STEPHEN WILKES: RETROSPECTIVE EXHIBITION WITH NEW PHOTOGRAPHS OPENS OCTOBER 2

Stephen Wilkes: Snow Covered Shore
40 x 28

Monroe Gallery of Photography is pleased to present a retrospective exhibition featuring the documentary projects of leading contemporary photographer Stephen Wilkes. The exhibition includes new photographs and opens on Friday, October 2. (ARTslant has just selected the opening a their "pick of the week".)

Stephen Wilkes will discuss his work in the gallery from 5 - 6; with a public reception for the photographer from 6 – 7:30 PM. This is a unique opportunity to hear Wilkes discuss his varied photography projects in an intimate setting. The exhibition continues through November 22.

Featured in the exhibition are large-format photographs from several of Wilkes' major projects, including:

"America in Detail": In 2000, Wilkes crisscrossed the country over a 52-day to create a millennial portrait of the United States and record the photographic details that captured the mood and texture of America as the new century began.

"Bethlehem Steel": In 2002, Wilkes photographed the abandoned buildings that once formed the great Bethlehem Steel plant. Known as “The Steel”, the former plant, which closed on November 18, 1995, encompasses about 100 acres with more than 25 buildings and other structures dating from as early as 1863. . Using natural light, Wilkes painstakingly photographed the peeling paint, rusted iron, broken glass and halls with wind-strewn debris and created an ethereal diorama that is captivating and compelling. Wilkes’ photographs capture the haunting beauty of these historic buildings and preserve a memory of that not-too-distant age, when proud men and women produced "the steel that built a nation".

"In Katrina's Wake": Wilkes' photographed the aftermath of Hurricane Katrina, and created a lasting record of the terrible destruction. Wilkes said at the time: "Maybe with our age of technology we have lost some respect for nature. The warnings about Katrina were not taken seriously and evacuation was not done properly. In conclusion we should learn to work with nature instead of against it and ignoring nature always leads to catastrophes."

"Ellis Island": Perhaps Wilkes’ most ambitious project was photographing the south side of Ellis Island (1998 – 2003).The result is visual history of the benign neglect of the medical facilities and dormitories of the historic immigration center, which at that time, unlike the Great Hall, had not yet been restored. Wilkes’ photographs capture the haunting beauty of this century old building. With his exclusive photographs and video work, Wilkes was able to help secure $6 million in funding to restore the south side of the island. Today all that remains of the past are Wilkes' haunting images. These photographs are featured in the monograph "Ellis Island: Ghosts of Freedom" and will be included in several museum exhibitions in 2010.

"China": Traveling throughout old and new China during a period from 2005 through 2008, Stephen Wilkes expertly portrayed a nation amidst rapid and vast transformation. Focusing on both rural and industrial settings – and the increasing number of areas where they collide – Stephen Wilkes draws our attention to a changing way of life.New Work: Wilkes is constantly looking for photo projects to feed his soul. Wilkes is relentlessly taking and making pictures that let us feel the experience of being there, the experience of being in the moment. Included in the exhibition is the premiere of several recent photographs never before exhibited, including the following:

Stephen Wilkes: Glacier and climber, Alaska

40 X 50 inches

Stephen Wilkes: Red Canoe

35 x 29

Stephen Wilkes: Red Bag, Yellow Mountains, China

42 x 30

Stephen Wilkes: The High Line, New York

20 x 37

Stephen Wilkes: Eulogy to a Dumpscape: Fresh Kills Landfill

37 x 30

Stephen Wilkes: Huntington Beach, California

18 x 22

The September issue of F-Stop magazine features the work of Stephen Wilkes. Editor Zack Seckler interviews Wilkes about his career and his craft.

"Whether shooting Jason Kidd for Sports Illustrated or the anonymous maintainers of Times Square’s “guts” for the New York Times Magazine, Stephen Wilkes frames his subjects to reveal a truth about them. He captures the humanity of a glistening Chinese skyscraper, of an Ellis Island office a century removed from the last huddled masses it welcomed. His impressive career encompasses editorial, advertising, and fine art work of equal skill and renown. All are united by his attention to detail and his keen sense of the eye’s hidden rhythm."

Continue reading the full article here.


MONROE GALLERY OF PHOTOGRAPHY

112 Don Gaspar Santa Fe, NM 87501

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Archive of Photojournalist Eddie Adams Donated to Briscoe Center for American History

September 18, 2009

AUSTIN, Texas – The photographic archive of renowned photojournalist Eddie Adams has been donated by his widow, Alyssa Adams, to the Dolph Briscoe Center for American History at The University of Texas at Austin.

The archive documents Adams's career and includes "Saigon Execution," his Pulitzer Prize-winning photograph of General Loan executing a Vietnamese prisoner in 1968. "Saigon Execution" is widely considered to be one of the most influential photographs taken during the Vietnam war.

"Eddie Adams was a photojournalist of immense talent," said William Powers Jr., president of the university. "His collection gives the university another invaluable resource to advance our understanding of 20th century American history and photojournalism. We are grateful to Alyssa Adams for this gift of such power and significance."

"The Eddie Adams Photographic Archive is one of the most important collection gifts ever made to the Briscoe Center, said Dr. Don Carleton, executive director of the Briscoe Center. "It is a monumental addition to the photojournalism component of our news media archive. Adams was a hugely influential photographer and journalist, whose body of work would be remarkable for its visual impact alone. But more important, his work had the power to shape the course of history. I cannot overstate the degree to which this donation enhances our already impressive photographic and news media holdings."

Adams began his photography career as a high school student in Kensington, Pa. He was a Marine combat photographer during the Korean War, and in 1962, he joined the Associated Press (AP). After 10 years, Adams left the AP for Time magazine and freelance work. In 1976, he rejoined the AP as the first and only photographer to hold the title of special correspondent. From 1980 until his death in 2004, he was a photographer for Parade magazine, which featured more than 350 of his photos on its covers.

While he was on assignment for the AP, Adams carried his camera through 150 operations in Vietnam. He also covered wars in Israel, Jordan, Egypt, Turkey, Cyprus, Portugal, Ireland, Lebanon, and Kuwait. "Boat of No Smiles," his series on the Vietnamese boat people, influenced the United States to admit 200,000 Vietnamese refugees at the end of the war.

"It was important that Eddie's legacy be preserved by an educational institution, one that collects photojournalism for teaching and research," said Alyssa Adams. "He was such an important mentor and colleague to the community of photojournalists, so it's particularly fitting that his work will be in the same institution that holds the archives of his peers."

Measuring 200 linear feet in size, the Eddie Adams Photographic Archive includes slides, negatives, prints, audio and video materials, news stories, diaries, notes and tear sheets. In addition to substantive coverage of the Vietnam War, the collection includes his in-depth features on poverty in America, the homeless, Mother Teresa, Brazil, alternative society, anti-war demonstrations, and riots. The collection also includes his intimate portraits of such high-profile figures as Ronald Reagan, Fidel Castro, Malcolm X, Clint Eastwood, Bette Davis, Bill Cosby, and Jerry Lewis.

Adams was awarded more than 500 photojournalism awards during his lifetime, including the George Polk Award for News Photography in 1968, 1977 and 1978, the Robert Capa Gold Medal in 1977 and numerous awards from such organizations as World Press Photo, the National Press Photographers Association, Sigma Delta Chi, and the Overseas Press Club.

The Adams collection joins the archives of a number of his colleagues already held at the Briscoe Center, including David Hume Kennerly, Dirck Halstead, Wally McNamee, Diana Walker, Dick Swanson, Flip Schulke, and Cynthia Johnson.

In conjunction with the announcement of the donation of the Adams collection, the Briscoe Center will host an exhibit of his photographs at its Sid Richardson Hall location. For details on the exhibit, which closes Jan. 16, 2010, please visit the Briscoe Center's Web site. The Briscoe Center will also host a screening of a documentary that examines Adams's life, on Oct. 28 at the Blanton Museum of Art. The screening is free and open to the public, and will be followed by remarks from Alyssa Adams and Eddie Adams's professional colleague David Hume Kennerly. Details on the event will be available shortly.

Monroe Gallery of Photography is honored to represent Eddie Adams' photographs.

112 Don Gaspar

Santa Fe, NM 87501

505.992.0800

505.992.0810 (fax)

info@monroegallery.com

www.monroegallery.com

STEPHEN WILKES INTERVIEW IN F-STOP MAGAZINE; RETROSPECTIVE EXHIBITION PREVIEW

Stephen Wilkes: Snow Covered Shore

The September issue of F-Stop magazine features the work of Stephen Wilkes. Editor Zack Seckler interviews Wilkes about his career and his craft.

"Whether shooting Jason Kidd for Sports Illustrated or the anonymous maintainers of Times Square’s “guts” for the New York Times Magazine, Stephen Wilkes frames his subjects to reveal a truth about them. He captures the humanity of a glistening Chinese skyscraper, of an Ellis Island office a century removed from the last huddled masses it welcomed. His impressive career encompasses editorial, advertising, and fine art work of equal skill and renown. All are united by his attention to detail and his keen sense of the eye’s hidden rhythm." Continue reading the full article here.


Stephen Wilkes: Glacier and climber, Alaska

Monroe Gallery of Photography is pleased to present a retrospective exhibition featuring the documentary projects of leading contemporary photographer Stephen Wilkes. The exhibition includes new photographs and opens on Friday, October 2.

Stephen Wilkes will discuss his work in the gallery from 5 - 6; with a public reception for the photographer from 6 – 7:30 PM. This is a unique opportunity to hear Wilkes discuss his varied photography projects in an intimate setting. The exhibition continues through November 22.

Featured in the exhibition are large-format photographs from several of Wilkes' major projects, including:

"America in Detail": In 2000, Wilkes crisscrossed the country over a 52-day to create a millennial portrait of the United States and record the photographic details that captured the mood and texture of America as the new century began.

"Bethlehem Steel": In 2002, Wilkes photographed the abandoned buildings that once formed the great Bethlehem Steel plant. Known as “The Steel”, the former plant, which closed on November 18, 1995, encompasses about 100 acres with more than 25 buildings and other structures dating from as early as 1863. . Using natural light, Wilkes painstakingly photographed the peeling paint, rusted iron, broken glass and halls with wind-strewn debris and created an ethereal diorama that is captivating and compelling. Wilkes’ photographs capture the haunting beauty of these historic buildings and preserve a memory of that not-too-distant age, when proud men and women produced "the steel that built a nation".

"In Katrina's Wake": Wilkes' photographed the aftermath of Hurricane Katrina, and created a lasting record of the terrible destruction. Wilkes said at the time: "Maybe with our age of technology we have lost some respect for nature. The warnings about Katrina were not taken seriously and evacuation was not done properly. In conclusion we should learn to work with nature instead of against it and ignoring nature always leads to catastrophes."

"Ellis Island": Perhaps Wilkes’ most ambitious project was photographing the south side of Ellis Island (1998 – 2003).The result is visual history of the benign neglect of the medical facilities and dormitories of the historic immigration center, which at that time, unlike the Great Hall, had not yet been restored. Wilkes’ photographs capture the haunting beauty of this century old building. With his exclusive photographs and video work, Wilkes was able to help secure $6 million in funding to restore the south side of the island. Today all that remains of the past are Wilkes' haunting images. These photographs are featured in the monograph "Ellis Island: Ghosts of Freedom" and will be included in several museum exhibitions in 2010.

"China": Traveling throughout old and new China during a period from 2005 through 2008, Stephen Wilkes expertly portrayed a nation amidst rapid and vast transformation. Focusing on both rural and industrial settings – and the increasing number of areas where they collide – Stephen Wilkes draws our attention to a changing way of life.

New Work: Wilkes is constantly looking for photo projects to feed his soul. Wilkes is relentlessly taking and making pictures that let us feel the experience of being there, the experience of being in the moment. Included in the exhibition is the premiere of several recent photographs never before exhibited, including the following:

Stephen Wilkes: The Highline, New York

Stephen Wilkes: Huntington Beach, California

Gallery hours are 10 to 6 Monday through Saturday, 10 to 5 Sunday. Admission is free. For further information, please call: 505.992.0800; E-mail: info@monroegallery.com.

MONROE GALLERY OF PHOTOGRAPHY

112 Don Gaspar Santa Fe, NM 87501

505.992.0800

505.992.0810 (fax)

info@monroegallery.com

www.monroegallery.com

http://monroegallery.blogspot.com/

Great French Photographer Willy Ronis Dead at 99

September 12, 2009

©The Associated Press

Published in The New York Times

PARIS (AP) -- Willy Ronis, the last of France's postwar greats of photography who captured the essence of Paris in black and white scenes of everyday life, died Saturday. He was 99.
Ronis died at a Paris hospital where he had been admitted days earlier, said Stephane Ledoux, the president of the Eyedea photo agency.

Lovers, nudes and scenes from Paris streets were the mainstay of Ronis' photographs, which reflect the so-called humanist school of photography in an award-winning career that began in the 1930s and reaped honors for him in France and abroad.

In a wheelchair and on dialysis for some time, the mustachioed Ronis nevertheless managed to address the crowd at the annual Arles photographic exhibition in July, where he was honored.
''We have lost the last of the great men,'' said Stephane Ledoux, head of the Eyedea agency, which took over the Rapho Agency that for decades handled Ronis' photographs.

Ronis, along with friend Robert Doisneau and photojournalist Henri-Cartier Besson, were among France's great photographers who emerged after World War II. The three along with two other photographers were honored as early as 1953 by the Museum of Modern Art in New York.

Ronis' genius spilled forth in his spontaneous photos of the streets of working class Paris, from its bistros to its lovers and gardens and even its strikes, always captured with a benevolent eye.

''I never took a mean photo,'' Ronis in an interview with The Associated Press in 2005. ''I never wanted to make people look ridiculous. I always had a lot of respect for the people I photographed.''

Photographs of eastern Paris, where Ronis lived, were collected in a book of the Belleville and Menilmontant neighborhoods that reached cult status in France. His photos of lovers against the Paris skyline or a nude at a wash basin also helped define him. Ronis' last photo, taken in 2001, was of a nude.

Born in Paris on Aug. 14, 1910, Ronis studied violin, but gave up a music career to take over the family photo studio when his father, Emmanuel Ronis, fell ill. For four years, he photographed weddings, babies and communions.

A month after his father died in 1936, Ronis did his first reportage, a Bastille Day parade. He worked steadily until World War II, when he joined the army. When the Nazis invaded France, Ronis, born to Jewish parents who had fled the pogroms, moved to unoccupied France.
The golden age of photography followed, and Ronis emerged as one of its leaders.

French President Nicholas Sarkozy praised Ronis as the ''chronicler of postwar social aspirations and the poet of a simple and joyous life.''

Culture Minister Frederic Mitterrand said Ronis immortalized ''for each of us the poetry of our daily lives and saved it from lost time. This immense narrator gave us a gift that will last forever.''

Ronis worked for numerous publications, including Life magazine, and collected dozens of honors throughout his career, in France, the U.S. and elsewhere.

After nearly 75 years of taking pictures, Ronis, encumbered by canes and no longer able to snap photos, set aside his camera.

''If I can't run, climb up onto a bench ... rush toward something I see far away that might interest me, it's over,'' Ronis said in the AP interview. Age, however, did not defeat Ronis. At 85, he went skydiving, snapping a photo of himself on the way down, his typical childlike joy showing through.

His numerous awards began with the Kodak prize in 1947. A decade later, he received the gold medal at the Venice Biennale. In 2007, he was honored in New York at the 5th annual Lucie Awards, which celebrates photographers, for lifetime achievement.

Ronis is an Officer in France's prestigious National Order of Merit and was named a Commander of Arts and Letters. In 1983, Ronis bequeathed his works to the French state.

There was no immediate information on funeral arrangement or survivors.

THE Magazine Review: "A Thousand Words: Masters of Photojournalism"

Mother and child in Hiroshima, four months after the atomic bomb dropped, 1945

Alfred Eisenstaedt ©Time Inc.

The September issue of THE magazine just hit the streets today, and it features a review of "A Thousand Words: Masters of Photojournalism". The exhibition continues through September 27.

©THE Magazine

Richard Tobin

Keepers of the Light— Is a picture worth a thousand words? That cliché is credited to a Fred R. Barnard writing for a trade journal in the early 1920s who popularized the sentiment in an article promoting the use of images in advertising on the sides of streetcars. He passed it off first as a Japanese, then as a Chinese proverb when he pitched it again six years later, changing it to “A picture is worth ten thousand words,” no doubt to justify a jump in advertising costs. Though this is probably the only adage not spoken by Kung Fu’s Kwai Chang Caine, the sentiment if not the sound bite can arguably be traced, in European culture at least, as far back as the Renaissance, when the first modern treatise on painting advanced the notion that an effective image speaks volumes (well, two volumes at the time, actually, the Iliad or the Bible).

Does that mean that a good photo should “say” what it would take a thousand or more words to convey? Consider the Civil War photographs that Matthew Brady staffer Alexander Gardner took of the young Union and Confederate dead who had fallen in a cornfield near Antietam in 1862, displayed for the American public the year before Lincoln’s address at Gettysburg. The grim Gardner photos achieve a mournful parity with the Gettysburg speech, whose two hundred and fifty or so words took Lincoln less than two minutes to deliver. The point is that what gives both image and text their lasting power to teach and to move us is their common quality of economy—or understatement—achieved by circumstance for the images, by intent for the text.

The Monroe Gallery’s current exhibition, A Thousand Words: Masters of Photojournalism, celebrates that quality of economy, or understatement. Some sixty prints by the likes of Alfred Eisenstaedt, Margaret Bourke-White, Robert Capa, and lesser-known masters make graphically evident what separates the run-of-the-mill photographer from the
seasoned photojournalist.

The exhibition’s black-and-white photographs cover the American scene from World War II to the mid-1970s, virtually all of them gelatin silver prints. As I am not a photographer I am not qualified to discuss the relative merits of the traditional process versus the new digital technology. From what little I’ve gathered, the quality of black-and-white gelatin silver prints, and palladium-platinum, for that matter, has been a challenge for digital photography, though a significant number of Magnum photojournalists now make use of the new technology. More to the point, the primacy of the gelatin silver print in pre-digital photography has made it something of a hallmark of good photojournalism. The gelatin silver print requires a sure command, gained with experience, of the formal aspects of the craft and their function in capturing the subject. Alfred Eisenstaedt’s image of the Hiroshima mother and child four months after the atomic bomb is a masterful composition in lights and darks demanded by the gelatin-silver process. That very formal mastery enables Eisenstaedt’s placement and setting of his two figures to tap into the Renaissance mother-and-child motif with great effect, transforming its conventional Raphaelite repose into the pathos of a sixteenth-century pietà.

Chance is said to play a key role in capturing an image that becomes “iconic.” Perhaps it is more accurate to say that what is critical is the training and experience to be in the right place at the right time, recognize the chance, and seize it. Cases in point here: Nick Ut’s untitled photograph of Vietnamese children fleeing an aerial napalm attack, John Filo’s Kent State J’accuse showing a young girl grieving over a slain student, and Stanley Forman’s The Soiling of Old Glory.

A parallel requirement for the photojournalist is an intuitive grasp of the momentous in the everyday moment, as in Bourke-White’s You Have Seen Their Faces, Carl Mydans’s Migrant Woman, Capa’s print of Henri Matisse in his studio, and Martha Holmes’s iconic photo of Jackson Pollock in his studio.

Perhaps the most significant role of the photojournalist in an age of sound bite and image manipulation is to force us to confront the timeless question, “What is truth?” Two Eisenstaedt photographs in the exhibition, from the close of World War II, speak to this role. One is a Rodinesque image of a sailor kissing a nurse taken in Times Square on VJ Day (Victory over Japan); the other is his mother and child photograph taken four months later in Hiroshima. Viewed in tandem, these images attest to the power of the medium to cut to the truth, and, in rare moments, to intimate its often
tragic complexity.

--Richard Tobin

STEPHEN WILKES COMMENTARY ON PASSING OF WALTER CRONKITE

Pardon our delay in posting this. Stephen Wilkes had a very thought-provoking commentary in The Huffington Post on the passing of Walter Cronkite.

As a gallery devoted to photojournalism, we are often engaged in discussions about the changes in contemporary journalism. In fact, the gallery's current exhibition hearkens to the "golden age" of photojournalism. In today's ocean of bad news for the press--picture editors being laid off, agency, newspapers and magazines closures, diminished fees being paid to photojournalists (see post about the $30 Time cover!), Wilkes' reflections offered a refreshing look at part of what is missing.

The Huffington Post

July 23, 2009

The Art of Listening: In Memory off Walter Cronkite

by Stephen Wilkes

It was a beautiful spring day in March 1974. I was a high school student in the tenth grade and as excited as I've ever been in my entire life. I was the photographer/reporter for my high school T.V. station and my best friend was the manager and lead reporter. It was through his fearless tenacity that we had set up a number of interviews with some of our local TV anchors for our combined piece on great broadcast journalists of the day. We had sent letters to several well-known reporters requesting an interview but were met with disappointment, as many of our letters were unanswered and seemingly unimportant. However, we had somehow managed to pique the interest of one reporter to give us an exclusive. It was on this day, the 20th of March in the spring of 1974, that the legendary Walter Cronkite granted us our first interview and a life changing experience.

We were scheduled to meet Mr. Cronkite at 2:00pm, yet we realized early on that his schedule might change because it was the day that Chet Huntley had died, and Mr. Cronkite was in the midst of writing a eulogy. Yet, with all that was going on during that busy day, he still managed to sit down with us for a full one-hour interview. We sat in his office, both of us with our yellow notepads and all our pre-written questions. He was incredibly gracious and patient as we both read our questions one at a time and answered every single one of them.

At the end of questions he looked at us and in a very calm yet direct manner asked,
"Boys, I'd like to ask you both a question."

Well, my friend and I both looked at our notepads, and quickly realized that this was NOT part of our script. As we blankly stared upward, Mr. Cronkite looked at us and said, "Do you know what makes a good interview?"

Again, we looked down at our yellow pads, as if we might have written something during our one-hour conversation that could have given us THE answer. Scrambling as we were, we could barely even get a word out, and rather than let us struggle with a long silence, he looked at us both, and in the nicest way possible, told us what he was looking for.

"Being a good listener boys. That's what makes for a good interview."

We stared, dumbstruck and in awe.

"Being a good listener will always lead you to the next question."

My friend and I looked at each other, and realized in that very moment that Walter Cronkite just told us what we invariably had missed during our one-hour interview.

I remember leaving his office that day and feeling that I had learned an incredible lesson. It is a lesson that I have applied throughout my life.

He was known as a great and legendary newsman, but I'll always remember him from that brief meeting in March 1974 where he inspired me to listen.

Monroe Gallery of Photography is pleased to announce a major retrospective exhibition featuring the documentary projects of leading contemporary photographer Stephen Wilkes. The exhibition includes new photographs and opens on Friday, October 2. Stephen Wilkes will discuss his work in the gallery from 5 - 6; with a public reception for the photographer from 6 – 7:30 PM. The exhibition continues through November 22.

SEPTEMBER IN SANTA FE

As the summer season wanes, September in Santa Fe is busy with events.

Santa Fe, America's Oldest Capital City, is having its 400th Anniversary and the celebration starts September 5. The 400th Anniversary kick-off event will launch the 16 month Commemoration on Labor Day weekend. Taking place on September 5th and 6th at Fort Marcy Park, ¡VIVA! Santa Fe is a FREE cultural festival on Magers Field. More information here.

The cry of "Viva la Fiesta" has been reverberating through the streets of Old Santa Fe every autumn for 297 years. The sound generates a curious blend of thanksgiving, revelry and pride in the hearts of Santa Feans who celebrate Fiesta annually to commemorate Don Diego De Vargas' reoccupation of the City of Holy Faith in 1692. Fiesta weekend starts with the annual burning of "old man gloom", Zozobra, on September 10.

These are only a couple of the numerous events scheduled through September, check the calender here for a full list.

September is also your last chance to see the Gallery's exhibit, "A Thousand Words: Masters of Photojournalism". Gathered together for the first time are 60 examples of the greatest photographs from the field of photojournalism. We have often seen these photographs reproduced numerous times in newspapers, magazines, books and documentaries. Universally relevant, they reflect the past, the present, and the changing times. These unforgettable images are embedded in our collective consciousness; they are defining moments chronicling our visual history. They are, indeed, worth a thousand words.

Behind the scenes we are hard at work preparing for the Stephen Wilkes' retrospective exhibition, opening October 2. Stephen Wilkes will be here for the opening, and present a very special gallery talk from 5-6 PM. Featured in the exhibition are large-format photographs from several of Wilkes' major projects, including: America in Detail, Bethlehem Steel, In Katrina's Wake, Ellis Island, China; and a selection of new photographs.

We hope to see you in September!

-- Sid and Michelle Monroe

NY TIMES DISCUSSION ON FAKED (AND MISUNDERSTOOD) PHOTOGRAPHS

The New York Times had an interesting article this weekend on "faked photographs". A slide show accompanies the article.

Two photographs featured in the gallery's current exhibition "A Thousand Words: Masters of Photojournalism" are discussed in the article, not as "fakes" but as misunderstood and altered examples.

One of the photographs singled out is Joe Rosenthal's iconic flag raining at Iwo Jima. We were especially pleased that the New York Times discussed this long-misunderstood photograph. Whenever it is displayed in the gallery we always overhear visitors speaking about their own version or interpretation of the photograph, almost always wrong.

"Questions dogged Joe Rosenthal’s Pulitzer Prize-winning shot of Marines raising the flag at Iwo Jima from the start — the result of a conversation overheard and misunderstood", according to Hal Buell, who wrote a book about the image.

The photo was a sensation when it appeared in newspapers in the States. Back on the war front, someone asked Mr. Rosenthal if his picture had been staged. The photographer, who did not know which frame had been published, said yes — referring to a different picture of those same Marines whooping it up for the camera at Mr. Rosenthal’s request.

Time magazine prepared an article about the alleged set-up that was never published, but details leaked out and went viral in the manner of the day. Mr. Buell, the retired head of the Associated Press photo service, says that despite film of the whole event proving the authenticity of Mr. Rosenthal’s work, a whiff of controversy stubbornly lives on."

Also discussed is John Filo's photograph from Kent State:

"One famous photo has been subject to a mundane form of fakery that it can’t seem to shake, years later. The photographer John Paul Filo caught the death of a Kent State student and the anguished reaction it provoked in a young bystander, and won the Pulitzer Prize for it. But the editors of Life magazine saw room for improvement, removing a post from behind the bystander’s head to tidy things up a bit.

The altered image has been published and republished, Mr. Filo lamented, despite his protests. “The picture keeps on living and working,” he said."

In light of the current exhibit, it is interesting to note how so many famous photographs have inspired stories that are mis-informed. To this day, people often dismiss Alfred Eisenstaedt's photograph from VJ-Day in Times Square as "staged" (it wasn't, Eisenstaed tirelessly would recount the circumstances of the photograph each time someone questioned it). And also to this day, numerous people claim the be, variously, the sailor or the nurse.

Another photograph in the exhibit that people misconstrue is Carl Mydans' photograph of General Douglas MacArthur returning to Luzon in the Philippines. Mydans' recounted in his book, Carl Mydans: photojournalist:

"I thought MacArthur was the most brilliant man I had ever known. I had good moments with him and bad moments. I rejoined MacArthur in Leyete, and was the only photographer to accompany him on his command ship the USS Boise for the invasion of Luzon. And I was invited to go ashore with him. As our landing craft neared the beach I saw that the SeaBees has laid a pontoon walkway out from the beach. I climbed the boat’s ramp and jumped onto the pontoons to photograph MacArthur. But in the instant of my jumping, I heard the boat’s engines reversing, and I saw the boat swinging away. Judging from what was happening, I raced to the beach and stood waiting for the boat to come to me. It dropped its ramp in knee-deep water and I photographed MacArthur coming ashore. No one I have ever known in public life had a better understanding of the drama and power of a picture”.

Over more than 25 years as photography dealers, we have noticed an increase in people's perception that, somehow, photographs must be "staged" or "altered". Perhaps with the spread of Photoshop and other digital technologies, we now must question what is "real".

We believe there are certain mysteries about great photographs that captivate viewers and cause us to pause in thought and remembrance. We have often seen these photographs reproduced numerous times in newspapers, magazines, books and documentaries. Yet these unforgettable images are embedded in our collective consciousness; they are defining moments chronicling our visual history.

CELEBRATING THE END OF SUMMER

As summer's end nears, we thought about a few of our favorite photographs of summer.

Going Fishing, Texas, 1952 by John Dominis

Jacqueline Kennedy swinging Caroline in surf, Hyannis Port, 1959 by Mark Shaw

John Kennedy on dunes, Hyannis Port, 1959 by Mark Shaw

Long Island, New York, 1954 by Ernst Haas

Man Looking in Waste Basket, Coney Island, NY, 1945 by Ida Wyman

Luna Park, New York, 1940 by Harold Roth

Stickball (Brooklyn Gang), New York, 1959, by Bruce Davidson

Mickey Mantle Having A Bad Day At Yankee Stadium, New York, 1965 by John Dominis

Yankee Stadium aerial at dusk, New York, September 6, 2005 by Neil Leifer

Enjoy these last days, hope you had a great summer. And remember to see the exhibit "A Thousand Words: Masters of Photojournalism", on view through September 27 at Monroe Gallery.

WOODSTOCK'S 40th ANNIVERSARY WRAP-UP

For the last several days, there has been a lot of attention for the 40th anniversary of Woodstock. Monroe Gallery Photographers Bill Eppridge and John Dominis had a crucial role in documenting the event. Here are some selected highlights:

For a few days in August, 1969, on a dairy farm in upstate New York, a half-million young people got together to hang out, dance, and listen to music. Forty years later, for many people, the Woodstock Music & Art Fair is the defining event of the Sixties. For LIFE photographer John Dominis, covering the festival became one of the most moving adventures of an amazing 25-year career. "I was much more interested in the people who were there than the musicians," he tells LIFE.com. "I liked the music okay, but I really liked the kids, and what they were doing, and how they felt about it all. I just wanted to capture that." Here, Dominis' favorite photographs from Woodstock. And here, he talks with CNN about the experience.

"We didn't know that it was going to be a huge event," Dominis remembers, "but I did take with me a wide angle camera for shooting big crowds, just in case. I put that in my kit, and of course I had the chance to use that camera a bit over the course of the three days I was there." To purchase a signed print of this photograph, or other classic John Dominis images, visit the Monroe Gallery of Photography online.

Another renowned LIFE photographer, Bill Eppridge was also at Woodstock. His photographs were recently featured in the New York Times.

The New York Times' excellent photo-blog Lens is featuring a slide show of Bill Eppridge's photographs from Woodstock, along with audio of Bill's recollections. Bill Eppridge is one of the most significant photojournalists of our time, for over four decades he has covered a remarkable assortment of stories for renowned national publications such as National Geographic, LIFE magazine and Sports Illustrated.

His collective assignments read like a list of the most important historical and cultural events from the latter half of the 20th Century. Eppridge recorded the Beatles’ first momentous visit to the United States. He photographed a young Barbra Streisand—living in a tiny railroad apartment in Manhattan—on the verge of super stardom. He was the only photographer admitted into Marilyn Lovell’s home as her husband, Jim, made his nail-biting re-entry into the atmosphere in the crippled Apollo 13 spacecraft. He captured Clint Eastwood on the set of Dirty Harry. He was at Woodstock. And he was in Vietnam. He covered the funeral of civil rights activist James Chaney in Mississippi. His landmark photographic essay on Needle Park heroin addiction won the National Headliner Award and inspired the motion picture Panic in Needle Park, starring Al Pacino. That photo essay is included in Things As They Are: Photojournalism in Context Since 1955, the 2005 ICP award-winning book by World Press Photo.

Eppridge spent much of 1966 and 1968 on the road with Robert F. Kennedy, covering the presidential campaign for LIFE magazine. It was Eppridge who took one of the decade’s most poignant and iconic photographs: a stunned Los Angeles busboy, Juan Romero, cradling the candidate in the kitchen of the Ambassador Hotel, just seconds after he was shot.

Throughout his career Eppridge has been a respected force in training a new generation of photojournalists at the University of Missouri Photojournalism Workshop, as well as at the Eddie Adams Photography Workshop, and Photography at the Summit, in Wyoming. His work has been exhibited at the Smithsonian Museum of American History, the Museum of Television and Radio, the High Museum of Art in Atlanta, the Visa Pour L’Image in Perpignon, France and throughout the U.S. and Europe. A comprehensive exhibit of his photographs of the Beatles are currently on a worldwide tour, and, in the spring of 2008, went on exhibit in the Beatles’ hometown of Liverpool.

Monroe Gallery of Photography is honored to represent the photography of Bill Eppridge and John Dominis. Several of their photographs are featured in the current exhibition, "A Thousand Words: Masters of Photojournalism", on view through September 27.