 19 through 22, 2022, at Center415 located on Fifth Avenue between 37th and 38th streets in New York City.
More than 45 of the world’s leading galleries of fine art photography
will present museum-quality work including cutting-edge contemporary,
modern, and exemplary 19th-century photographs, as well as photo-based
art, video, and new media, at the premier fine art photography fair.
“After an absence of almost three years due to COVID-19, we can’t wait
to reunite the global photography community in New York City for The
Photography Show presented by AIPAD,” said Michael Lee, President of
AIPAD and Owner of Lee Gallery, Winchester, Mass. “There is a great
desire for photography dealers, collectors, curators and museum groups
to finally gather again in front of the best in photography. We look
forward to presenting a tightly focused member fair in a fresh venue in
the middle of Manhattan and with dates that place AIPAD in the exciting
art calendar in May.”
The Photography Show, a vital part of New York City’s cultural scene and
a must-see among fine art photography collectors, is the longest
running exhibition dedicated to the photographic medium. The 2022 Show
will feature leading galleries – all of whom are members of AIPAD – from
across the U.S. and around the world, including Europe, Asia, Canada,
and South America.
An essential annual event for the international photography community,
The Photography Show presented by AIPAD commences with an Opening
Preview on Thursday, May 19.
SHOW LOCATION
Center415, 415 Fifth Avenue, between 37th and 38th Streets, New York City
For further details, visit aipad.com or contact info@aipad.com.
MEDIA INFORMATION ONLINE
Information about The Photography Show presented by AIPAD is available at aipad.com. Find AIPAD on Facebook at facebook.com/AIPADphoto or follow @AIPADphoto on Instagram and Twitter.
AIPAD BACKGROUND
Founded
in 1979, The Association of International Photography Art Dealers
(AIPAD) represents more than 80 of the world’s leading galleries in fine
art photography. AIPAD is dedicated to creating and maintaining the
highest standards of scholarship and ethical practice in the business of
exhibiting, buying, and selling fine art photography. More information
is available at AIPAD.com.
Friday, November 27, 2020
Tony Vaccaro at 98 Exhibition in the Press
Blind Magazine: How Tony Vaccaro Used Photography as the Antidote to Inhumanity
L'Oeil de la Photographie: Tony Vaccaro at 98
Art Daily: Exhibition Celebrates the 98th Birthday of Renowned Photographer Tony Vaccaro
Pasatiempo: Photography Under Fire: Tony Vacarro
View the exhibition on-line here, together with short bio film
Monday, November 23, 2020
Photography under fire TONY VACCARO
The New Mexican's Weekly Magazine of Arts, Entertainment, and Culture
November 20, 2020
By Jason Strykowski
Private First Class Tony Vaccaro, of the 83rd Infantry Division of the U.S. Army, taught himself to take photographs while under enemy fire. Deployed for 272 days in the Western Front during World War II, Vaccaro snapped 8,000 pictures. Many were of his fellow American soldiers. Others captured street scenes of war-torn France and Germany. “Bullets came right toward me, but somehow the one that kills never came about,” Vaccaro says. “I was scratched by bullets a few times, but I never had a bullet that injured me seriously.” Vaccaro survived the war to become a prolific and successful photographer.
“He’s among the most versatile photographers of his generation because he photographed war under live fire — European-style street photography — but, then fashion, storytelling, and documentary,” says the co-owner of Monroe Gallery, Sid Monroe. “He was game for any assignment.” Over time, Vaccaro would receive many.
To celebrate Vaccaro’s upcoming birthday, a new retrospective exhibition on his work opens at the Monroe Gallery on Friday, Nov. 20, called Tony Vaccaro at 98. To mark the occasion, the gallery holds a Zoom call with Vaccaro at 5:30 p.m. that day.
In April, Vaccaro fell ill with CoViD-19. He dismissed the illness as a mere “cough,” and doesn’t seem to be slowing down. As we spoke, he pointed out photographs in his Long Island City home and studio. All told, his archive holds hundreds of thousands of negatives, and the number keeps growing. He still goes out most days and captures the city using the same Leica he purchased in Germany 70 years ago.
Vaccaro was born in Greensburg, Pennsylvania, in 1922 and later moved to Italy following the death of his parents. He returned to the United States and was later drafted into the Army. Vaccaro already had his first camera and hoped to employ his skills for the Signal Corps, but he was told that he was too young. He reasoned that if he could squeeze a rifle trigger, he could squeeze a shutter button, but the Signal Corps was not convinced. Vaccaro was assigned to the infantry and brought his lightweight Argus C3 with him. (The little camera was often referred to as “the brick” for its rectangular shape.)
At the time, other war photographers moved slowly and carried bulky equipment. Often, they were forced to stage their pictures, reenacting important moments. Vaccaro, though, was a soldier first and photographer second. The fight was his priority, and he only took photos when he wasn’t forced to hold his rifle. When Vaccaro could shoot, he captured the brutal realties of war because he lived through them. “I shot from anywhere,” Vaccaro says. “From a foxhole. Standing up. Lying down. From the top of the trees. I would climb trees and take pictures there.”
There’s a powerful rawness to Vaccaro’s war photos. The black-andwhite images are steeped in contrast, not just between light and dark, but also between serenity and atrocity. “You have to be cold-blooded. You have to be a son of a bitch,” Vaccaro says of taking pictures during a war, in the documentary Underfire: The Untold Story of PFC Tony Vaccaro (2016). Although the scenes of warfare were tragic, Vaccaro put aside his feelings and acted as the consummate photographer.
His favorite photo, though, is one that depicts hope and love. The Kiss of Liberation features an American sergeant kneeling and kissing a small girl on the cheek in St. Briac, France, in 1944. The photo brims with compassion and perhaps pointed toward Vaccaro’s future in the medium.
“After the war, he decided to stick with photography because he knew he had an eye for it,” says Tony Vaccaro archives manager and Vaccaro’s daughter-in-law, Maria Vaccaro. “He signed up to work for a magazine run by the Army called Stars and Stripes, and he became one of the staffers.” Vaccaro, in his early 20s, purchased a used Army Jeep and traveled across Europe to document the recovering continent.
Vaccaro had the experience, skill, and, apparently the boldness to walk into the New York offices of Look and Life magazines to ask for a job. One of his photos, a dead solider buried in the snow, impressed an editor at the magazines, who asked Vaccaro if he could shoot celebrities with the same kind of vision. Vaccaro could, and would, for the next few decades.
Working freelance for Look, Vaccaro took portraits of Sophia Loren, President John F. Kennedy, Pablo Picasso, Enzo Ferrari, and Georgia O’Keeffe, among many others. As with his war photographs, Vaccaro’s portraits are present and of the moment. “He was absolutely charming. He was this suave, debonair Italian. He could talk his way into anything,” Monroe says. “There’s nothing between him and his subjects.” For Vaccaro, the people he photographed kept his mind off the atrocities of the war.
For almost four decades, Vaccaro worked as a freelance photographer all across the world. He traveled by camel up the Nile River and took a helicopter to the South Pole. Much of his war photography, though, remained unheralded until a 1998 exhibition laid the groundwork for a Taschen book called Entering Germany 1944-1949.
Six years ago, Vaccaro turned his negatives over his son Frank and daughter-in-law. All told, he documented the 20th century with more than a million negatives. “He kept everything in rolled-up paper in Kodak boxes,” Maria Vaccaro says. The family moved his studio to his apartment in Long Island City where they are working on the archives.
“When you’re a photographer, a serious photographer, you take chances, and you try to do the best you can,” Vaccaro says. “There was not another photographer better than me during the war.”
“I shot from anywhere. From a foxhole. Standing up. Lying down. From the top of the trees. I would climb trees and take pictures there.”
Monday, October 19, 2020
How Photography Has Transformed the U.S. Presidential Election
Via Blind
October 19, 2020
By Miss Rosen
A new exhibition looks at how photography has been used to shape public image and garner public support for candidates campaigning for the most powerful office in the world.
Hillary Clinton during the 2008 Presidential Campaign, New Hampshire © Brooks Kraft / Monroe Gallery of Photography
“Politics is theater. It doesn't matter if you win. You make a statement. You say, ‘I'm here, pay attention to me,’” said Harvey Milk, the first openly gay elected official in California. Invariably photography, with its paradoxical ability to convey fact and fiction at the same time, has long played a major role in shaping political messages without ever saying a word.
The new exhibition, The Campaign, looks at how photographers have documented the race for the most powerful office in the world — that of the U.S. Presidency — over the past 80 years from the campaign trail to inauguration day. The exhibition, which features work by Cornell Capa, Bill Ray, John Leongard, Alfred Eisenstaedt, Neil Leifer, Brooks Kraft, and Nina Berman, among others, dates back to Thomas E. Dewey’s run in 1948, which resulted in one of the greatest upsets in election history.
1948 Republican Convention, Philadelphia, PA © Irving Haberman / Monroe Gallery of Photography
Irving Haberman’s vibrant crowd scene shows just how influential the photograph was, as countless members of the crowd bear placards with Dewey’s confident visage gazing intently at us, emoting the perfect blend of assurance and artifice Americans have grown to know and love.
The Tragic Hero
Bobby Kennedy campaigns in Indiana during May of 1968, with various aides and friends: former prizefighter Tony Zale and (right of Kennedy) N.F.L. stars Lamar Lundy, Rosey Grier, and Deacon Jones © Bill Eppridge / Monroe Gallery of Photography
“Reporters listen, photographers look,” photographer Bill Eppridge said during the Robert F. Kennedy’s 1968 tragic run, which ultimately resulted in his shocking death on the campaign trail before he could clinch the Democratic nomination. Kennedy, whose public profile was closely welded to his brother’s legacy, understood the language of visibility and representation long before they became buzzwords.
In Eppridge’s photograph of Kennedy campaigning in the Watts section of Los Angeles on the last day of the primary — just three years after riots against police brutality devastated the neighborhood — we see the former Attorney General symbolically standing on the shoulders of Black men, his wide smile standing in stark contrast to the cautious looks on their face. Eppridge’s image underscores the complex mixture of naïveté and hubris that privilege provides when confronting the rapacious specter of American violence.
The Kennedy campaign travels through the Watts section of Los Angeles on the last day before the primary, 1968 © Bill Eppridge / Monroe Gallery of Photography
The Power of Photography
This September, more than 73 million people tuned in to the first debate between Donald Trump and Joe Biden — just the kind of ratings the President loves. As a failed businessman who rebranded his image through reality TV, Trump understands better than most the power image holds over the American public.
President Barack Obama campaigns in the rain, Glen Allen, Virginia, 2012 © Brooks Kraft / Monroe Gallery of PhotographyBeing camera ready became a necessity in 1960 when John F. Kennedy and Richard Nixon held the first televised debate. Standing in the control room, Irving Haberman photographed the television studio as the scene unfolded, giving viewers a behind-the-scene look at this historic event.
We focus our attention not on the action but on the TV monitor that beamed Kennedy’s radiant face into millions of American homes. The camera showed Kennedy as the picture of vitality an image that belied his actual health. Calm, cool, and collected, Kennedy soared while Nixon faltered — allowing the public to happily forgo the enduring wisdom of Edgar Allen Poe: “Believe nothing you hear, and only one half that you see.”
John F. Kennedy, on-set monitor at the first-ever televised Presidential debate in 1960 © Irving Haberman / Monroe Gallery of Photography
Richard Nixon giving a speech to the residents of Suffolk County, NY while on the campaign trail in 1968 © Irving Haberman / Monroe Gallery of Photography
By Miss Rosen
Miss Rosen is a New York-based writer focusing on art, photography, and culture. Her work has been published in books, magazines, and websites including Time, Vogue, Artsy, Aperture, Dazed, and Vice, among others.
Through November 15, 2020
Monroe Gallery, 112 Don Gaspar, Santa Fe, NM 87501
https://www.monroegallery.com/
Sunday, October 18, 2020
On the campaign trail
Via The Albuquerque Journal
October 18, 2020
Richard Nixon giving a speech to the residents of Suffolk County, New York, while on the 1968 campaign trail. By Irving Haberman.
Sen. Robert F. Kennedy and members of the “Fearsome Foursome” of the Los Angeles Rams football team in Indianapolis, 1968. By Bill Eppridge.
John F. Kennedy, on-set monitor at the first-ever televised presidential debate, 1960. By Irving Haberman.
Saturday, January 26, 2019
PHOTO LA FAIR 2019
Monroe Gallery of Photography is very pleased to exhibit at the Photo LA Fair January 31st - February 3rd, 2019, in The Historic Barker Hangar, Santa Monica, CA.
Monroe Gallery will be located near the front entrance of the fair in Booth #A01.
We are especially excited that Tony Vaccaro will be in attendance during the Fair January in the gallery’s booth. On Friday, February 1, Photo LA will screen the HBO documentary “Under Fire: The Untold Story of Private First Class Tony Vaccaro”. 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. The screening will be followed by a Q & A with Tony Vaccaro. (Seating is limited, tickets required from the Photo LA Fair). Also in attendance will be Ryan Vizzions, and we will be exhibiting his photographs from the forthcoming book “No Spiritual Surrender: A Dedication to Standing Rock”, in addition to selections of his other work.
Rounding out our exhibit will be important civil rights photographs and historic examples of photojournalism.
Photo LA 2019
Opening Night to Benefit Venice Arts
Thursday, January 31 (6pm - 9pm)
Public Hours
Friday, February 1 (11am - 8pm)
Saturday, February 2 (11am - 8pm)
Sunday, February 3 (11am - 4pm)
Monday, December 4, 2017
Monroe Gallery Exhibitions Receive National and International Press
Two current Monroe Gallery of Photography exhibits have received National and International press acclaim.
The UK Guardian has a feature on "Life In Winter":
Wednesday, March 29, 2017
THE AIPAD 2017 PHOTOGRAPHY SHOW
Pier 94 | New York City
TicketsPurchase Show and Vernissage tickets online for the best value and to avoid lines.
PURCHASE
Photographs made by Ashley Gilbertson of the refugee crisis in Greece, the Balkans, and Germany while on assignment for UNICEF in 2015 at Monroe Gallery of Photography, Santa Fe, are among the fine examples of photojournalism on view. --ArtFix Daily
Tuesday, September 13, 2016
Victims of Armed Conflict in Colombia the Focus Photography Exhibition in Santa Fe
Santa Fe, N.M.—September 7 , 2016—The Photography Department at Santa Fe University of Art and Design (SFUAD) is proud to announce an exhibition entitled “Drifting Away/Río Abajo” by Colombian visual artist Erika Diettes. The exhibition, which is part of SFUAD’s Artists for Positive Social Change™ series, opens Sept. 16 with a reception from 5 to 7 p.m. in the Atrium Gallery at the Marion Center for Photographic Arts. Diettes will speak on campus Sept. 17 from 4 to 5 p.m. in Tipton Hall.
Diettes’s work honors the victims of armed conflict between the government, guerillas (FARC) and drug lords in Colombia. In this series, images of artifacts of the disappeared––a shirt, a shoe or a pair of eyeglasses––are photographed in water and printed on huge plates of glass that are framed and placed on the ground like large-scale tombstones.
In conjunction with the exhibition, the university will host a conversation between Diettes and Kate Ware, curator of photography at the New Mexico Museum of Art, on Sept. 17 from 4 to 5 p.m. in Tipton Hall on the SFUAD campus. Diettes will then sign copies of her book Memento Mori: Testament to Life. The event is free and open to the public.
Diettes is a Colombian visual artist and social anthropologist whose work focuses on the deeply personal yet universal effects of political violence and injustice. Her work is part of the permanent collection of major museums, including the Museo Nacional in Bogatá and Museo de Antioquia in Colombia and the Museum of Fine Arts, Houston. It has been featured at the Fotofest Biennial, the Festival de la Luz in Buenos Aires, the Ballarat Foto Biennale in Australia, and in an exhibit at CENTER, Santa Fe, N.M.
The Atrium Gallery at the Marion Center for Photographic Arts and Tipton Hall are located on the SFUAD campus at 1600 St. Michael’s Drive. The exhibition can be viewed weekdays between 9:30 a.m. and 4:30 p.m. through January 14.
Launched in 2011, Artists for Positive Social Change explores a specific theme relevant to society and the work of artists who push the creative boundaries through a university-wide series of events, courses, lectures and performances.
About SFUAD’s Photography Department
The Photography Department at Santa Fe University of Art and Design offers a comprehensive education in the theory, techniques, history and ethics of photography. This base, integrated with a strong foundation in other visual and liberal arts, provides students with the knowledge and perspective they need to pursue photography as a creative professional. The program, housed in the Anne and John Marion Center for Photographic Arts, encompasses both analog and digital technologies, giving students the chance to work in exemplary traditional and alternative process darkrooms and a state-of-the-art digital facility. Students also have access to the Beaumont and Nancy Newhall Library, an outstanding resource on the history, aesthetics and technology of photography.
More details here.
About Santa Fe University of Art and Design:
Santa Fe University of Art and Design is an accredited institution located in Santa Fe, New Mexico, one of the world’s leading centers for art and design. The university offers degrees in business, contemporary music, creative writing, digital arts, graphic design, film, performing arts, photography and studio art. Faculty members are practicing artists who teach students in small groups, following a unique interdisciplinary curriculum that combines hands-on experience with core theory and prepares graduates to become well-rounded, creative, problem-solving professionals. SFUAD boasts an international student body and opportunities to study abroad, encouraging students to develop a global perspective on the arts. Santa Fe University of Art and Design is accredited by The Higher Learning Commission
Saturday, February 13, 2016
“Anything was fodder for the camera with Bill Eppridge”
Ken Dixon: Gazing at history through a long lens
The Connecticut Post
February 13, 2016
Lets all get up and dance to a song that was a hit before your mother was born …”
John Lennon, Paul McCartney
This column is about “The Beatles - 6 Days That Changed the World February 1964,” photographic evidence of the late Bill Eppridge’s crazy, fun week with the Fab Four and their fans in New York and Washington, with a couple of wacky train rides to boot.
But it’s also about music, memory, history and the role of photography, the scientific process that someone with an eye, interpersonal skills and degrees of luck can use to make artful journalism.
Dozens of photos from the 90 rolls of film Eppridge shot that week are beautifully hung on the walls in the Art Gallery in the Visual & Performing Arts Center at Western Connecticut State University’s Westside Campus. The hours are Monday through Thursday, noon to 4 p.m. and weekends from 1 to 4 p.m. It’s a tour de force that runs through March 13. He’s represented by the Monroe Gallery of Photography in Santa Fe.
Grandmothers will remember being teens and tweens. Forty-somethings may contemplate the changes the Beatles wrought to music and culture. And millennials can discover a simple slice of 20th Century social phenomena without the chore of too much reading.
My favorite photo was captured outside The Plaza Hotel in New York. An amused black-clad chauffeur is trying to unload The Beatles’ baggage in a scrum of girls. One kid, with a huge smile, is hugging a guitar case as if it were Paul McCartney himself. If she was 14 then, she’s 66 now. Every time I look at the image it makes me laugh out loud.
Eppridge, a famous photographer for Life magazine and Sports Illustrated, died in Danbury about 2 1/2 years ago at 74. When President John F. Kennedy was murdered in November of 1963, Eppridge was with mountaineers in the Alps. He came off Mont Blanc, the tallest in Europe, where a local priest told him of the assassination. In just a few years, as the sassy ’60s unwound in violence and cynicism, he would get extremely close to another Kennedy murder.
On the morning the Beatles landed, Feb. 7, Eppridge got the assignment to meet them at the newly renamed JFK International Airport.
A welcome relief after the president’s murder less than three months earlier, the lads from Liverpool were met by thousands of teenagers. Eppridge called his editor and said he wanted to stay with the band for a few days.
“I liked these guys immediately,” Eppridge recalled in the 2013 book of photos about the week, published by Rizzoli. “Shortly after, Ringo Starr turned to me and said, ‘All right, Mr. Life Magazine, what can we do for you?’ ‘Nothing,’ I said, ‘not one single thing. Just be you and I’ll turn invisible. I won’t ask you to do a thing.’”
In the winter of 1964, the United States needed The Beatles and their pop harmonies. On Sunday night, Feb. 9, they took “The Ed Sullivan Show” by storm.
Monday, Feb. 10, was a nasty, cold rainy day in Stamford. It was so horrible that the runny-nosed masses at Belltown School — usually confined to the playground in all weather until school started — were allowed inside, to line up on a stairwell, dripping wet, to await the 9 o’clock bell. All the fourth-grade chatter was about The Beatles appearance the night before and who might be a kid’s favorite.
Alas, we were a “Disney” family on Sunday nights, watching wholesome entertainment on another TV network, rather than the usual cavalcade of nightclub comics and crooners that Sullivan trotted out every week for CBS.
I knew nothing about the Beatles, was drastically behind the pop curve and never really caught up. Maybe that’s why I’m a contrarian newspaper reporter.
Of course, I eventually found the Beatles and their poppy tunes and startling harmonies. You can easily catch their Ed Sullivan appearances on the Internet. Those first 13 minutes, with “All My Loving.” “Till There was You,” “She Loves You,” “I Saw Her Standing There” and “I Want to Hold Your Hand” say almost all you need to know about the innocent, early ’60s.
“Anything was fodder for the camera with Bill,” recalled Adrienne Aurichio, Eppridge’s wife and collaborator, who held a gallery talk the other night at WestConn. Among his 900 assignments were Dr. Jonas Salk, who defeated polio, actress Mia Farrow, President Lyndon Johnson, Woodstock, Barbra Streisand and Vietnam.
In a way, the Beatles were a welcome respite as the remainder of the ’60s played out. By the fall of 1964, Eppridge was practically living with a couple of heroin addicts for Life’s stark, harrowing, graphic “Needle Park” report on drug users at 72nd Street and Broadway. Maybe in 50-plus years we haven’t really evolved too much, as the latest heroin epidemic plays out.
Eppridge is most famous for the iconic image of Robert F. Kennedy dying on the floor of the Ambassador Hotel in Los Angeles, a bus boy by his side, after winning the California presidential primary in 1968. The murder occurred two months after the assassination of the Rev. Dr. Martin Luther King Jr. The ’60s were surely over.
Last week, RFK’s killer, Sirhan Sirhan, now 71, was denied parole for the 15th time.
Ken Dixon’s Capitol View appears Sundays in the Hearst Connecticut Newspapers. You may reach him in the Capitol at 860-549-4670 or at kdixon@ctpost.com. Find him at twitter.com/KenDixonCT. His Facebook address is kendixonct.hearst. Dixon’s Connecticut Blog-o-rama can be seen at blog.ctnews.com/dixon/
Saturday, January 2, 2016
MONROE GALLERY OF PHOTOGRAPHY AT PHOTO LA 2016
We look forward to seeing you in Los Angeles!
Information, directions and ticket information.
Related: Nationally recognized photographer Stephen Wilkes has turned his lens to our national parks, commemorating their 100th anniversary