San Francisco names street for Associated Press photographer who captured the iconic Iwo Jima photo

 BY ASSOCIATED PRESS

December 12, 2024

U.S. Marines of the 28th Regiment, 5th Division, raise a U.S. flag atop Mount Suribachi, Iwo Jima, Japan, Feb. 23, 1945. (AP Photo/Joe Rosenthal, File)

Credit/©: ASSOCIATED PRESS

SAN FRANCISCO (AP) — A photojournalist who captured one of the most enduring images of World War II — the U.S. Marines raising the flag on the Japanese island of Iwo Jima — will have a block in downtown San Francisco named for him Thursday.

Joe Rosenthal, who died in 2006 at age 94, was working for The Associated Press in 1945 when he took the Pulitzer Prize-winning photo.

After the war, he went to work as a staff photographer for the San Francisco Chronicle, and for 35 years until his retirement in 1981, he captured moments of city life both extraordinary and routine.

Rosenthal photographed famous people for the paper, including a young Willie Mays getting his hat fitted as a San Francisco Giant in 1957, and regular people, including children making a joyous dash for freedom on the last day of school in 1965.

Tom Graves, chapter historian for the USMC Combat Correspondents Association, which pushed for the street naming, said it was a shame the talented and humble Rosenthal is known by most for just one photograph.

“From kindergarten to parades, to professional and amateur sports games, he was the hometown photographer,” he told the Chronicle. “I think that’s something that San Francisco should recognize and cherish.”

The 600 block of Sutter Street near downtown’s Union Square will become Joe Rosenthal Way. The Marines Memorial Club, which sits on the block, welcomes the street’s new name.

Rosenthal never considered himself a wartime hero, just a working photographer lucky enough to document the courage of soldiers.

When complimented on his Pulitzer Prize-winning photo, Rosenthal said: “Sure, I took the photo. But the Marines took Iwo Jima.”

The story behind the 'iconic' Buna shot from WWII

 Via Australian Photography

By Stephen Dando-Collins | 4 December 2024

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Save The Date: July 6, Free screening of Underfire: The Untold Story of Pfc. Tony Vaccaro

 

Monroe Gallery of Photography is honored to announce a major exhibition of more than 45 photographs celebrating the life and career of Tony Vaccaro. “Tony Vaccaro: The Pursuit of Beauty” The exhibit opens on Friday, July 5, with a public reception and Gallery conversation with Frank Vaccaro, son of the photographer, 5 – 7 pm.  

Monroe Gallery will sponsor a free screening of the HBO Documentary Film “Underfire: The Untold Story of Pfc Tony Vaccaro” on Saturday, July 6, 4 pm at the Jean Cocteau Theater. 

Free tickets here.

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 film also encompasses a wide range of contemporary issues regarding combat photography such as the ethical challenges of witnessing and recording conflict, the ways in which combat photography helps to define how wars are perceived by the public, and the sheer difficulty of staying alive while taking photos in a war zone.

 In 1943, with the Allied invasion of Europe imminent, a newly drafted 21-year-old Tony Vaccaro applied to the U.S. Army Signal Corps. He had developed a passion for photography and knew he wanted to photograph the war. “They said I was too young to do this,” Tony says, holding his finger as if taking a photo, “but not too young to do this,” turning his finger forward, pulling a gun trigger. Not one to be denied, Tony went out and purchased a $47.00 Argus C3, and carried the camera into the war with him. He would fight with the 83rd Infantry Division for the next 272 days, playing two roles – a combat infantryman on the front lines and a photographer who would take roughly 8,000 photographs of the war.

 In the decades that followed the war, Tony would go on to become a renowned commercial photographer for magazines such as Look, Life, and Flair, but it is his collection of war photos, images that capture the rarely seen day-to-day reality of life as a soldier, that is his true legacy. Tony kept these photos locked away for decades in an effort to put the war behind him, and it wasn’t until the mid-1990s that this extraordinary body of work was first discovered and celebrated in Europe. In the United States, however, Tony has yet to receive his due and few people have heard of him.

 Though the narrative spine of the film is a physical journey in which Tony brings us to the places in Europe where many of his most powerful photos were taken, over the course of the film we also trace Tony’s emotional journey from a young GI eager to record the war to an elderly man who, at 93, has become a pacifist, increasingly horrified at man’s ability to wage war. Tony believed fiercely that the Allied forces in WWII were engaged in a just war, but he vowed never to take another war photo the day the war ended, and he didn’t.

 In addition to numerous interviews with Tony, the film includes interviews with a number of other people, including Tyler Hicks, a Pulitzer Prize-winning photographer for the New York Times; Lynsey Addario, a Pulitzer Prize-winner who has covered conflict for 30 years for the New York Times, Time, National Geographic, and other major publications; Anne Wilkes Tucker, a photography curator and curator of the comprehensive exhibition WAR/PHOTOGRAPHY; James Estrin, a Senior Photographer for the New York Times and editor of the Times’ Lens blog; and John G. Morris, who was the photo editor of Life Magazine during World War II and was Robert Capa’s editor.

 Concurrently, Monroe Gallery is featuring a major exhibition of photographs by Tony Vaccaro. The exhibit continues through September 15, 2024.

 

Tony Vaccaro died on December 28, 2022, eight days after celebrating his 100th birthday. Orphaned at age 6, he immersed himself in studying classic European art and by age 10 had a box camera. He photographed WWII from a soldier’s perspective, documenting his personal witness to the brutality of war.  After carrying a camera across battlefields, he become one the most sought-after photographers of his day, eventually working for virtually every major publication: Flair, Look, Life, Venture, Harper’s Bazaar, Town and Country, Quick, Newsweek, and many more. Vaccaro turned the trauma of his youth into a career seeking beauty. This exhibit explores the extraordinary depth of his archive and features several new discoveries being exhibited for the very first time.

 

D-Day + 80: remembering Tony Vaccaro

 

Tony Vaccaro: Normandy, June, 1944

As a U.S. Army private, Tony Vaccaro's boat sailed for Normandy on D-Day+12 in June 1944, before landing, June 18. 

Just before leaving for France, while all the other soldiers were busy checking their gear, Tony secretly wrapped his Argus C3 camera in layers of plastic to keep it from the water and to hide it from his commanding officer. He photographed the Normandy coast through a buttonhole in his outer jacket.

Drafted into the war at the age of 21, he was denied access to the Signal Corps, but Tony was determined to photograph the war and had his portable 35mm Argus C-3 with him from the start. For the next 272 days, Tony fought on the front lines of the war, documenting his personal witness to the horrors of war.

The pictures – many of them raw, graphic, disturbing – follow his advance, and that of his unit, the 83rd Infantry Division, from the beaches to Berlin.

They represent one of the most complete collections of images of World War II, as seen through the eyes of someone who fought during the conflict. 

Read "D-Day through a lens: ‘First the rifle, then photographs’" on CNN

In 1994, the 50th anniversary of the D-Day landings, Tony was awarded the French Legion of Honor, among many other awards and recognitions. The documentary film Underfire: The Untold Story of Pfc. Tony Vaccaro Underfire: The Untold Story of Pfc. Tony Vaccaro premiered at the Boston Film Festival in 2016 and was distributed by HBO.  The film led to a career renaissance for Tony Vaccaro.

Tony Vaccaro, left, at a ceremony marking the 70th anniversary of D Day, June 7, 2014

Via US Department of State/Wikipedia

Tony Vaccaro passed away peacefully on December 28, 2022, eight days after celebrating his 100th birthday.

A new exhibition, "TONY VACCARO: The Pursuit of Beauty" opens at Monroe Gallery of Photography on July 5, 2024, and will be on view through September 15, 2024.

War Photography: Movie vs Reality

Via The Real Frame: War Photography on Screen - The Real Frame

May 21, 2024 by David Butow David Butow –

As if the political tension in the United States couldn’t get any higher, this spring a new movie depicting a full-scale, near-future civil war in the country is filling theaters and drawing good reviews. The film, “Civil War”, directed by Englishman Alex Garland, (“The Beach”, “Ex Machina”), imagines that the country is ruled by a quasi-dictator serving his third term as president. The opposing side is comprised of a well-organized and equipped army of rebels (called the “Western Alliance”), that is on the move to Washington, D.C. to remove him from power.

The main point of the movie is, I think, to force audiences to confront the possibility, however remote, that something like this could actually happen. The U.S., despite illusions of “exceptionalism,” is fundamentally no different from any other empire that can break down and/or break apart. This is big stuff, but the POV of this terrible scenario is told through the narrow experiences of a group of four journalists, principally two still photographers played by Kirsten Dunst and Cailee Spaeny.

It’s rare that photojournalists are the main protagonists in a film, they’re usually quirky side characters like Dennis Hopper’s idiosyncratic portrayal of a half-crazed Vietnam War photographer in “Apocalypse Now.” But putting them in the center of the plot requires detail of their working habits, and more importantly, into the emotional and ethical challenges they face as they make their way through one violent situation after another. The whole raison d’être of them being there is questioned. Are they after the thrill or some greater good? What is the role of journalistic observers in conflict? I can’t say those questions are deeply examined but they are certainly put up on the metaphorical blackboard (or video projector if you prefer).

If you haven’t seen the film but might go, be aware there is a lot of violence depicted, sometimes rather realistically and without the heavy music and other mood overlays we’re used to in Hollywood movies. I found this starkness jarring, but effective. Another thing I thought the film did rather well was show how quickly things can happen, often when you’re not expecting them, and also how chaos and semi-normalcy can exist in proximities much closer than you might expect.

Conversely, I thought there were some things about the journalists the filmmakers definitely got wrong, but how many movies have I seen where the main characters are lawyers, doctors, cops or soldiers? I imagine that people in those professions, who are used to being depicted on screen, don’t usually overanalyze every misleading detail. But the photojournalistic community, never shy about taking itself seriously, and with a rare spotlight on its profession, has had a lot to say about “Civil War.”

The best commentary I’ve seen is in the video here. It features a thoughtful interview with photojournalists Lynsey Addario, Peter van Agmatel, Ron Haviv and John Moore. These four have about as much experience covering conflicts as any photographers working today, and they are all highly intelligent and deeply reflective about those experiences. In addition, the photographer Mohamed El Masri, speaking with the assistance of a translator, describes the specific danger and challenges with covering the war in Gaza.

They’ll tell you what they thought of the movie, but more important, how they think about the role of the press, and what it is really like to witness, record and communicate terrible acts of violence.

Limited Offer: Free streaming of documentary film "Under Fire: The Untold Story of Private First Class Tony Vaccaro"

Underfire The Untold Story of Tony Vaccaro from Passion River Films on Vimeo.

 

On November 14. 2016 HBO Films premiered “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 film also encompasses a wide range of contemporary issues regarding combat photography such as the ethical challenges of witnessing and recording conflict, the ways in which combat photography helps to define how wars are perceived by the public, and the sheer difficulty of staying alive while taking photos in a war zone.

We are pleased to offer for a limited number free streaming of this important documentary. Contact the Gallery for details. The film is also available from Amazon and Apple TV+.

Tony Vaccaro passed away peacefully on December 28, 2022, eight days after celebrating his 100th birthday.

Throughout the month of December, we will be posting tributes and memories of Tony Vaccaro on our Instagram feed. The Frank Lloyd Wright Foundation's Taliesin West in Scottsdale, Arizona is currently featuring the exhibition American Icons: Wright and O'Keeffe, photographs by Tony Vaccaro; and his work is on display at Monroe Gallery in Santa Fe.

View a selection of available fine art prints from Tony Vaccaro here.

Remembering Tony Vaccaro on the anniversary of his 100th birthday and subsequent passing

 

Tony Vaccaro with Michelle and Sid Monroe at his Pop Up exhibition in New York, 2016

Beginning in 2016, Monroe Gallery of Photography presented annual exhibitions of photographs by Tony Vaccaro to honor his birthday, December 20. He travelled to Santa Fe to attend 3 exhibits and meet hundreds of collectors and enthusiastic admirers.

To celebrate his 100th birthday in December, 2022, Monroe Gallery of Photography hosted two exhibitions, in New York City and Santa Fe. Despite recently having been hospitalized for emergency surgery for complications from an ulcer, Tony recovered and attended the pop-up Tony Vaccaro Centennial Exhibition of his photographs in New York City. The City of New York officially proclaimed December 20, 2022 “Tony Vaccaro Day”, and Vaccaro was feted by friends at a surprise birthday party at his favorite local Italian restaurant that evening.

Tony at his Centennial Pop Up exhibition in New York, December, 2022

Tony Vaccaro passed away peacefully on December 28, eight days after celebrating his 100th birthday. 

 Throughout the month of December, we will be posting tributes and memories of Tony Vaccaro on our Instagram feed. The Frank Lloyd Wright Foundation's Taliesin West in Scottsdale, Arizona is currently featuring the exhibition American Icons: Wright and O'Keeffe, photographs by Tony Vaccaro; and his work is on display at Monroe Gallery in Santa Fe.

View this post on Instagram

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The World Salutes Tony Vaccaro On His 100th Birthday

Frankfurter Allegeime   Tony Vaccaro documented life on the battlefields in Europe and the glamour of celebrities in America. Now he celebrates his hundredth birthday.

The Eye of Photography: Monroe Gallery of Photography : Tony Vaccaro : The Centennial Exhibition

Quotidiano Molise  He conquered the world with his shots, Tony Vaccaro turns 100

News ES Euro  Monroe Gallery of Photography: Tony Vaccaro: Exposición del Centenario

BlueNews: Il fotografo Tony Vaccaro compie 100 anni

Swiss Info   USA: fotografo Tony Vaccaro compie 100 anni

Art Limited   Tony Vaccaro The Centennial Exhibit

Il Mattino  Il 20 dicembre 1922 nasce Tony Vaccaro, il fotografo molisano che immortalò lo sbarco in Normandia

Ansa Molise   Tony Vaccaro compie 100 anni, videochiamata da Bonefro

Monroe Gallery of Photography: Tony Vaccaro: The Centennial Exhibition

December 20, 2022 is Tony Vaccaro Day in the City of New York

Tony Vaccaro 100: A Life of a Photographer from War to Culture

 

Via Photography in Berlin

October 1, 2022

A Life of a Photographer from War to Culture

Curated by Barbara Hofmann-Johnson, Director Museum für Photographie Braunschweig.

The Museum für Photographie Braunschweig shows for the 100th Birthday of Tony Vaccaro (* December 20, 1922 in Greensburg, Pennsylvania, lives in Long Island, NY) an exhibition of the American photographer of Italian descent and presents important and award-winning works from different creative phases. These include photographs taken during and after World War II in Europe and important portraits of artists, musicians, politicians and cultural figures.

With a special sense for composition and the connection to the outside space, fashion photographs are also part of Tony Vaccaro’s work. Some of the artistically staged fashion shots are part of the exhibition, especially those that were taken for a documentary for Marimekko, the Finnish design house in the 1960s, are particularly noteworthy.

The exhibition at the Museum für Photographie Braunschweig is created in cooperation and with the support of Tony Vaccaro Studio, New York City, USA and the Monroe Gallery of Photography Collection, Santa Fe, NM, USA.

Museum für Photographie Braunschweig

Helmstedter Straße 1 · 38102 Braunschweig
Opening hours: Tue – Fri 1 – 6 pm, Sat & Sun 11 am – 6 pm
Admission: 3,50 € / reduced 2,00 €. Happy Thursday: Free admission & extended opening hours until 8 pm & guided tour at 6 pm every first Thursday of the month.

Monroe Gallery of Photography will announce two additional major exhibits celebrating Tony Vaccaro's 100th birthday. "Tony Vaccaro: The Centennial Exhibition" will be on view in Santa Fe, NM and New York, NY - details to be announced

Tony Vaccaro at Monroe Gallery of Photography

 Via Pasatiempo, The Santa Fe New Mexican

November 26, 2020

Tony Vaccaro, The Fashion Train, NYC (1960), archival pigment print

Photographer Tony Vaccaro, the subject of a 2016 documentary by HBO Films, fought on the front lines during World War II as a combat infantryman in the 83rd Infantry Division. All the while he was documenting his first-hand experience with his camera.

After the war, Vaccaro distinguished himself as a photographer, capturing a spectrum of events and personalities, such as artist Georgia O’Keeffe, architect Frank Lloyd Wright, and activist Coretta Scott King. His work appeared in numerous publications, including Harper’s Bazaar, Town and Country, and Newsweek.

Vaccaro, who’s about to turn 99, survived the Battle of Normandy and, more recently, a bout of COVID-19. He appears via live remote for his 99th Birthday Exhibition during a 5 p.m. reception on Friday, Nov. 26. The exhibit continues through Jan. 16. Masks and proof of vaccination required for the reception.

Monroe Gallery of Photography, 112 Don Gaspar Ave., 505-992-0800, monroegallery.com

TONY VACCARO AT 99

 

In what has become an annual tradition, Monroe Gallery of Photography is honored to present a special exhibition celebrating the birthday of renowned photographer Tony Vaccaro – this year honoring his 99th birthday on December 20. The exhibit of over 40 photographs spans Tony’s 80-year career and features several never-before-exhibited photographs. The exhibit opens Friday, November 26, and continues through January 16, 2022. Nearing age 99, Tony Vaccaro is one of the few people alive who can claim to have survived the Battle of Normandy and COVID-19.

As the world has endured nearly two years of the Covid-19 pandemic, the work of Tony Vaccaro serves as an antidote to man’s inhumanity; by focusing on the splendor of life, Tony replaced the images of horror embedded in his eyes from war.

Born in Greensburg, Pennsylvania on December 20, 1922, Tony Vaccaro spent the first years of his life in the village of Bonefro, Italy after his family left America under threat from the Mafia. His mother died during childbirth a few years before tuberculosis claimed his father, and by age 5 he was an orphan in Italy, raised by an uncaring aunt and enduring beatings from an uncle. By World War II he was an American G.I., drafted into the war heading toward Omaha Beach, six days after the first landings at Normandy. Denied access to the Signal Corps, Tony was determined to photograph the war, and had his portable 35mm Argus C-3 with him from the start. For the next 272 days he photographed his personal witness to the brutality of war.

After the war, Tony remained in Germany to photograph the rebuilding of the country for Stars And Stripes magazine. Returning to the US in 1950, Tony started his career as a commercial photographer, eventually working for virtually every major publication: Look, Life, Harper’s Bazaar, Town and Country, Newsweek, and many more. Tony went on to become one the most sought after photographers of his day.

UNDERFIRE: The Untold Story of Tony Vaccaro (trailer). from Cargo Film & Releasing on Vimeo.

Underfire: The Untold Story of PFC Tony Vaccaro is available from Apple and Amazon

 

"Life is Wonderful" exhibition presents Tony Vaccaro's 80-year prolific career for the first time in Finland

Via Helsingin Taidehalli

Photo: Tony Vaccaro: Anja with Oranges, Naples, Italy, 1965.

 Courtesy of Monroe Gallery of Photography and the Tony Vaccaro Studio.

Tony Vaccaro: Life is wonderful

5.6. - 8.8.2021

Photographs by Tony Vaccaro (b. 1922, U.S.) dive into the moods and a few seconds of past worlds.

The Life is Wonderful exhibition presents iconic fashion and lifestyle images by an internationally renowned photographer from the 1950s and 1970s. In addition to the glamour of New York, the pictures show a nostalgic summer atmosphere from Finland; The art hall also features the atmospheric Marimekko photos of Porvoo and Helsinki taken by Vaccaro in the summer of 1964 for LIFE magazine. The visit became special for the artist: Vaccaro met his future wife, Anja Kyllikki Lehto, who modelled for Marimekko.

In Tadehall, Helsinki, Vaccaro's nearly 80-year prolific career is presented with 130 photographs. In addition to fashion images, the exhibition will feature several photographs of visual artists and public figures. The first images of Vaccaro's career, known for his war photographs, of the battles of The Second World War in Germany and France, as well as a selection of shots of post-war European moods during the reconstruction period, are also on display.

The Life is Wonderful exhibition presents Tony Vaccaro's production for the first time in Finland. The exhibition is carried out in collaboration with Tony Vaccaro Studio, Monroe Gallery and Marimekko.

 Tickets and more information here.

View the Tony Vaccaro collection of fine art prints here.

Fighter with a camera: Renown photographer, who battled COVID-19, will celebrate turning 98 with a virtual show

 Via The Albuquerque Journal

By Kathaleen Roberts

January 3, 2021

“The Violinist,” 1947, by Tony Vaccaro. Courtesy of Monroe Gallery

ALBUQUERQUE, N.M. — Tony Vaccaro reigns as one of the few people to have battled both COVID-19 and the beaches of Normandy.

The photographer will celebrate his 98th birthday with a virtual show at Santa Fe’s Monroe Gallery of Photography through Jan. 17, at monroegallery.com.

Vaccaro contracted Covid early in the pandemic – in April. He spent two days in the hospital.

He couldn’t walk from room to room,” his daughter-in-law Maria said in a telephone interview from their home in Long Island City, New York. “He just stopped eating and had no energy.”

Vaccaro survived, despite a 103-degree fever.

“I am a runner,” he explained. “I’ve been running since I was a child.”

“Peggy Guggenheim, Venice, 1968” by Tony Vaccaro

Courtesy Monroe Gallery

He’s also a fighter who carried a camera from the invasion of Normandy through the reconstruction of Europe, capturing some of the most iconic images of World War II. Drafted at 21, he brought his 35mm Argus C-3 camera with him, spending the next 272 days photographing his personal witness to the carnage. He fought on the front lines, developing his photographs in combat helmets at night and hanging the negatives from tree branches.

                              

Photographer Tony Vaccaro 

Photo by R. David Marks

“Normandy to Berlin was just tough,” he said, “because you could get killed any minute. I was in the infantry and in direct contact with the Germans.”

After the war, he remained in Europe, covering the rebuilding of Germany for Stars and Stripes. It was in Italy that he heard the strains of a violin coming from a narrow Venetian street.

“I was in Plaza San Marco in Venice,” he said. “And I had an idea of going into the small streets. So I go in and there was a violinist playing, of course, for people to throw down money. When I heard this violinist, it intrigued me. I went into the tiny streets of Venice and don’t you know, I had met him before in Rome.”

He captured his famous portrait of an American GI kneeling to kiss a little girl by accident. He came upon residents of St. Briac, France, singing and dancing in the streets after the 1944 liberation.

“Kiss of Liberation,” 1944, by Tony Vaccaro

Courtesy Monroe Gallery

“There were these people holding hands and singing a song in French,” Vaccaro said. “Here’s this GI who knows not one word of French. They put a handkerchief under the knees of the little girl. It’s the symbol of a carpet for ladies.”

It was the Handkerchief Dance.

When Vaccaro returned stateside, he worked as a commercial photographer for Look, Life, Harper’s Bazaar, Town and Country, Newsweek and more.

His portrait of the art patron Peggy Guggenheim features a hidden joke. On assignment to do a profile, he followed her to the Guggenheim Museum in Venice. A statue by the Italian sculptor Marino Marini guards the entrance.

“There’s a man on a horse and he’s naked and his penis was as long as half my arm,” Vaccaro said. “She had this habit of whenever she had new guests, she unscrewed it.”

Guggenheim expected a children’s tour group, so she unscrewed the phallus and hid it beneath her cloak. It’s concealed under the garment in Vaccaro’s picture of Guggenheim in the gondola.

“She didn’t want the children to see it,” he said.

“Georgia O’Keeffe, Abiquiú, New Mexico, 1960” by Tony Vaccaro

Courtesy Monroe Gallery

Vaccaro met Georgia O’Keeffe on assignment for Look magazine with art editor Charlotte Willard in Abiquiú in 1960.

The artist refused to speak to him for five days.

O’Keeffe had been expecting a different photographer, one of her favorites, such as Ansel Adams, Todd Webb or Richard Avedon. Trying his best to charm her, Vaccarro cooked the artist a steak and fixed her broken washing machine, to no avail.

“Georgia O’Keeffe at the very beginning didn’t want anything to do with me,” he said. “She didn’t even look at me. She had just left her husband.”

“Guggenheim Hat, New York, 1960” by Tony Vaccaro

Courtesy Monroe Gallery

Suddenly, the topic turned to bullfighting. Vaccaro mentioned he had photographed the great Spanish matador Manolete.

O’Keeffe pivoted to face him. She never looked at Willard again.

Vaccaro still works and goes for regular walks.

“I am shooting, but not as before,” he said. “Before it was survival. Somehow, I have an eye for what’s good before I can click it. I have seen so much that it is really an instinct.”

As for Covid, he said, “I have an idea that the body forgets what it doesn’t like.”

IF YOU GO

WHAT: “Tony Vaccaro at 98”

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

WHEN: Through Jan. 17

CONTACT: monroegallery.com, 505-992-0800.

Photography under fire TONY VACCARO

 

Via Pasatiempo

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.”

Veteran's Day: Tony Vaccaro at 98

UNDERFIRE: The Untold Story of Tony Vaccaro (trailer). from Cargo Film & Releasing on Vimeo.

 

Tony Vaccaro, nearing age 98, is is one of the few people alive who can claim to have survived the Battle of Normandy and COVID-19. A new exhibition, "Tony Vaccaro at 98", illustrates his will to live and advance the power of beauty in this life. The exhibit opens on-line and in the Gallery Friday, November 20.

Born in Greensburg, Pennsylvania on December 20, 1922, Tony Vaccaro spent the first years of his life in the village of Bonefro, Italy after his family left America under threat from the Mafia. His mother died during childbirth a few years before tuberculosis claimed his father. By age 5, he was an orphan in Italy, raised by an uncaring aunt and enduring beatings from an uncle. By World War II he was an American G.I., drafted into the war, and by June, now a combat infantryman in the 83rd Infantry Division, he was on a boat heading toward Omaha Beach, six days after the first landings at Normandy. Denied access to the Signal Corps, Tony was determined to photograph the war, and had his portable 35mm Argus C-3 with him from the start. For the next 272 days he photographed his personal witness to the brutality of war.

After the war, Tony remained in Germany to photograph the rebuilding of the country for Stars And Stripes magazine. Returning to the US in 1950, Tony started his career as a commercial photographer, eventually working for virtually every major publication: Look, Life, Harper’s Bazaar, Town and Country, Newsweek, and many more. Tony went on to become one the most sought after photographers of his day.

As an antidote to man’s inhumanity, Tony focused his lens on those who gave of themselves: artists, writers, movie stars, and the beauty of fashion. By focusing on the splendor of life, Tony replaced the images of horror embedded in his eyes. 

Ashley Gilbertson: 'I am here today because another man died'

 

Via BBC

 

 Iraq War: 'I am here today because another man died'

At the start of the Iraq War in 2003, over 600 journalists and photographers are given permission by the US government to follow the conflict as embedded reporters.

Photographer Ashley Gilbertson is working for The New York Times when he enters the city of Fallujah with a US marine battalion.

Fallujah, 40 miles outside Baghdad, would be the deadliest battle the marines would fight since the Vietnam War.

Just over a week after entering the city, a small group of them is ordered to escort Ashley on a recce of a local minaret - what happens next will change their lives forever.

Monroe Gallery of Photography presents two exhibitions in the gallery concurrent with on-line viewing

Monroe Gallery of Photography presents two exhibitions in the gallery concurrent with on-line viewing at www.monroegallery.com. The exhibits are on view July 3 through September 13, 2020; the Gallery is open to the public with Covid-19 safe operating procedures. Private viewing appointments are available by reservation. 

Ryan Vizzions: : A church flooded by Hurricane Florence stands silently in its reflection

 in Burgaw, North Carolina, 2018

LIFE ON EARTH

“Life on Earth” is a survey of 20th and 21st Century environmental and climate issues documented by photojournalists. Our world is changing faster – and in more ways – than we could have ever imagined. With social and economic disruption on a scale rarely seen since the end of World War II 75 years ago, the Covid-19 pandemic is also forcing us to completely rethink the notion of ‘business as usual’

The Earth’s climate is changing faster-and in more ways-than we previously imagined. This exhibit of climate related images hopes to promote awareness and motivate advocacy for the health of our planet. A narrated tour is available on our YouTube channel.

Tony Vaccaro: GThe Pink  Balcony, Puerto Rico, 1951

TONY VACCAO

GRIT AND RED WINE

“Grit and Red Wine” is special exhibition of photographs by Tony Vaccaro which includes several new discoveries from his archive being exhibited for the very first time. Tony Vaccaro, now 97, is one of the few people alive who can claim to have survived the Battle of Normandy and COVID-19.  Tony was drafted into WWII, in June of 1944 he was on a boat heading toward Omaha Beach, fighting the enemy while also photographing his experience at great risk. After the war, Tony remained in Germany to photograph the rebuilding of the country for Stars And Stripes magazine. Returning to the US in 1950, Tony started his career as a commercial photographer, eventually working for virtually every major publication: Look, Life, Harper’s Bazaar, Town and Country, Newsweek, and many more. Tony went on to become one the most sought after photographers of his day. Tony attributes his longevity to “blind luck, red wine” and determination.

“To me, the greatest thing that you can do is challenge the world. And most of these challenges I win. That’s what keeps me going.” –Tony Vaccaro, May, 2020

Tony Vaccaro on VE Day - 'We Just Did Our Bit:' WWII Vets Recall War 75 Years Later

Photo by Maria Vaccaro

Via the New York Times
May 8, 2020

LONDON — Seventy-five years after World War II ended in Europe,
The Associated Press spoke to veterans who endured mortal danger,
oppression and fear. As they mark Victory in Europe Day on
 Friday, they also are dealing with loneliness brought on by the
coronavirus pandemic. Here is some of their testimony.

SURVIVING NORMANDY AND COVID-19

Tony Vaccaro is one of the few people alive who can claim to
 have survived the Battle of Normandy and COVID-19.

He was dealt a bad hand early, as his mother died during
childbirth a few years before tuberculosis claimed his father.
 By age 5, he was an orphan in Italy, enduring beatings from
an uncle. By World War II he was an American G.I.

Now, at age 97, he is recovering from COVID-19. He attributes
his longevity to “blind luck, red wine” and determination.

To me, the greatest thing that you can do is challenge the world,”
 he said. “And most of these challenges I win. That’s what keeps
me going.”

Vaccaro’s grit carried him into a lifetime of photography that
began as a combat infantryman when he stowed a camera and
captured close to 8,000 photographs.

One of his famous images,
“Kiss of Liberation,” showed a U.S. sergeant kissing a French 
girl at the end of Nazi occupation.

Vaccaro documented the reconstruction of Europe and
returned to the U.S. where he worked for magazines
such as Look and Life and has fond memories of
photographing celebrities including Sophia Loren, J
ohn. F. Kennedy, Georgia O’Keefe and Pablo Picasso.

Vaccaro lives in Queens, the New York City borough ravaged
by the coronavirus, and next to his family.

He might have caught the virus in April from his son or in
their neighborhood, his daughter-in-law Maria said. He was in
the hospital two days and spent another week recovering.

“That was it,” she said. “He’s walking around like nothing happened.”

LEGENDARY PHOTOGRAPHER TONY VACCARO TO APPEAR IN SANTA FE TO CELEBRATE HIS 97th BIRTHDAY

Tony Vaccaro

Fellini on the set of “La Dolce Vita”, Italy 1969

Monroe Gallery of Photography is honored to announce “La Dolce Vita”, a major exhibition of more than 40 photographs by Tony Vaccaro. The exhibit opens with a public reception for Tony Vaccaro, about to turn 97, on Friday, November 29 from 5 – 7 PM. The exhibit continues through January 19, 2020 and includes several new discoveries from his archive being exhibited for the very first time, and six vintage darkroom prints from World War II. The war prints are one-of-a-kind: the nitrate negatives completely turned to dust.

Tony Vaccaro photographed on the set of “La Dolce Vita”, and nearing age 97, he indeed is living “the good life”. On November 1 Tony was inducted into the International Photography Hall of Fame and Museum for his “artistry, innovation, and significant contribution to the art and science of photography”, and following the 2016 HBO Films documentary “Under Fire: The Untold Story of Private First Class Tony Vaccaro” he has enjoyed a career renaissance world-wide.

At the age of 21, Tony was drafted into World War II, and by June of 1944, now a combat infantryman in the 83rd Infantry Division, he was on a boat heading toward Omaha Beach, six days after the first landings at Normandy. Denied access to the Signal Corps, Tony was determined to photograph the war, and had his portable 35mm Argus C-3 with him from the start. For the next 272 days, Tony fought and photographed on the front lines of the war.

After the war, Tony remained in Germany to photograph the rebuilding of the country for Stars And Stripes magazine. Returning to the US in 1950, Tony started his career as a commercial photographer, eventually working for virtually every major publication: Look, Life, Harper’s Bazaar, Town and Country, Newsweek, and many more. Tony went on to become one the most sought after photographers of his day, photographing everyone from President John F. Kennedy and Sophia Loren to Pablo Picasso and Georgia O'Keeffe.

Tony still carries a camera and puts in six or seven hours daily without a break; creating prints in his studio and identifying jobs for his staff. Monroe Gallery will sponsor a free screening of “Under Fire: The Untold Story of Private First Class Tony Vaccaro” in the gallery on Saturday, November 30, starting at 5 pm. Seating is limited, RSVP required. The screening will be followed by a Q & A with Tony Vaccaro. Tony Vaccaro celebrates his 97th birthday on December 20.

New York Mets Honor Tony Vaccaro on 75th Anniversary of D-Day

Via US Department of Veteran's Affairs



On June 6th, the 75th Anniversary of D-Day, two WWII D-Day Veterans, Judge Bentley Kassal (103) and Photographer Tony Vaccaro (96) will be honored by the Mets during the mid-day game at Citi Field.


Tony Vaccaro served in the Army, attached to the served with the Intel Platoon of the 83rd Infantry Division, 331 Regiment, Headquarters company, to land as part of the D-Day invasion in Normandy. Vaccaro self-assigned himself the role of photographer while serving in the Army. He was a soldier through the occupation of Germany in 1949 and then transitioned from WWII combat photographer to fashion and personality photographer.

Vaccaro has always lived in the moment, prepared to capture the next human story with his camera. He’s also very good with words, vividly evoking scenes from various periods of his own life. He has known and photographed scores of celebrities and legendary people in the arts like the composer Shostakovich and the French Mime Marcel Marceau and stayed friendly with many of them for decades.

Vaccaro has taken thousands and thousands of photographs, his most famous are Kiss of Liberation (1944) and GI Dead in Snow (1945). In his Long Island studio, the walls are lined with folders of negatives that are in the process of being digitalized. Hanging on the wall are some of his personal favorites, that include a portrait --- of JFK taken at the White House.

Vaccaro went on to make images for the immensely popular LIFE and LOOK Magazines. He married a Finnish model and had two sons. Later, successful and well known, he worked independently.

Today, Vaccaro is kept busy with shows of his work. He is currently still working at his Archives in Long Island City and has many exhibitions all over the world. He let go of his Archives five years ago and let his family take care of his work. HBO did a documentary on Tony Vaccaro called ‘Underfire’ and it was nominated for outstanding documentary at the 2018 Emmy’s. The human stories of his images are timeless and appreciated now as much as they were a generation or two generations ago.


View Tony Vaccaro's photography here.