Here are a few highlights from our booth A-102
A rare over-size print of Frank Sinatra and Nat King Cole at the Villa Capri, 1955 by Bernie Abramson, who passed away this past August.
Stephen Wilkes: Day Into Night and America In Detail
Friday, January 14, 2011
MONROE GALLERY AT PHOTO LA
Here are a few highlights from our booth A-102
MARTIN LUTHER KING JR, BORN JANUARY 15, 1929
Steve Schapiro: Martin Luther King, Alabama, 1965
Martin Luther King, Jr. was born at noon on Tuesday, January 15, 1929 at the family home, 501 Auburn Avenue, N.E., Atlanta, Georgia. Dr. Charles Johnson was the attending physician. Martin Luther King, Jr. was the first son and second child born to the Reverend Martin Luther King, Sr. and Alberta Williams King. Also born to the Kings were Christine, now Mrs. Isaac Farris, Sr., and the Reverend Alfred Daniel Williams King. The Reverend A.D. King is now deceased.
He married Coretta Scott, the younger daughter of Obadiah and Bernice McMurry Scott of Marion, Alabama, on June 18, 1953. The marriage ceremony took place on the lawn of the Scott’s home in Marion, Alabama. The Rev. King, Sr. performed the service, with Mrs. Edythe Bagley, the sister of Coretta Scott King as maid of honor, and the Rev. A.D. King, the brother of Martin Luther King, Jr., as best man.
Four children were born to Dr. and Mrs. King:
Yolanda Denise (November 17, 1955, Montgomery, Alabama)
Martin Luther III (October 23, 1957, Montgomery, Alabama)
Dexter Scott (January 30, 1961, Atlanta, Georgia)
Bernice Albertine (March 28, 1963, Atlanta, Georgia)
Full biography here.
Source: The King Center
Related: Remembering Martin Luther King Jr.
Thursday, January 13, 2011
PREVIEW: PHOTO LA OPENS TONIGHT
La Lettre de la Photographie
January 13, 2011
PHOTO LA
One of our favorite daily photography sources has a feature article on the Photo LA Fair, which celebrates its 20th Anniversary Edition tonight.
Photo LA celebrates its 20th Anniversary as the longest running art fair west of New York and the largest photo-based art fair in the country, drawing over 10,000 attendees. It brings together photography dealers from around the globe, displaying the finest contemporary photography, video and multi-media installations along with masterworks from the 19th century.
It has been essential in transforming the art/ photography landscape of Los Angeles by increasing public awareness and acceptance and the inclusion of photo-based art in almost all contemporary galleries and museum exhibitions.
artLA was created in 2004 as a public event bringing together a mix of national and international galleries, artists, collectors and curators for a visual dialogue on the current art scene. Its ongoing commitment to presenting the most challenging art being produced today has led to the creation of artLA projects, an ongoing citywide program of dynamic and innovative installations, exhibitions, seminars and conversations with established and cutting- edge artists in all media.
Photo l.a. XX and the launch of artLA projects, is a prelude to a much larger artLA 2011 that will align with the start of the Getty’s Pacific Standard Time Initiative and Art Platform, Los Angeles, a new art fair in the fall of 2011 created by the team that produces the Armory Show.
Among the guests who are going to give a lecture, you wil find:
Amy Arbus, William Eggleston, Bill Hunt, Jessica Lange, Arthur Tress, Stephen Shore, Manfred Heiting, Weston Naef, Arthur Ollman, Wallis Annenberg
The director of the Festival is Stephen Cohen.
LA’s Longest Running Art Fair Joins artLA projects
Thursday, January 13, 2011 through Monday, January 17, 2011
Here are the photography with the gallery presented:
1. Mario Giacomelli, « untitled » ca. 1970’s-1980’s, gelatin silver print, 7 1/16 × 9 10/16 inches, courtesy of Gallery 19th/21st
http://gallery19th21st.free.fr/
Gallery 19th/21st
9 Little Harbor Road – Guilford, CT 06437 – USA
2. Graham Nash, “Joni,” from “Love, Graham Nash,” courtesy of 21st Editions
3. Herman Leonard, “Listen: Herman Leonard and his World of Jazz,” courtesy of 21st Editions.
4. Herman Leonard, “Ella Fitzgerald” from “Listen: Herman Leonard and his World of Jazz,” courtesy of 21st Editions
5. Jerry Uelsmann, from “Moth and Bonelight,” courtesy of 21st Editions
6. Michael Kenna, from Huangshan: Poems from the T’ang Dynasty, courtesy of 21st Editions
http://www.21steditions.com/
21st Editions
9 New Venture Drive, #1 – South Dennis, MA, 02669 – USA
7. Debra Holt, “Untitled,” C-Print, 60×40 inches, courtesy of Abba Fine Art.
http://www.abbafineart.com/
Abba Fine Art
233 NW 36th Street Miami, FL 33127
8. Brooke Shaden, “Dream State,” 35×35 inches, courtesy of Joanne Artman Gallery.
9. Denis Peterson, “Gloucester Road,” Acrylic, Urethane & Oils, 30×40 inches, courtesy of Joanne Artman Gallery.
10. Natalie “Miss Aniela” Dybszi, “The Smothering,” 35×35 inches, courtesy of JoAnne Artman Gallery.
http://www.joanneartmangallery.com/
Joanne Artman Gallery
326 N Coast Highway, Laguna Beach, CA 92651
11. Pete Eckert, “Stations,” Centro Series, courtesy of Blind Photographers Guild.
12. Alice Wingwall, “Rumba at Dendur,” Metropolitan Museum of Art, New York, Color Photography, 24×30 inches, courtesy of Blind Photographers Guild.
13. Bruce Hall, “Prize Fighter,” courtesy of Blind Photographers Guild.
Blind Photographers Guild, 421 26th Street, Sacramento, CA 95816 USA
14. Bill Mattick, “Untitled,” from the “Mendota Water” Series, 2009, C-Print, 32×40 inches, courtesy of Corden
Potts Gallery.
15. Beth Kientzle, “On the Edge,” courtesy of Corden
Potts Gallery.
http://www.cordenpottsgallery.com/
Corden
Potts Gallery.
49 Geary Street, Ste. 211, San Francisco, CA 94108 – USA
16. Andre Kertesz, “Woman Holding Sign,” 1940s, courtesy of Stephen Daiter Gallery.
17. Elliott Erwitt, “Venice, Italy,” 1949, courtesy of Stephen Daiter Gallery.
18. Wynn Bullock, “Untitled,” 1950s, courtesy of Stephen Daiter Gallery.
http://www.stephendaitergallery.com/
Stephen Daiter Gallery
230 W. Superior, Chicago, IL 60654 – USA
19. David Trautrimas, “Mnemonic Doppelganger,” 2009, archival digital print, courtesy of dnj Gallery.
20. David Trautrimas, “Storm Crown Mechanism,” 2009, archival digital print, courtesy of dnj Gallery.
21. William Eggleston, “Untitled,” courtesy of dnj Gallery.
22. Nan Goldin, CZ and Max, courtesy of dnj Gallery.
http://www.dnjgallery.net/
Bergamot Station, 2525 Michigan Avenue, Suite J1, Santa Monica, CA 90404
23. Rob Carter, “Cala, Fuili II, Sardinia,” from the “Traveling Still” series, courtesy of Eyestorm.
24. Rob Carter, from the “Traveling Still” series, courtesy of Eyestorm.
http://www.eyestorm.com/
Eyestorm
London 27 Hill Street W1J 5LP (+44) 0845 643 2001
25. Allen Frame, “Hillary and Josh,” Punta del Este, Uraguay, 2008, courtesy of Gitterman Gallery.
http://www.gittermangallery.com/html/home.asp
Gitterman Gallery 170 East 75th Street New York, NY 10021
26. Frank Maedler, “L 7,” from the series “UT” (Silber), courtesy of Gallery J.J. Heckenhauer.
27. Peter Neusser, “Wolfsburg,” courtesy of Gallery J.J. Heckenhauer.
28. Mauren Brodbeck, “Juliette #5,” courtesy of Gallery J.J. Heckenhauer.
http://www.heckenhauer.net/ga/en/index.html
Gallery J.J. Heckenhauer Holzmarkt 5 72070 Tübingen
Germany
29. Dezhong Wei, from the series “Days Full of Inspirations,” courtesy of Henan Pan-View Image Culture Media Co., Ltd.
30. Shilong Wang, from the series “Days Full of Inspirations,” courtesy of Henan Pan-View Image Culture Media Co., Ltd.
31. Yong Luo, from the series “City of View,” 2005, courtesy of Henan Pan-View Image Culture Media Co., Ltd.
32. Yong Luo, from the series “City of View,” 2005, courtesy of Henan Pan-View Image Culture Media Co., Ltd.
http://www.pan-view.com/
Henan Pan-View Image Culture Media Co., Ltd.C-702 Dongjun International #1212, E Hanghai Road
33. Edward Westen, “MGM,” courtesy of Paul M. Hertzman, Inc.
http://www.hertzmann.net/pages/
PO Box 40447 San Francisco, CA 94140-0448, USA
34. Bob Poe, “Cover,” 2009, I-Phone photo, 54 × 90 inches, courtesy of the Los Angeles Art Association
Gallery 825.
35. Niku Kashef, “The House of Life and Death,” 2008, C-Print, 36×36 inches, courtesy of the Los Angeles Art Association
Gallery 825.
http://www.laaa.org/
Gallery 825
825 N. La Cienega Blvd. Los Angeles, CA 90069
36. Jens Liebchen, “Sunset Boulevard and Gower Street, Los Angeles,” 2010, Pigmented ink on Hahnemuehle Paper, 14×11 inches, courtesy of The Lapis Press
Schaden.com.
37. Oliver Sieber, “Arnold,” Pigmented ink on Hahnemuehle Paper, 11×14 inches, courtesy of The Lapis Press
Schaden.com
http://www.lapispress.com/
http://www.schaden.com/ Schaden.com
Buchhandlung GmbH Albertusstr. 4 50667 Köln
38. Carrie Mae Weems, “Untitled,” from the “Kitchen Table” series, 1990, courtesy of Light Work.
39. Elijah Gowen, “Cup,” courtesy of Light Work
40. Scott Conarroe, “Trailer Park, Wendover, UT,” 2008, courtesy of Light Work.
http://www.lightwork.org/
Robert B. Menschel Media Center 316 Waverly Avenue Syracuse, New York 13244 USA
41. Alfred Eisenstaedt, “Marilyn Monroe,” 1953, copyright Time, Inc., courtesy of Gallery M.
http://www.gallerym.com/default.cfm
Gallery M.
180 Cook St, Suite 101, Denver, CO 80206
42. Stephen Wilkes, “Washington Square, Day into Night, New York,” 2009, 40×30 inches, courtesy of Monroe Gallery.
43. Bill Eppridge, "Robert F. Kennedy campaigns with various aides and friends
44. Steve Schapiro, “Segregationists, St. Augustine, Florida,” 1964
45. Stephen Wilkes, “Central Park, Day into Night,”
http://www.monroegallery.com/
Monroe Gallery
112 Don Gaspar Santa Fe, NM 87501 – USA
46. Ju Duoqi, “Liberty Leading the Vegetables,” 2008, courtesy of M.R. Gallery
http://mrgalery.com.cn/
M.R. Gallery
No.D06, Mid Second Street, 798 Art District, Chaoyang District, 100015 Beijing, China
47. Norman Kulkin, “Untitled,” courtesy of Select Vernacular Photographs.
http://www.pixidiom.com/
727 N. Fuller Avenue, Los Angeles, CA 90046 – USA
48. Tom Chambers, “Caging the Songbird,” from the “Dreaming in Reverse” series, 20×20 inches, courtesy of photo-eye Gallery.
49. Tom Chambers, “Presumptuous Guests,” from the “Dreaming in Reverse” series, courtesy of photo-eye Gallery.
http://photoeye.com/
photo-eye Gallery.
376, Garcia Street, Santa Fe, NM 87501 – USA
50. Joey L., “Portrait of Saragolea,” from the “Abyssinia” series, courtesy of photokunst.
51. Joey L., “Portrait of Saragolea,” from the “Abyssinia” series, courtesy of photokunst.
http://www.photokunst.com/
Photokunst
725 Argyle Avenue, Friday Harbor, WA 98250 – USA
52. Marian Drew, “Emu with yellow canary,” 2010, courtesy of Queensland Centre for Photography.
http://www.qcp.org.au/
Corner of Russel and Cordelia Street, South Brisbane QLD 4101 Australia
53. Juan Fontanive, “Livelinesse 2,” 2010, Edition 14, courtesy of Riflemaker: London.
http://www.riflemakerorg/
Riflemaker
79 Beak Street, London, W1F 9SU – UK
54. John Baldessari, “Blue Boy (with yellow boy: one with Hawaiin tie, one in dark), Three Color Lithograph,” 1989, courtesy of Barry Singer Gallery.
http://www.singergallery.com/
Barry Singer Gallery.
7 Western Avenue, Petaluma, CA 94952 – USA
55. Christopher Clark and Virginie Pougnaud, “Aurore Eveillee,” archival digital lambda print, 43.3×43.3 inches, courtesy of Skotia Gallery
http://www.skotiagallery.com/
Skotia Gallery
150 W. Marcy Street, Ste 103, Santa Fe, NM 87501 – USA
56. Kelsy Waggaman, “When Was The Last Time You Made Love To Yourself,” archival pigment print 19×28.5 inches, courtesy of Skotia Gallery.
http://www.skotiagallery.com/
57. Robert Frank, “Cadillac Showroom,” 1955, Vintage gelatin silver print, 8.5×13 inches, signed and stamped, courtesy of Joel Soroka Gallery.
http://www.joelsorokagallery.com/
Joel Soroka Gallery.
400 E. Hyman Avenue, Aspen, CO 81611 – USA
58. Ralph Steiner, “Lollipop,” 1920s/c.1981, 4.5×3.5 inches, gelatin silver print, courtesy of Robert Tat Gallery.
http://www.roberttat.com/
Robert Tat Gallery.
49 Geary Street, # 211, San Francisco, CA 94108 – USA
59. Ma Kang, “FORBIDDEN CITY: Policemen before the Tian’anmen Gate-tower,” 2008, Inkjet print, courtesy of OFOTO Gallery.
http://www.ofoto-gallery.com/
OFOTO Gallery
2F, Building 13, 50 Mogashan Road, Shanghai 200060 – China
60. Luo Yongjin, “Kezhi Garden,” 2002, Injet print, courtesy of OFOTO Gallery.
http://www.ofoto-gallery.com/
Links:
http://www.photola.com/
January 13, 2011
PHOTO LA
One of our favorite daily photography sources has a feature article on the Photo LA Fair, which celebrates its 20th Anniversary Edition tonight.
Photo LA celebrates its 20th Anniversary as the longest running art fair west of New York and the largest photo-based art fair in the country, drawing over 10,000 attendees. It brings together photography dealers from around the globe, displaying the finest contemporary photography, video and multi-media installations along with masterworks from the 19th century.
It has been essential in transforming the art/ photography landscape of Los Angeles by increasing public awareness and acceptance and the inclusion of photo-based art in almost all contemporary galleries and museum exhibitions.
artLA was created in 2004 as a public event bringing together a mix of national and international galleries, artists, collectors and curators for a visual dialogue on the current art scene. Its ongoing commitment to presenting the most challenging art being produced today has led to the creation of artLA projects, an ongoing citywide program of dynamic and innovative installations, exhibitions, seminars and conversations with established and cutting- edge artists in all media.
Photo l.a. XX and the launch of artLA projects, is a prelude to a much larger artLA 2011 that will align with the start of the Getty’s Pacific Standard Time Initiative and Art Platform, Los Angeles, a new art fair in the fall of 2011 created by the team that produces the Armory Show.
Among the guests who are going to give a lecture, you wil find:
Amy Arbus, William Eggleston, Bill Hunt, Jessica Lange, Arthur Tress, Stephen Shore, Manfred Heiting, Weston Naef, Arthur Ollman, Wallis Annenberg
The director of the Festival is Stephen Cohen.
LA’s Longest Running Art Fair Joins artLA projects
Thursday, January 13, 2011 through Monday, January 17, 2011
Here are the photography with the gallery presented:
1. Mario Giacomelli, « untitled » ca. 1970’s-1980’s, gelatin silver print, 7 1/16 × 9 10/16 inches, courtesy of Gallery 19th/21st
http://gallery19th21st.free.fr/
Gallery 19th/21st
9 Little Harbor Road – Guilford, CT 06437 – USA
2. Graham Nash, “Joni,” from “Love, Graham Nash,” courtesy of 21st Editions
3. Herman Leonard, “Listen: Herman Leonard and his World of Jazz,” courtesy of 21st Editions.
4. Herman Leonard, “Ella Fitzgerald” from “Listen: Herman Leonard and his World of Jazz,” courtesy of 21st Editions
5. Jerry Uelsmann, from “Moth and Bonelight,” courtesy of 21st Editions
6. Michael Kenna, from Huangshan: Poems from the T’ang Dynasty, courtesy of 21st Editions
http://www.21steditions.com/
21st Editions
9 New Venture Drive, #1 – South Dennis, MA, 02669 – USA
7. Debra Holt, “Untitled,” C-Print, 60×40 inches, courtesy of Abba Fine Art.
http://www.abbafineart.com/
Abba Fine Art
233 NW 36th Street Miami, FL 33127
8. Brooke Shaden, “Dream State,” 35×35 inches, courtesy of Joanne Artman Gallery.
9. Denis Peterson, “Gloucester Road,” Acrylic, Urethane & Oils, 30×40 inches, courtesy of Joanne Artman Gallery.
10. Natalie “Miss Aniela” Dybszi, “The Smothering,” 35×35 inches, courtesy of JoAnne Artman Gallery.
http://www.joanneartmangallery.com/
Joanne Artman Gallery
326 N Coast Highway, Laguna Beach, CA 92651
11. Pete Eckert, “Stations,” Centro Series, courtesy of Blind Photographers Guild.
12. Alice Wingwall, “Rumba at Dendur,” Metropolitan Museum of Art, New York, Color Photography, 24×30 inches, courtesy of Blind Photographers Guild.
13. Bruce Hall, “Prize Fighter,” courtesy of Blind Photographers Guild.
Blind Photographers Guild, 421 26th Street, Sacramento, CA 95816 USA
14. Bill Mattick, “Untitled,” from the “Mendota Water” Series, 2009, C-Print, 32×40 inches, courtesy of Corden
Potts Gallery.
15. Beth Kientzle, “On the Edge,” courtesy of Corden
Potts Gallery.
http://www.cordenpottsgallery.com/
Corden
Potts Gallery.
49 Geary Street, Ste. 211, San Francisco, CA 94108 – USA
16. Andre Kertesz, “Woman Holding Sign,” 1940s, courtesy of Stephen Daiter Gallery.
17. Elliott Erwitt, “Venice, Italy,” 1949, courtesy of Stephen Daiter Gallery.
18. Wynn Bullock, “Untitled,” 1950s, courtesy of Stephen Daiter Gallery.
http://www.stephendaitergallery.com/
Stephen Daiter Gallery
230 W. Superior, Chicago, IL 60654 – USA
19. David Trautrimas, “Mnemonic Doppelganger,” 2009, archival digital print, courtesy of dnj Gallery.
20. David Trautrimas, “Storm Crown Mechanism,” 2009, archival digital print, courtesy of dnj Gallery.
21. William Eggleston, “Untitled,” courtesy of dnj Gallery.
22. Nan Goldin, CZ and Max, courtesy of dnj Gallery.
http://www.dnjgallery.net/
Bergamot Station, 2525 Michigan Avenue, Suite J1, Santa Monica, CA 90404
23. Rob Carter, “Cala, Fuili II, Sardinia,” from the “Traveling Still” series, courtesy of Eyestorm.
24. Rob Carter, from the “Traveling Still” series, courtesy of Eyestorm.
http://www.eyestorm.com/
Eyestorm
London 27 Hill Street W1J 5LP (+44) 0845 643 2001
25. Allen Frame, “Hillary and Josh,” Punta del Este, Uraguay, 2008, courtesy of Gitterman Gallery.
http://www.gittermangallery.com/html/home.asp
Gitterman Gallery 170 East 75th Street New York, NY 10021
26. Frank Maedler, “L 7,” from the series “UT” (Silber), courtesy of Gallery J.J. Heckenhauer.
27. Peter Neusser, “Wolfsburg,” courtesy of Gallery J.J. Heckenhauer.
28. Mauren Brodbeck, “Juliette #5,” courtesy of Gallery J.J. Heckenhauer.
http://www.heckenhauer.net/ga/en/index.html
Gallery J.J. Heckenhauer Holzmarkt 5 72070 Tübingen
Germany
29. Dezhong Wei, from the series “Days Full of Inspirations,” courtesy of Henan Pan-View Image Culture Media Co., Ltd.
30. Shilong Wang, from the series “Days Full of Inspirations,” courtesy of Henan Pan-View Image Culture Media Co., Ltd.
31. Yong Luo, from the series “City of View,” 2005, courtesy of Henan Pan-View Image Culture Media Co., Ltd.
32. Yong Luo, from the series “City of View,” 2005, courtesy of Henan Pan-View Image Culture Media Co., Ltd.
http://www.pan-view.com/
Henan Pan-View Image Culture Media Co., Ltd.C-702 Dongjun International #1212, E Hanghai Road
33. Edward Westen, “MGM,” courtesy of Paul M. Hertzman, Inc.
http://www.hertzmann.net/pages/
PO Box 40447 San Francisco, CA 94140-0448, USA
34. Bob Poe, “Cover,” 2009, I-Phone photo, 54 × 90 inches, courtesy of the Los Angeles Art Association
Gallery 825.
35. Niku Kashef, “The House of Life and Death,” 2008, C-Print, 36×36 inches, courtesy of the Los Angeles Art Association
Gallery 825.
http://www.laaa.org/
Gallery 825
825 N. La Cienega Blvd. Los Angeles, CA 90069
36. Jens Liebchen, “Sunset Boulevard and Gower Street, Los Angeles,” 2010, Pigmented ink on Hahnemuehle Paper, 14×11 inches, courtesy of The Lapis Press
Schaden.com.
37. Oliver Sieber, “Arnold,” Pigmented ink on Hahnemuehle Paper, 11×14 inches, courtesy of The Lapis Press
Schaden.com
http://www.lapispress.com/
http://www.schaden.com/ Schaden.com
Buchhandlung GmbH Albertusstr. 4 50667 Köln
38. Carrie Mae Weems, “Untitled,” from the “Kitchen Table” series, 1990, courtesy of Light Work.
39. Elijah Gowen, “Cup,” courtesy of Light Work
40. Scott Conarroe, “Trailer Park, Wendover, UT,” 2008, courtesy of Light Work.
http://www.lightwork.org/
Robert B. Menschel Media Center 316 Waverly Avenue Syracuse, New York 13244 USA
41. Alfred Eisenstaedt, “Marilyn Monroe,” 1953, copyright Time, Inc., courtesy of Gallery M.
http://www.gallerym.com/default.cfm
Gallery M.
180 Cook St, Suite 101, Denver, CO 80206
42. Stephen Wilkes, “Washington Square, Day into Night, New York,” 2009, 40×30 inches, courtesy of Monroe Gallery.
43. Bill Eppridge, "Robert F. Kennedy campaigns with various aides and friends
44. Steve Schapiro, “Segregationists, St. Augustine, Florida,” 1964
45. Stephen Wilkes, “Central Park, Day into Night,”
http://www.monroegallery.com/
Monroe Gallery
112 Don Gaspar Santa Fe, NM 87501 – USA
46. Ju Duoqi, “Liberty Leading the Vegetables,” 2008, courtesy of M.R. Gallery
http://mrgalery.com.cn/
M.R. Gallery
No.D06, Mid Second Street, 798 Art District, Chaoyang District, 100015 Beijing, China
47. Norman Kulkin, “Untitled,” courtesy of Select Vernacular Photographs.
http://www.pixidiom.com/
727 N. Fuller Avenue, Los Angeles, CA 90046 – USA
48. Tom Chambers, “Caging the Songbird,” from the “Dreaming in Reverse” series, 20×20 inches, courtesy of photo-eye Gallery.
49. Tom Chambers, “Presumptuous Guests,” from the “Dreaming in Reverse” series, courtesy of photo-eye Gallery.
http://photoeye.com/
photo-eye Gallery.
376, Garcia Street, Santa Fe, NM 87501 – USA
50. Joey L., “Portrait of Saragolea,” from the “Abyssinia” series, courtesy of photokunst.
51. Joey L., “Portrait of Saragolea,” from the “Abyssinia” series, courtesy of photokunst.
http://www.photokunst.com/
Photokunst
725 Argyle Avenue, Friday Harbor, WA 98250 – USA
52. Marian Drew, “Emu with yellow canary,” 2010, courtesy of Queensland Centre for Photography.
http://www.qcp.org.au/
Corner of Russel and Cordelia Street, South Brisbane QLD 4101 Australia
53. Juan Fontanive, “Livelinesse 2,” 2010, Edition 14, courtesy of Riflemaker: London.
http://www.riflemakerorg/
Riflemaker
79 Beak Street, London, W1F 9SU – UK
54. John Baldessari, “Blue Boy (with yellow boy: one with Hawaiin tie, one in dark), Three Color Lithograph,” 1989, courtesy of Barry Singer Gallery.
http://www.singergallery.com/
Barry Singer Gallery.
7 Western Avenue, Petaluma, CA 94952 – USA
55. Christopher Clark and Virginie Pougnaud, “Aurore Eveillee,” archival digital lambda print, 43.3×43.3 inches, courtesy of Skotia Gallery
http://www.skotiagallery.com/
Skotia Gallery
150 W. Marcy Street, Ste 103, Santa Fe, NM 87501 – USA
56. Kelsy Waggaman, “When Was The Last Time You Made Love To Yourself,” archival pigment print 19×28.5 inches, courtesy of Skotia Gallery.
http://www.skotiagallery.com/
57. Robert Frank, “Cadillac Showroom,” 1955, Vintage gelatin silver print, 8.5×13 inches, signed and stamped, courtesy of Joel Soroka Gallery.
http://www.joelsorokagallery.com/
Joel Soroka Gallery.
400 E. Hyman Avenue, Aspen, CO 81611 – USA
58. Ralph Steiner, “Lollipop,” 1920s/c.1981, 4.5×3.5 inches, gelatin silver print, courtesy of Robert Tat Gallery.
http://www.roberttat.com/
Robert Tat Gallery.
49 Geary Street, # 211, San Francisco, CA 94108 – USA
59. Ma Kang, “FORBIDDEN CITY: Policemen before the Tian’anmen Gate-tower,” 2008, Inkjet print, courtesy of OFOTO Gallery.
http://www.ofoto-gallery.com/
OFOTO Gallery
2F, Building 13, 50 Mogashan Road, Shanghai 200060 – China
60. Luo Yongjin, “Kezhi Garden,” 2002, Injet print, courtesy of OFOTO Gallery.
http://www.ofoto-gallery.com/
Links:
http://www.photola.com/
Wednesday, January 12, 2011
Bill Eppridge - History in the Making
Bill Eppridge - History in the Making
DOUBLE EXPOSURE
By Lynne Eodice
Jan 11, 2011
All photos by Bill Eppridge.
In a notable career shooting primarily for Life and Sports Illustrated, Bill Eppridge has covered wars, political campaigns, heroin addiction, the arrival of the Beatles in the United States, the summer and winter Olympics, and perhaps the most dramatic moment of his career--the assassination of Senator Robert Kennedy in Los Angeles. His photography has won numerous awards and has appeared in traveling exhibits throughout the world. He has taught photojournalism at Yale University, the Missouri Photojournalism Workshop, Barnstorm: The Eddie Adams Workshop, Rich Clarkson's Photography at the Summit, and Sportsshooter Workshop.
When his family lived in Richmond, Virginia at the end of WWII, a man with a pony came to the Eppridge household one day and offered his photographic services. Bill Eppridge, who was about 10 at the time, got out his Brownie Starflash 620 camera and posed with it. "I started thinking, 'this guy doesn't have a bad job. He gets to travel, meets some interesting people and he's even got a pony.'" As a young boy, he waited for the mailman to deliver Life magazine every week, and always enjoyed the photographs by David Douglas Duncan, Robert Capa, and Henri Cartier-Bresson. "I was fascinated by this work and I felt that it affected the people who looked at these pictures." He was also moved by Joe Rosenthal's image of the flag being raised at Iwo Jima. "Over the years, I thought there was some power with this medium. If you can do a couple of good things for people in your life, then you've lived a good life," he remarks.
Joining the Ranks of his Heroes
After graduating from high school, Eppridge decided he wanted to be an archaeologist and attended the University of Toronto. He also took pictures for the Varsity, the campus newspaper. "By the end of my second year there, I was Director of Photography," he remembers. His grades in school began to slip, and he realized that photography was really where he wanted to be. One of the faculty members at the college advised him to go to the University of Missouri, as it was the best school for journalism.
Ethel Kennedy Leans Over Robert F. Kennedy As He Lies Wounded on Floor of Ambassador Hotel Kitchen, June, 1968 © Time
Twice, he won the National College Picture Competition sponsored by the National Press Photographers' Association (NPPA) and the University of Missouri. "In both cases, the first prize was an Encyclopedia Britannica and a week's internship at Life magazine," Eppridge says. "During those weeks, I met some of the people whose pictures I had seen as a child." One of his winning images was the result of a lucky accident, taken when a Columbia, Missouri newspaper needed a cover for its farm supplement. Eppridge agreed to take pictures of an impending tornadic storm, and pulled his car up alongside a farm just as the sky was turning black. A farm horse, which he describes as "an old plug," approached him. Eppridge slipped, making a sudden move that startled the horse, and it ran away. Shooting quickly, he got one dramatic picture of this off-white horse galloping against a dark, foreboding sky. "The old plug looked just like a thoroughbred," he relates. The image, titled, 'Stormy,' also won first place Pictorial in the NPPA's Pictures of The Year competition-- Eppridge credits it with starting his career. (And fortunately, the horse was fine, as the storm never really touched down.)
He says, "Most of the Missouri grads at the time migrated to National Geographic." Thus, he made inroads at both NGS and Life. His first assignment for NGS was a nine-month trip around the world with the International School of America. The trek started in Japan and moved across the continents to Europe. "I didn't attend classes like they did, so I was free to roam. It was a great way to get introduced to this profession and to the world outside," he recalls.
A Ground Floor Opportunity
He moved on to Life following the advice of his Picture Editor at NGS, Bill Garrett, who was also a graduate of Missouri. "He was a brilliant man," exclaims Eppridge, "who always had a very good sense of what was going on in the world." NGS had wanted Eppridge to remain in Washington while they laid the story out, and put him to work in the magazine's color lab as a technician. Once the story was laid out, the editor, Melville Bell Grosvenor wanted to make him a staff photographer. "I felt really wonderful about this," he says. "But a few days later, Garrett told me, 'you've got to get out of here. They want you on staff and you can't do that.'" Garrett told the young man that the world was, in essence, starting to "blow up," with unrest in Latin America and Southeast Asia. "You've got to photograph those places," he advised Eppridge. "You won't get a chance to do that if you stay here."
One of the judges of a picture competition that Eppridge had won was Roy Rowan, the Life Bureau Chief in Chicago. "I went to New York blindly with a portfolio under my arm," Eppridge says. "I didn't make any phone calls and didn't set anything up." He thought Life was a little out of reach, but hoped to get a free lunch from one of his friends there. "I went over to the Time-Life building and was standing at the corner of 51st and 6th Avenue. This voice behind me says, 'Eppridge, is that you?' and I turned around and said, 'Roy Rowan, is that you?'" As it turned out, Rowan was the new Director of Photography at Life, and told Eppridge they were looking for young photographers. He had an opportunity to start shooting for the magazine that afternoon, but since he hadn't brought his camera with him, he began his career with the venerable publication after moving to New York several weeks later. "The first assignment I shot ran in the magazine, and so did the next several stories," he says--an impressive feat, considering that Life had a very high "kill factor" at the time. Soon Life made Eppridge a staff photographer.
His assignments with the magazine marked some very important points in history, beginning with coverage of several wars in the early sixties. "I went to Panama, Santa Domingo, and Managua for those revolutions," Eppridge notes. "I spent some time in Mississippi when the bodies of three slain civil rights workers were found, and I was in Vietnam. It taught me that war ain't glorious at all--not made for human consumption." He also did a story on heroin addiction, where he lived with a pair of addicts in New York City for about three months, in an area known as Needle Park. "They were just being themselves because that's the way I work," he says. "I prefer to be a speck on the wall." The resulting story won several awards, including the National Headliners Award that year. It was also the inspiration for Al Pacino's first film, "Panic in Needle Park."
All in all, he's covered a wide range of stories for Life, including spending a week with Jonas Salk, the inventor of the Polio vaccine. He photographed the summer Olympics in Mexico, and spent time with Dick Butkus during his rookie year with the Chicago Bears. He was also the first photojournalist to be allowed to travel on tour with Lyndon B. Johnson during his presidency. "I was on Air Force One for several days," he comments. Eppridge also covered civil rights issues, and was with the family of James Chaney after his body was found, and photographed his funeral. "I was able to show how that family dealt with a terrible event."
Rock n' Roll History
In 1964, the magazine sent him on assignment on what would become a legendary rock band's historic arrival to the U.S. "One morning my boss said, 'Look, we've got a bunch of British musicians coming into town. They're called the Beatles.'" Eppridge, who wasn't really a rock n' roll fan, recalled that Life had recently done a story about a phenomenon known as Beatlemania--"The Beatles were running down the street with little girls screaming and running after them." His orders were to cover their arrival in New York from a unique vantage point where nobody else happened to be, so Eppridge went to JFK International Airport to scout out locations. "I wandered around and found a spot that I liked," he says. "So I set up there, leaned against a pole, and waited." Before long, another photographer headed in his direction, apparently also seeking a good location, and set his camera bag down about 20 feet from Eppridge. He made acquaintance with this photographer, who turned out to be the Pulitzer Prize-winning photojournalist Eddie Adams, on assignment from Associated Press.
"I decided I liked the guy, although he was competition," says Eppridge of that initial meeting. They discussed where the ideal spot would be to shoot the British group's arrival, and both concluded that it would be best to be on the plane, behind the Beatles as they came out the door, photographing them and the huge, uproarious crowd below. When the plane landed, the door opened, "and out came this beautiful Pan Am stewardess, followed by the Beatles, who were dressed like proper young men," he remembers. And lo and behold, a photographer followed them out the door of the plane. "Eddie and I just looked at each other," Eppridge says. It turned out that the photographer was Harry Benson, who was working for one of the British newspapers at the time.
Eppridge covered the first few days that the Beatles were in New York, and learned a lot about music. "These were four very fine young gentlemen, and great fun to be around," he says. After he introduced himself to Ringo, who consulted with John, the group asked what he wanted them to do while being photographed for Life. "I'm not going to ask you to do a thing," was Eppridge's reply. "I just want to be there." He was invited to come up to their hotel room and "stick with them." The resulting photos from this story were on display at the Smithsonian for an entire year. That exhibit is still traveling and is currently in Liverpool, England.
A Pivotal Moment in Time
In 1966, he was assigned to cover Bobby Kennedy's political campaigns. "He endorsed candidates who had helped his brother," notes Eppridge. "But he was also testing the waters to see how his own candidacy would go over in '68." That year, Life asked him to cover Kennedy's campaign, beginning with the primaries. At that time, the magazine assigned one staffer to each major candidate. On June 5, 1968, at the Ambassador Hotel in Los Angeles, he was instructed by his boss to "stay as close as you can to Bobby. The editors here feel that if he wins California--which appears likely--he will probably be the next President of the United States." Back then, he says, you could do all your dealings directly with the candidate, no middleman involved. As opposed to the massive security today, Bobby Kennedy only had one bodyguard, Bill Barry.
Kennedy assured Eppridge that he would be part of his immediate group, which meant that wherever the Democratic candidate went, Eppridge wouldn't be far behind. "When he came off the stage, we would form an arrowhead-shaped wedge of photographers who would go through a crowd," he relates. "If people got pushed out of the way, then it was the press who did it and not the candidate." Being in the "pocket" of the wedge also gave Senator Kennedy freedom to move around and shake hands. "We had that wedge formed at Barry's direction to go out of a different exit," he says. "Bobby came off the stage, and came down to Barry, who said 'Senator, this way,' pointing across the room." But Bobby insisted on going out through the kitchen, which was the way they had entered. Again, Barry told him to go across the room, but the Senator refused, turned, and entered the kitchen.
"We couldn't scramble fast enough," Eppridge remembers. "We all headed towards the kitchen, but were behind him about 15 feet." As he tried to catch up, he went through the kitchen doors, and heard the sound of gunshots. It was eight shots. Thinking quickly, he grabbed the television cameraman and shoved him forward to utilize his light. Among the thoughts Eppridge had at that moment was a very loud and clear one: "You are not just a photojournalist, you're a historian."
Juan Romero, a busboy with whom Kennedy had been shaking hands, now cradled the Senator's head in his arms. Eppridge had time to capture only a few frames. "The first one was out of focus," he says. "In the second one, Romero is looking down at Kennedy, and in the third one, Romero was looking up with a pleading look." After that, the scene became bedlam. "You think you're in a position to help," he muses. "There were doctors in the room, and I knew I could only do my job because there was nothing I could do to help the Senator. So I just concentrated on doing my job."
Eppridge has published two photographic books on Bobby Kennedy. The first, titled The Last Campaign, was published in 1993 on the 25th anniversary of Senator Kennedy's death. The most recent one is entitled A Time It Was: Bobby Kennedy In The Sixties, (Abrams, June 2008) and includes never-before-published color photographs from the campaign that had been lost for 40 years. "What I would like people to know about is the freedom we (photographers) had and the ability we were given to tell the truth," Eppridge comments. "The press is controlled in such a way today that you almost never see the real person you're photographing. You're taking pictures of what their handlers want you to see."
Protecting Natural Resources
"After Bobby was killed, of course, I didn't do any more politics," he says. Instead, he took on more outdoor assignments; hunting, fishing, and environmental photography. Before they folded, Life let a lot of photographers go, but kept Eppridge. When the magazine ceased publication in December 1972, he moved on to Sports Illustrated, where he is still on the masthead. "I liked SI because they were doing the types of stories I enjoyed," he says. The publication sent him to Africa to do a story on poaching, which he describes as "interestingly scary." He's also covered six America's Cup competitions and five Winter Olympics. "The best-run games were in Sarajevo," Eppridge observes. "That was before the war destroyed that country." He describes his work with SI as "Sports with no balls," as he's no longer fond of shooting baseball, basketball, or football. "I prefer to do something that I've never done before," he remarks. "Rather than specialize, I'm a generalist."
When asked about advice for photographers starting out today, Eppridge emphasizes telling the truth. "I believe our world is at a time right now in which it should be documented completely." He says we should all be protectors of our environment and heritage. "If we can influence people with photographs, maybe we'll be able to maintain our planet."
See Bill Eppridge's historic photographs at Booth A-102 during Photo LA, January 13 - 17, 2011,.
DOUBLE EXPOSURE
By Lynne Eodice
Jan 11, 2011
All photos by Bill Eppridge.
In a notable career shooting primarily for Life and Sports Illustrated, Bill Eppridge has covered wars, political campaigns, heroin addiction, the arrival of the Beatles in the United States, the summer and winter Olympics, and perhaps the most dramatic moment of his career--the assassination of Senator Robert Kennedy in Los Angeles. His photography has won numerous awards and has appeared in traveling exhibits throughout the world. He has taught photojournalism at Yale University, the Missouri Photojournalism Workshop, Barnstorm: The Eddie Adams Workshop, Rich Clarkson's Photography at the Summit, and Sportsshooter Workshop.
When his family lived in Richmond, Virginia at the end of WWII, a man with a pony came to the Eppridge household one day and offered his photographic services. Bill Eppridge, who was about 10 at the time, got out his Brownie Starflash 620 camera and posed with it. "I started thinking, 'this guy doesn't have a bad job. He gets to travel, meets some interesting people and he's even got a pony.'" As a young boy, he waited for the mailman to deliver Life magazine every week, and always enjoyed the photographs by David Douglas Duncan, Robert Capa, and Henri Cartier-Bresson. "I was fascinated by this work and I felt that it affected the people who looked at these pictures." He was also moved by Joe Rosenthal's image of the flag being raised at Iwo Jima. "Over the years, I thought there was some power with this medium. If you can do a couple of good things for people in your life, then you've lived a good life," he remarks.
Joining the Ranks of his Heroes
After graduating from high school, Eppridge decided he wanted to be an archaeologist and attended the University of Toronto. He also took pictures for the Varsity, the campus newspaper. "By the end of my second year there, I was Director of Photography," he remembers. His grades in school began to slip, and he realized that photography was really where he wanted to be. One of the faculty members at the college advised him to go to the University of Missouri, as it was the best school for journalism.
Ethel Kennedy Leans Over Robert F. Kennedy As He Lies Wounded on Floor of Ambassador Hotel Kitchen, June, 1968 © Time
Twice, he won the National College Picture Competition sponsored by the National Press Photographers' Association (NPPA) and the University of Missouri. "In both cases, the first prize was an Encyclopedia Britannica and a week's internship at Life magazine," Eppridge says. "During those weeks, I met some of the people whose pictures I had seen as a child." One of his winning images was the result of a lucky accident, taken when a Columbia, Missouri newspaper needed a cover for its farm supplement. Eppridge agreed to take pictures of an impending tornadic storm, and pulled his car up alongside a farm just as the sky was turning black. A farm horse, which he describes as "an old plug," approached him. Eppridge slipped, making a sudden move that startled the horse, and it ran away. Shooting quickly, he got one dramatic picture of this off-white horse galloping against a dark, foreboding sky. "The old plug looked just like a thoroughbred," he relates. The image, titled, 'Stormy,' also won first place Pictorial in the NPPA's Pictures of The Year competition-- Eppridge credits it with starting his career. (And fortunately, the horse was fine, as the storm never really touched down.)
He says, "Most of the Missouri grads at the time migrated to National Geographic." Thus, he made inroads at both NGS and Life. His first assignment for NGS was a nine-month trip around the world with the International School of America. The trek started in Japan and moved across the continents to Europe. "I didn't attend classes like they did, so I was free to roam. It was a great way to get introduced to this profession and to the world outside," he recalls.
A Ground Floor Opportunity
He moved on to Life following the advice of his Picture Editor at NGS, Bill Garrett, who was also a graduate of Missouri. "He was a brilliant man," exclaims Eppridge, "who always had a very good sense of what was going on in the world." NGS had wanted Eppridge to remain in Washington while they laid the story out, and put him to work in the magazine's color lab as a technician. Once the story was laid out, the editor, Melville Bell Grosvenor wanted to make him a staff photographer. "I felt really wonderful about this," he says. "But a few days later, Garrett told me, 'you've got to get out of here. They want you on staff and you can't do that.'" Garrett told the young man that the world was, in essence, starting to "blow up," with unrest in Latin America and Southeast Asia. "You've got to photograph those places," he advised Eppridge. "You won't get a chance to do that if you stay here."
One of the judges of a picture competition that Eppridge had won was Roy Rowan, the Life Bureau Chief in Chicago. "I went to New York blindly with a portfolio under my arm," Eppridge says. "I didn't make any phone calls and didn't set anything up." He thought Life was a little out of reach, but hoped to get a free lunch from one of his friends there. "I went over to the Time-Life building and was standing at the corner of 51st and 6th Avenue. This voice behind me says, 'Eppridge, is that you?' and I turned around and said, 'Roy Rowan, is that you?'" As it turned out, Rowan was the new Director of Photography at Life, and told Eppridge they were looking for young photographers. He had an opportunity to start shooting for the magazine that afternoon, but since he hadn't brought his camera with him, he began his career with the venerable publication after moving to New York several weeks later. "The first assignment I shot ran in the magazine, and so did the next several stories," he says--an impressive feat, considering that Life had a very high "kill factor" at the time. Soon Life made Eppridge a staff photographer.
His assignments with the magazine marked some very important points in history, beginning with coverage of several wars in the early sixties. "I went to Panama, Santa Domingo, and Managua for those revolutions," Eppridge notes. "I spent some time in Mississippi when the bodies of three slain civil rights workers were found, and I was in Vietnam. It taught me that war ain't glorious at all--not made for human consumption." He also did a story on heroin addiction, where he lived with a pair of addicts in New York City for about three months, in an area known as Needle Park. "They were just being themselves because that's the way I work," he says. "I prefer to be a speck on the wall." The resulting story won several awards, including the National Headliners Award that year. It was also the inspiration for Al Pacino's first film, "Panic in Needle Park."
All in all, he's covered a wide range of stories for Life, including spending a week with Jonas Salk, the inventor of the Polio vaccine. He photographed the summer Olympics in Mexico, and spent time with Dick Butkus during his rookie year with the Chicago Bears. He was also the first photojournalist to be allowed to travel on tour with Lyndon B. Johnson during his presidency. "I was on Air Force One for several days," he comments. Eppridge also covered civil rights issues, and was with the family of James Chaney after his body was found, and photographed his funeral. "I was able to show how that family dealt with a terrible event."
Rock n' Roll History
In 1964, the magazine sent him on assignment on what would become a legendary rock band's historic arrival to the U.S. "One morning my boss said, 'Look, we've got a bunch of British musicians coming into town. They're called the Beatles.'" Eppridge, who wasn't really a rock n' roll fan, recalled that Life had recently done a story about a phenomenon known as Beatlemania--"The Beatles were running down the street with little girls screaming and running after them." His orders were to cover their arrival in New York from a unique vantage point where nobody else happened to be, so Eppridge went to JFK International Airport to scout out locations. "I wandered around and found a spot that I liked," he says. "So I set up there, leaned against a pole, and waited." Before long, another photographer headed in his direction, apparently also seeking a good location, and set his camera bag down about 20 feet from Eppridge. He made acquaintance with this photographer, who turned out to be the Pulitzer Prize-winning photojournalist Eddie Adams, on assignment from Associated Press.
"I decided I liked the guy, although he was competition," says Eppridge of that initial meeting. They discussed where the ideal spot would be to shoot the British group's arrival, and both concluded that it would be best to be on the plane, behind the Beatles as they came out the door, photographing them and the huge, uproarious crowd below. When the plane landed, the door opened, "and out came this beautiful Pan Am stewardess, followed by the Beatles, who were dressed like proper young men," he remembers. And lo and behold, a photographer followed them out the door of the plane. "Eddie and I just looked at each other," Eppridge says. It turned out that the photographer was Harry Benson, who was working for one of the British newspapers at the time.
Eppridge covered the first few days that the Beatles were in New York, and learned a lot about music. "These were four very fine young gentlemen, and great fun to be around," he says. After he introduced himself to Ringo, who consulted with John, the group asked what he wanted them to do while being photographed for Life. "I'm not going to ask you to do a thing," was Eppridge's reply. "I just want to be there." He was invited to come up to their hotel room and "stick with them." The resulting photos from this story were on display at the Smithsonian for an entire year. That exhibit is still traveling and is currently in Liverpool, England.
Motorcycle Race in Desert, 1971 © Bill Eppridge
A Pivotal Moment in Time
In 1966, he was assigned to cover Bobby Kennedy's political campaigns. "He endorsed candidates who had helped his brother," notes Eppridge. "But he was also testing the waters to see how his own candidacy would go over in '68." That year, Life asked him to cover Kennedy's campaign, beginning with the primaries. At that time, the magazine assigned one staffer to each major candidate. On June 5, 1968, at the Ambassador Hotel in Los Angeles, he was instructed by his boss to "stay as close as you can to Bobby. The editors here feel that if he wins California--which appears likely--he will probably be the next President of the United States." Back then, he says, you could do all your dealings directly with the candidate, no middleman involved. As opposed to the massive security today, Bobby Kennedy only had one bodyguard, Bill Barry.
Kennedy assured Eppridge that he would be part of his immediate group, which meant that wherever the Democratic candidate went, Eppridge wouldn't be far behind. "When he came off the stage, we would form an arrowhead-shaped wedge of photographers who would go through a crowd," he relates. "If people got pushed out of the way, then it was the press who did it and not the candidate." Being in the "pocket" of the wedge also gave Senator Kennedy freedom to move around and shake hands. "We had that wedge formed at Barry's direction to go out of a different exit," he says. "Bobby came off the stage, and came down to Barry, who said 'Senator, this way,' pointing across the room." But Bobby insisted on going out through the kitchen, which was the way they had entered. Again, Barry told him to go across the room, but the Senator refused, turned, and entered the kitchen.
"We couldn't scramble fast enough," Eppridge remembers. "We all headed towards the kitchen, but were behind him about 15 feet." As he tried to catch up, he went through the kitchen doors, and heard the sound of gunshots. It was eight shots. Thinking quickly, he grabbed the television cameraman and shoved him forward to utilize his light. Among the thoughts Eppridge had at that moment was a very loud and clear one: "You are not just a photojournalist, you're a historian."
Juan Romero, a busboy with whom Kennedy had been shaking hands, now cradled the Senator's head in his arms. Eppridge had time to capture only a few frames. "The first one was out of focus," he says. "In the second one, Romero is looking down at Kennedy, and in the third one, Romero was looking up with a pleading look." After that, the scene became bedlam. "You think you're in a position to help," he muses. "There were doctors in the room, and I knew I could only do my job because there was nothing I could do to help the Senator. So I just concentrated on doing my job."
Eppridge has published two photographic books on Bobby Kennedy. The first, titled The Last Campaign, was published in 1993 on the 25th anniversary of Senator Kennedy's death. The most recent one is entitled A Time It Was: Bobby Kennedy In The Sixties, (Abrams, June 2008) and includes never-before-published color photographs from the campaign that had been lost for 40 years. "What I would like people to know about is the freedom we (photographers) had and the ability we were given to tell the truth," Eppridge comments. "The press is controlled in such a way today that you almost never see the real person you're photographing. You're taking pictures of what their handlers want you to see."
Dennis Connor's Boat in America's Cup Race, Australia 1987 © Bill Eppridge
Protecting Natural Resources
"After Bobby was killed, of course, I didn't do any more politics," he says. Instead, he took on more outdoor assignments; hunting, fishing, and environmental photography. Before they folded, Life let a lot of photographers go, but kept Eppridge. When the magazine ceased publication in December 1972, he moved on to Sports Illustrated, where he is still on the masthead. "I liked SI because they were doing the types of stories I enjoyed," he says. The publication sent him to Africa to do a story on poaching, which he describes as "interestingly scary." He's also covered six America's Cup competitions and five Winter Olympics. "The best-run games were in Sarajevo," Eppridge observes. "That was before the war destroyed that country." He describes his work with SI as "Sports with no balls," as he's no longer fond of shooting baseball, basketball, or football. "I prefer to do something that I've never done before," he remarks. "Rather than specialize, I'm a generalist."
When asked about advice for photographers starting out today, Eppridge emphasizes telling the truth. "I believe our world is at a time right now in which it should be documented completely." He says we should all be protectors of our environment and heritage. "If we can influence people with photographs, maybe we'll be able to maintain our planet."
See Bill Eppridge's historic photographs at Booth A-102 during Photo LA, January 13 - 17, 2011,.
Longest Running Art Fair West of New York Celebrates Its 20th Anniversary, Opens January 13
Via The ArtDaily.Org
January 12, 2011
LOS ANGELES.- In recent years, Los Angeles has experienced a rapid growth of contemporary art galleries along with an expansion of local museum programs highlighting emerging art making it a required destination for curators and collectors. As a marketplace for the Arts, it now rivals New York City. Glenn Lowry, Director of MoMA, recently said in the WSJ, “The art world is a very fluid place, but there is no question that L.A. is very hot at the moment.”
photo l.a.XX, celebrating it’s 20th Anniversary, is the longest running art fair west of New York and is the largest photo-based art fair in the country with over 10,000 attendees. It brings together photography dealers from around the globe, displaying the finest contemporary photography, video and multi-media installations along with masterworks from the 19th century. This is the 48th art fair produced by Stephen Cohen, Director of photo l.a. XX including artLA, photo san francisco, photo MIAMI, photo santa fe, photo NY and the first vernacular photography fair in NYC.
artLA was created in 2004 as a public event bringing together a mix of national and international galleries, artists, collectors and curators for a visual dialogue on the current art scene. Its ongoing commitment to presenting the most challenging art being produced today, has led to the creation of artLA projects, an ongoing citywide program of dynamic and innovative installations, exhibitions, seminars and conversations with established and cutting-edge artists in all media.
photo l.a. XX + artLA projects, returns to the historic Santa Monica Civic with an added 7,000 square foot tented canopy entry. This grand entrance provides space for sculpture, installations, book signings and seating. Attendees will enjoy an expansive lobby that includes a Phaidon bookstore, seating area, café, coffee bar and cupcake corner. There is new VIP balcony lounge and video viewing area.
The launch of artLA projects is a prelude to a much larger artLA 2011 that will align with the Los Angeles Contemporary Art Forum, a new art fair in the fall of 2011 created by the team that produces the Armory Show, Art Chicago, Next, Art Toronto and Volta. As the City heads into the Pacific Standard Time era this fall, Los Angeles is the place to be and artLA 2011 will be the satellite fair of new and emerging art that will parallel the energy and excitement of the newest art fair coming to Los Angeles
January 12, 2011
Bill Eppridge, "Robert F. Kennedy campaigns with various aides and friends" former prizefighter Tony Zale and (right of Kennedy) N.F.L. stars Lamar Lundy, Rosey Grier, and Deacon Jones, 1968"
LOS ANGELES.- In recent years, Los Angeles has experienced a rapid growth of contemporary art galleries along with an expansion of local museum programs highlighting emerging art making it a required destination for curators and collectors. As a marketplace for the Arts, it now rivals New York City. Glenn Lowry, Director of MoMA, recently said in the WSJ, “The art world is a very fluid place, but there is no question that L.A. is very hot at the moment.”
photo l.a.XX, celebrating it’s 20th Anniversary, is the longest running art fair west of New York and is the largest photo-based art fair in the country with over 10,000 attendees. It brings together photography dealers from around the globe, displaying the finest contemporary photography, video and multi-media installations along with masterworks from the 19th century. This is the 48th art fair produced by Stephen Cohen, Director of photo l.a. XX including artLA, photo san francisco, photo MIAMI, photo santa fe, photo NY and the first vernacular photography fair in NYC.
artLA was created in 2004 as a public event bringing together a mix of national and international galleries, artists, collectors and curators for a visual dialogue on the current art scene. Its ongoing commitment to presenting the most challenging art being produced today, has led to the creation of artLA projects, an ongoing citywide program of dynamic and innovative installations, exhibitions, seminars and conversations with established and cutting-edge artists in all media.
photo l.a. XX + artLA projects, returns to the historic Santa Monica Civic with an added 7,000 square foot tented canopy entry. This grand entrance provides space for sculpture, installations, book signings and seating. Attendees will enjoy an expansive lobby that includes a Phaidon bookstore, seating area, café, coffee bar and cupcake corner. There is new VIP balcony lounge and video viewing area.
The launch of artLA projects is a prelude to a much larger artLA 2011 that will align with the Los Angeles Contemporary Art Forum, a new art fair in the fall of 2011 created by the team that produces the Armory Show, Art Chicago, Next, Art Toronto and Volta. As the City heads into the Pacific Standard Time era this fall, Los Angeles is the place to be and artLA 2011 will be the satellite fair of new and emerging art that will parallel the energy and excitement of the newest art fair coming to Los Angeles
Tuesday, January 11, 2011
ON THE ROAD TO PHOTO LA
Ernst Haas: Utah, 1952
We are loading the van and heading west today, next stop Photo LA January 13 - 17. Our Twitter and Facebook updates may be a bit sparse as we drive across I-40, but we will update as possible. We hope you can visit us in booth A-102!
Related: Photo LA January 13 - 17
Monday, January 10, 2011
THE LONDON ART FAIR: PHOTOGRAPHY DAY
London Art Fair
The London Art Fair presents over 100 galleries featuring the great names of 20th Century British art and exceptional contemporary work from leading figures and emerging talent January 19 - 23.
You’ll also find solo shows and curated group displays in our Art Projects section, with galleries drawn from across the world, while Photo50 is a showcase for contemporary photography with 50 works selected by a distinguished panel.
For information on dates, times and tickets for London Art Fair 2011 click here.
Photo50 is our showcase for contemporary photography. Now in its fifth year it will feature 50 works by artists selected by a distinguished panel with both established artists and less well known figures. This year’s panel includes Zelda Cheatle, Curator and Director of the Tosca Fund Photography Collection, Celia Davies, Head of Projects for Photoworks, Sebastien Montabonel, European Senior Specialist of Photographs at Phillips de Pury and Joanna Pitman of The Times. We asked each member of the panel to nominate up to three artists and then introduce their work.
A Photography Focus Day on Wednesday 19 January 2011 will feature a series of discussions and tours dedicated to contemporary photography. Some of the highlights below:
Image Fatigue: Can photographs still be a catalyst for positive social change in a world saturated with images?
In association with PhotoVoice
12.00 – 1.00 Leading photography professionals discuss past and present campaigns that use socially driven imagery and ask whether they still have an impact in today’s media, and if so what makes these images successful in driving social change. The discussion is led by Marc Schlossman (PhotoVoice Trustee and photographer) with Gideon Mendel (Photojournalist) and Jessica Crombie (Film and Photography Manager, Save the Children).
On The Ephemeral in Photography
In association with Hotshoe Gallery and ORDINARY-LIGHT Photography
1.30 – 2.30 A panel discussion considering the etymology and characterisations of the ephemeral in photography and the wider concept of the ephemeral as it appears in culture and the arts. This session will be led by Daniel Campbell Blight (Director, Hotshoe Gallery) with Rut Blees Luxemburg (artist), Julian Stallabrass (Reader, The Courtauld Institute of Art) and Douglas Murphy (author of The Architecture of Failure, forthcoming from Zero Books).
(D)e-materialization and Photography in the Age of Technological Advance
In association with Hotshoe and ORDINARY-LIGHT Photography
3.00 – 4.00 A discussion of the (d)e-materialization of the photographic record in the age of technological advance. Led by Brad Feuerhelm (Director, ORDINARY-LIGHT Photography) , the panel includes Simon Bainbridge (Editor, British Journal of Photography) Charlotte Cotton (Creative Director, London Galleries, National Media Museum ), Jason Evans (artist, writer and lecturer) and Trish Morrisey (artist).
Politics in Photography
In association with Photoworks
4.30 – 5.30 This session focuses on contemporary photography concerned with the current socio-political climate in the UK. It considers the artists position in providing an important commentary on social change, political unrest and challenging political conventions. Speakers include: Anna Fox (artist and Professor of Photography, University of the Creative Arts), Lisa Barnard (artist, exhibiting in Photo50 at London Art Fair) and Steve Edwards (Senior Lecturer in Art History, Open University).
Collecting Contemporary Art
In association with the Contemporary Art Society
6.30 – 7.15 and 7.30 – 8.15 Now celebrating its centenary year, the Contemporary Art Society is the UK's leading authority on contemporary collecting. Over the last 100 years they have purchased the work of seminal artists early in their careers - Paul Gauguin, Pablo Picasso, Francis Bacon and Damien Hirst – and enjoy a unique and enviable reputation for being 'ahead of the curve'. These talks give you an opportunity to draw on their expertise to help you develop your own collection. The talks are led by Henry Little (Public Programmes Manager) and Dida Tait (Head of Membership and Market Development)
Related: The 20th Anniversary Edition of Photo LA January 13 - 17.
The London Art Fair presents over 100 galleries featuring the great names of 20th Century British art and exceptional contemporary work from leading figures and emerging talent January 19 - 23.
You’ll also find solo shows and curated group displays in our Art Projects section, with galleries drawn from across the world, while Photo50 is a showcase for contemporary photography with 50 works selected by a distinguished panel.
For information on dates, times and tickets for London Art Fair 2011 click here.
Photo50 is our showcase for contemporary photography. Now in its fifth year it will feature 50 works by artists selected by a distinguished panel with both established artists and less well known figures. This year’s panel includes Zelda Cheatle, Curator and Director of the Tosca Fund Photography Collection, Celia Davies, Head of Projects for Photoworks, Sebastien Montabonel, European Senior Specialist of Photographs at Phillips de Pury and Joanna Pitman of The Times. We asked each member of the panel to nominate up to three artists and then introduce their work.
A Photography Focus Day on Wednesday 19 January 2011 will feature a series of discussions and tours dedicated to contemporary photography. Some of the highlights below:
Image Fatigue: Can photographs still be a catalyst for positive social change in a world saturated with images?
In association with PhotoVoice
12.00 – 1.00 Leading photography professionals discuss past and present campaigns that use socially driven imagery and ask whether they still have an impact in today’s media, and if so what makes these images successful in driving social change. The discussion is led by Marc Schlossman (PhotoVoice Trustee and photographer) with Gideon Mendel (Photojournalist) and Jessica Crombie (Film and Photography Manager, Save the Children).
On The Ephemeral in Photography
In association with Hotshoe Gallery and ORDINARY-LIGHT Photography
1.30 – 2.30 A panel discussion considering the etymology and characterisations of the ephemeral in photography and the wider concept of the ephemeral as it appears in culture and the arts. This session will be led by Daniel Campbell Blight (Director, Hotshoe Gallery) with Rut Blees Luxemburg (artist), Julian Stallabrass (Reader, The Courtauld Institute of Art) and Douglas Murphy (author of The Architecture of Failure, forthcoming from Zero Books).
(D)e-materialization and Photography in the Age of Technological Advance
In association with Hotshoe and ORDINARY-LIGHT Photography
3.00 – 4.00 A discussion of the (d)e-materialization of the photographic record in the age of technological advance. Led by Brad Feuerhelm (Director, ORDINARY-LIGHT Photography) , the panel includes Simon Bainbridge (Editor, British Journal of Photography) Charlotte Cotton (Creative Director, London Galleries, National Media Museum ), Jason Evans (artist, writer and lecturer) and Trish Morrisey (artist).
Politics in Photography
In association with Photoworks
4.30 – 5.30 This session focuses on contemporary photography concerned with the current socio-political climate in the UK. It considers the artists position in providing an important commentary on social change, political unrest and challenging political conventions. Speakers include: Anna Fox (artist and Professor of Photography, University of the Creative Arts), Lisa Barnard (artist, exhibiting in Photo50 at London Art Fair) and Steve Edwards (Senior Lecturer in Art History, Open University).
Collecting Contemporary Art
In association with the Contemporary Art Society
6.30 – 7.15 and 7.30 – 8.15 Now celebrating its centenary year, the Contemporary Art Society is the UK's leading authority on contemporary collecting. Over the last 100 years they have purchased the work of seminal artists early in their careers - Paul Gauguin, Pablo Picasso, Francis Bacon and Damien Hirst – and enjoy a unique and enviable reputation for being 'ahead of the curve'. These talks give you an opportunity to draw on their expertise to help you develop your own collection. The talks are led by Henry Little (Public Programmes Manager) and Dida Tait (Head of Membership and Market Development)
Related: The 20th Anniversary Edition of Photo LA January 13 - 17.
Friday, January 7, 2011
EXHIBITIONISM: A peek at what's showing around town features Monroe Gallery's current exhibit
Pasatiempo
The New Mexican's Weekly Magazine of Arts, Entertainment, and Culture
January 7 - 18, 2011
White evergreens in Quebec, coal miners in Ukraine, and a young Truman Capote skating in Rockefeller Center - 'Tis The Season, a group show at the Monroe Gallery of Photography (112 Don Gaspar Avenue, 505.992.0800) captures the beauty, mystery, and effects of snow and ice.
Exhibition continues through January 30, 2011.
The New Mexican's Weekly Magazine of Arts, Entertainment, and Culture
January 7 - 18, 2011
Shepard Sherbell: Nentsy Family at minus 70 degrees, Siberian Arctic, 1992
White evergreens in Quebec, coal miners in Ukraine, and a young Truman Capote skating in Rockefeller Center - 'Tis The Season, a group show at the Monroe Gallery of Photography (112 Don Gaspar Avenue, 505.992.0800) captures the beauty, mystery, and effects of snow and ice.
Exhibition continues through January 30, 2011.
Wednesday, January 5, 2011
PHOTO LA January 13 - 17
Monroe Gallery of Photography is delighted to once again exhibit at Photo LA, January 13 - 17, 2011. Photo LA continues to be one of the most prestigious photography fairs in the country, bringing together galleries and private dealers from around the globe. This year the fair celebrates its 20th annual edition, and will be held at the Santa Monica Civic Auditorium. Monroe Gallery is located in booth A102, front and center in the East Wing.
Monroe Gallery of Photography will be exhibiting specially selected work from the gallery's collection: important and historic photojournalism and civil rights photography, including the first-ever exhibits of Grey Villet and White House photographer Eric Draper; new photographs from Stephen Wilkes' acclaimed "Day Into Night" series; and photographs from classic movies of the 1950's by Richard C. Miller. And much more!
Grey Villet: Martin Luther King at Police Headquarters, as he argued to reject bail and serve his sentence for disturbing the peace in Montgomery, Alabama, 1958
Eric Draper: Oval Office, January 26, 2001
Stephen Wilkes: Central Park, Day Into Night, New York, 2010
Richard C. Miller: James Dean taking a break from filming "Giant", Marfa, Texas
The fair opens with a benefit reception for the Wallis Annenberg Photography Department at LACMA
on Thursday, January 13, 2011, 6:00-9:00 p.m. William Eggelston is this year's honorary Guest Host, for more information and tickets click here. Fair hours are 11 - 7 Friday - Sunday, and this year the fair has added an extra day for Monday, Martin Luther King day, 11 - 6. (More here)
Programming information, including lectures, seminars and book-signings may be found here.
Monroe Gallery will feature numerous other renowned photographs in booth A-102. We look forward to welcoming you to our booth at Photo LA!
Tuesday, January 4, 2011
2010 Photography Auction Summary
The DLK Collection Blog is always on our daily "must read" list. In case you may have missed it, yesterday they posted a highly informative review of 2010's photography auctions. The results were quite astonishing:
"Across the photography auction market for the entire year, the total sale proceeds taken together were $136,948,680, up by more than 83% from last year's total of $74,612,997. These numbers were driven by both higher average selling prices and better sell through."
The article concludes: "Overall, in a year of stabilization and renewed growth, Christie's seems to have taken it to its competitors a bit. The house doubled its total sale proceeds for photography from the previous year, dramatically increased its average selling price per lot (even when diluted by a sale of lower priced photobooks), and took share from the market.
Looking forward, if the economic environment continues to slowly but steadily improve, I think we can expect that 2011 will be another solid year at auction. Big numbers are driven by the quality of material that is consigned and the overall confidence in the marketplace; 2010 had the landmark Penn, Avedon, and Polaroid sales (among others) and the beginnings of forward looking optimism. For 2011 to top 2010, we'll need to see more superlative material come out into the markets, particularly in the realm of photography that is classified as contemporary art, and we'll have to see a continued positive outlook from collectors."
Read the full post here.
Related: Thoughts on the Fall Auctions
The Trumph of Photography
"Across the photography auction market for the entire year, the total sale proceeds taken together were $136,948,680, up by more than 83% from last year's total of $74,612,997. These numbers were driven by both higher average selling prices and better sell through."
The article concludes: "Overall, in a year of stabilization and renewed growth, Christie's seems to have taken it to its competitors a bit. The house doubled its total sale proceeds for photography from the previous year, dramatically increased its average selling price per lot (even when diluted by a sale of lower priced photobooks), and took share from the market.
Looking forward, if the economic environment continues to slowly but steadily improve, I think we can expect that 2011 will be another solid year at auction. Big numbers are driven by the quality of material that is consigned and the overall confidence in the marketplace; 2010 had the landmark Penn, Avedon, and Polaroid sales (among others) and the beginnings of forward looking optimism. For 2011 to top 2010, we'll need to see more superlative material come out into the markets, particularly in the realm of photography that is classified as contemporary art, and we'll have to see a continued positive outlook from collectors."
Read the full post here.
Related: Thoughts on the Fall Auctions
The Trumph of Photography
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