Wednesday, May 11, 2011

Charles Moore: Civil Rights and Beyond

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Via La Lettre de la Photographie


Charles Moore (1931- 2010) is the most important civil rights era photographer. His searing images of conflict between demonstrators and law enforcement helped propel landmark civil rights legislation.


Moore, the son of a Baptist preacher and car salesman, was born in Hackleburg, Alabama, not far from the birthplace of Helen Keller. In 1958, at 27 years old, as a photographer for the Montgomery Advertiser in Alabama, Moore was on hand to photograph the arrest of the Reverend Martin Luther King, Jr. by two policemen. His photos of the event were distributed nationwide by the Associated Press, and one was published in Life magazine. This photo pushed the regional story into a national debate. It also launched Moore’s long, historic career producing images of the civil rights movement for a nation that would be “shocked and shaken in their conscience” by the images Moore put in their hands.

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Over the next seven years, Moore made some of the most significant pictures of the civil rights movement. As a contract photographer for Life magazine, Moore traveled the South to cover the evolving struggle. His photographs helped bring the reality of the situation to the magazine’s huge audience, which at the time comprised over half the adults in the United States.

Some of the major civil rights era events that Moore covered:

the early efforts of Dr. King to desegregate Montgomery, Alabama, 1958-60;

the violent reaction to the enrollment of James Meredith as the first black student at the University of Mississippi, 1962;

the Freedom March from Tennessee to Mississippi, 1963;

the campaign to desegregate Birmingham, Alabama, 1963;

voter registration drives in Mississippi, 1963-1964;

Ku Klux Klan activities in North Carolina, 1965;

and the marches from Selma to Montgomery, Alabama, 1965.

Moore also photographed the civil war in the Dominican Republic, political violence in Venezuela and Haiti, and the Vietnam conflict. In 1989, Charles Moore received the Kodak Crystal Eagle Award for Impact in Photojournalism. Moore died in March 2010, at age 79, in Palm Beach Gardens, Florida.

His work is in the permanent collections of the Museum of Modern Art, New York; the Metropolitan Museum, New York; the San Francisco Museum of Modern Art, New York; the Museum of Fine Arts, Houston; the Chrysler Museum, Norfolk; the High Museum, Atlanta; the National Portrait Gallery, Washington, DC; The Menil Collection, Houston; and many others.

Recently, the Steven Kasher gallery in New York present the most comprehensive exhibition of photography by Charles Moore ever undertaken by a gallery or museum. The exhibition, Charles Moore: Civil Rights and Beyond, featured approximately 60 prints, mostly vintage, drawn from the photographer’s estate.


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Tuesday, May 10, 2011

PBS "FREEDOM RIDERS" DOCUMENTARY TO BROADCAST MAY 16


Paul Schutzer: Freedom Riders Julia Aaron & David Dennis sitting on board interstate bus as they and 25 others are escorted by 2 National Guardsmen holding bayonets, on way from Montgomery, AL to Jackson, MS, May, 1961




Kennedys, King Recall 1961’s Freedom Riders
Via Bloomberg


With a thriller’s pace and the emotional heft of a battlefield journal, PBS’s remarkable new documentary “Freedom Riders” recounts the bloody anti- segregation bus rides of 1961 that helped kill Jim Crow in the Deep South.

Combining new interviews with the aging riders with harrowing footage of their brave, battered younger selves, “Freedom Riders” brings to vivid life a wrenching moment in American history. Fifty years on and with the movement’s successes long charted, this installment of PBS’s “American Experience” reconstructs those tense weeks with edgy momentum.

In May 1961, civil rights activists, both black and white, boarded several Greyhound and Trailways buses in Washington D.C., en route to New Orleans. At various points, including Birmingham, Alabama, and Jackson, Mississippi, the nonviolent participants would challenge state laws by ignoring signs separating “whites” and “coloreds” at bus-station waiting areas and diners.

Though hardly naive, the riders (and, quickly enough, the nation) were stunned by the savage response. In Anniston, Alabama, a full bus was torched and the riders attacked with baseball bats as they disembarked. Birmingham police, led by the defiantly racist Bull Connor, looked away as the local Ku Klux Klan beat male and female civil-rights activists senseless.

Call From Kennedys

“Freedom Riders” also delves beyond the history-book basics, revealing behind-the-scenes machinations of the nation’s most powerful men.

President John Kennedy and his brother, Attorney General Robert Kennedy, consumed and distracted by Cold War politics, were drawn inexorably into the headline-making Southern chaos. Martin Luther King, at first opposed to the dangerous campaign, soon became a symbol of the movement, even as younger activists questioned his relevance.

With a thorough roster of interviewees, writer and director Stanley Nelson weaves together various strands and perspectives into propulsive storytelling. Among the participants: John Patterson, the governor of Alabama who refused a telephone plea for help from the Kennedys, and John Seigenthaler, an administrative assistant to Robert Kennedy sent to quell the violence.

But the story belongs to the riders: Charles Person, a Morehouse College student and youngest member of the first wave of activists; Diane Nash, a student leader in Nashville, Tennessee, who organized replacements when the initial riders were beaten and arrested; and Jim Zwerg, a white student from Wisconsin attacked by Klansmen.

Those three are just a few of the more than 400 people who eventually boarded the nation’s buses that summer in the name of civil rights. Nelson does them all justice.

“Freedom Riders” airs May 16 on PBS at 9 p.m. New York time. Check your local listings.

(Greg Evans is a critic for Muse, the arts and leisure section of Bloomberg News. Opinions expressed are his own.)

To contact the writer on the story: Greg Evans at gregeaevans@yahoo.com

Monday, May 9, 2011

2011: WOMEN IN PHOTOGRAPHY

Two seemingly disparate blog posts caught our attention today:





Hillary Clinton, Audrey Tomason go missing in Situation Room photo in Der Tzitung newspaper

The Washington Post
By Melissa Bell


Update: Der Tzitung responded in an emailed statement, that the photo editor did not read the fine print on the picture and the newspaper has since apologized to the White House and State Department. “In accord with our religious beliefs, we do not publish photos of women, which in no way relegates them to a lower status... Because of laws of modesty, we are not allowed to publish pictures of women, and we regret if this gives an impression of disparaging to women, which is certainly never our intention. We apologize if this was seen as offensive.” Read the full statement at the bottom of this post.



Why Is a Photojournalist’s Gender Relevant to Their Work?

Black Star Rising
by Paul Melcher
I’ve never been able to identify a photojournalist’s gender from the photos she takes. Have you?


When Margaret Bourke-White photographed the Nazi death camps for Life magazine, no one cared if she was a woman or not. Her images told the story and that was that.

So why is it so important for some photographers to define themselves as “women photojournalists,” rather than simply as “photojournalists”?   Full post here. One rebuke here.


We are not sure if there is a broader context to these two posts....your thoughts?

New York Photo Festival - May 11-15, 2011



Photo: Balazs Gardi






New York Photo Festival - May 11-15, 2011


CURATED BY ENRICO BOSSAN AND ELISABETH BIONDI


Taking place throughout DUMBO, Brooklyn.

Ticket information here. Tickets will also be available at 1 Main Street Storefront, starting Thursday, May 12 @ 11am


Exhibition Hours
Wednesday, May 11 - 5:00 p.m. to 7:00 p.m.
Thursday, May 12 - 12:00 p.m. to 10:00 p.m.
Friday, May 13 - 11:00 a.m. to 8:00 p.m.
Saturday, May 14 - 11:00 a.m. to 8:00 p.m.
Sunday, May 15 - 11:00 a.m. to 7:00 p.m.

https://www.brownpapertickets.com/event/172633


Full details here

This year’s main exhibitions, curated by Enrico Bossan and Elisabeth Biondi (on show at the 81 Front Street Storefront) are presented under the shared rubric PHOTOGRAPHY NOW: engaged, personal, and vital. They offer distinct perspectives on a shared theme: the state of documentary photography today.

Bossan’s show, entitled Hope, features the work of young photographers who, in his words, "neither provide a faithful representation of reality nor create an illusion, but who have impressed me with their ability to capture the essential aspects of life." These artists include Olivia Arthur, Clemence de Limburg, Matt Eich, Simona Ghizzoni, Andrea Gjestvang, Sean Lee, Margo Ovcharenko, Andy Spyra, Mikhael Subotzky, Ali Taptik and Peter van Agtmael. Bossan grants that photography can portray the world at its bleakest, but suggests that it can also—and, in fact, must—remain oriented toward what lies ahead.

Curated by Elisabeth Biondi, Subjective/Objective argues that documentary photography today is remarkably vibrant and creatively thriving, despite the bleak financial picture and vanishing support from a publishing industry challenged by digital media. She has selected photographers who refract reality through their own distinct visions, often venturing into more personal visual languages. Subjective/Objective will include the work of Alejandro Chaskielberg, Stefano De Luigi, Carolyn Drake, Martine Fougeron, Balazs Gardi, Jessica Hines, Ethan Levitas, Irina Werning and A Yin.

In addition to their respective exhibitions, Bossan and Biondi are jointly curating a room of work by photographers Shaul Schwarz and Richard Mosse that reveals the common ground in the curators’ perspectives.

A separate venue, located at 30 Washington Street, will feature multimedia works by artists CIA DE FOTO and Ben Lowy, as well as six viewing booths featuring work by such industry luminaries as MediaStorm and Panos Pictures.

About the New York Photo Festival

Designed to be a New York counterpart and thematic successor to the prestigious European photo festivals Les Rencontres d’Arles, PHotoEspaƱa, Perpignan and Visa pour l’Image—and American festivals such as FotoFest in Texas—the New York Photo Festival creates an international atmosphere of inspiring visual installations, professional and aficionado fellowship and camaraderie, and news-worthy staged presentations, awards ceremonies, and symposia over the course of four-and-a-half days during the busiest photography month in New York City.

The festival was founded by Daniel Power and Frank Evers. The inaugural NYPH (May 14–18, 2008) proved an astounding success, with over 15,000 tickets sold, 2,500 industry professionals and artists, 1,000 members of the international press, packed seating for all day and evening programming events at St. Ann’s Warehouse (450 capacity), 20 countries represented in curated and satellite pavilions, 85,000 clicked site visits, 47,000 blog posts, 2.5 million unique visits to www.nyphotofestival.com, 49 media partners, and over 3,000 submissions from 87 countries for the New York Photo Awards (www.newyorkphotoawards.com). Each year, the New York Photo Festival has been bigger in all respects.

The festival is headquartered in DUMBO, Brooklyn, NY.

Sunday, May 8, 2011

MOTHER'S DAY, 2011


Nina Leen: Housewife Marjorie McWeeney under Helene Curtis brand hairdryer as she has a manicure while keeping an eye on her baby beside her in his bassinet at beauty parlor. Rye, NY, June 1947

Saturday, May 7, 2011

...AND THEY'RE OFF!

Neil Leifer: The 1965 Kentucky Derby, with Lucky Debonaire and Bill Shoemaker, Churchill Downs, May 1, 1965.




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Neil Leifer: The First Turn,  1965 Kentucky Derby
 


It’s really easy to name the most incredible athlete I’ve ever seen, and I always say it was Muhammad Ali, but when you really sit down to think about it, I’m not so sure that the most incredible performance I’ve ever seen was at an Ali fight. I’ve never photographed Tiger Woods, but watching Tiger on television in 2000 gave you the same feeling as watching Secretariat run away with the Triple Crown races in 1973. This picture was taken at the finish line of the Kentucky Derby. Look closely at it: have you ever seen a more powerful-looking athlete, or should I say a horse? It also clearly shows how convincing Secretariat’s Derby victory was, and this victory wasn’t nearly as convincing as the one he would pull off at the Belmont Stakes five weeks later. The picture is also very different from the traditional under-the-rail finish line shot. I forgot about the famed spires for this picture and isolated Secretariat. It was a gamble, but it worked out beautifully. I had no idea how great Secretariat was, and what a legend he would become. Five weeks later everyone knew. People had always talked about a Triple Crown winner when I was growing up, but it seemed like it would never happen again. Then along came Secretariat, and not only did it happen, but in a style so convincing that it was hard to believe that any single athlete/horse could be so better than his competition.
 -- Neil Leifer

Neil Leifer: Secretariat, The Kentucky Derby, Churchill Downs, Louisville, KY, May 5, 1973


The Kentucky Derby Website

Friday, May 6, 2011

COMPOSING THE ARTIST

Rene Magritte, MOMA, New York, 1965
Steve Schapiro: Rene Magritte, Museum of Modert Art, New York, 1965


Monroe Gallery of Photography, 112 Don Gaspar, is pleased to announce "Composing The Artist", an extensive survey of more than 50 classic photographs portraying iconic personalities from the arts as captured by renowned photographers. The exhibition opens with a reception on Friday, May 6, from 5 to 7 PM. "Composing The Artist" will continue through June 26.


The common definition of an "artist" is one who is able, by virtue of imagination and talent or skill, to create works of aesthetic value, especially in the fine arts. Photographs of artists and writers across the centuries have shaped our sense of what they do. Photographs in the exhibit include images of visual artists and classic writers, at work, in quiet contemplative moments and in portraiture. In these photographs the essential personality of the artist is revealed, and an image of the past becomes visual history. Other pictures also brilliantly match artworks with the personality and appearance of their creators: they are not just at one with their working environment, they are their work.

View the exhibit here.


Related: Guardian Newspaper Series: Photographer Steve Schapiro's Best Shot

Thursday, May 5, 2011

THEN, AND NOW: GROUND ZERO



Ground Zero, New York City, September 14, 2001
Eric Draper: Ground Zero, New York City, September 14, 2001



May 5, 2011: On a morning so clear, so blue and so sunny that it recalled the morning of September 11, 2011, President Barrack Obama arrived in New York  to lay a wreath at the 9/11 Memorial and meet with families of September 11 victims and, along the way, to meet with firefighters at a Midtown firehouse that lost 15 men on September 11.

fire station
Doug Mills/The New York Times



Image: Barack Obama
President Obama laid a wreath at ground zero on Thursday, May 5, 2011
AP


Wednesday, May 4, 2011

ERNST HAAS: New York: Magic City



Clouds and Skyline, New York, 1957


ERNST HAAS "NEW YORK, MAGIC CITY" IN PARIS

May 6 - June 4, 2011

Details here. (in French)

Gallerie Basai Embiricos

Gallerie Photo 12


Ernst Haas (1921-1986) is considered one of the most important photographers of the second part of the 20th century. Haas attended medical school in Austria, but, in 1947, left to become a staff photographer for the magazine Heute. His photo essay for the magazine on prisoners of war coming home to Vienna won him acclaim and an offer to join Magnum Photos from Robert Capa. Haas and Werner Bischof were the first photographers invited to join Magnum by the founders Capa, David "Chim" Seymour, Henri Cartier-Bresson, George Rodger and Bill Vandivert.

Haas moved to New York City and in 1953 produced a 24-page, color photo essay on the city for Life Magazine. Life then commissioned similar photo spreads on Paris and Venice. In 1962, the Museum of Modern Art mounted a one-man show of Haas' color photos. Haas' first photo book, Elements, was published the next year.

In 1964, film director John Huston hired Haas to direct the creation sequence for Huston's 1964 film, The Bible. Haas continued working on the theme, producing the photo book, The Creation in 1971. Other photography books by Haas included In America in 1975, a tribute to his adopted country for its bicentennial year; Deutschland in 1977; and Himalayan Pilgrimage in 1978. Other films that Haas worked on included The Misfits in 1961, Hello, Dolly! in 1969, Little Big Man in 1970, and Heaven's Gate in 1980. Haas also photographed a number of advertising campaigns for Marlboro cigarettes.

In 1986, Haas received the Hasselblad Award for his photography. He died September 12, 1986. (More here)

The Paris exhibitions are conducted under the direction of Victoria and Alex Haas will include a selection of previously unpublished photographs. It will include vintage prints, contemporary prints and dye transfer prints.

Related - New Book: Colour Correction by Ernst Haas, published by Steidl





The Cross, New York, 1966

Tuesday, May 3, 2011

50 years later, Freedom Rides still resonate

The first Freedom Ride took place on May 4, 1961 when seven blacks and six whites left Washington, D.C., on two public buses bound for the Deep South. They intended to test the Supreme Court's ruling in Boynton v. Virginia (1960), which declared segregation in interstate bus and rail stations unconstitutional.


In the first few days, the riders encountered only minor hostility, but in the second week the riders were severely beaten. Outside Anniston, Alabama, one of their buses was burned, and in Birmingham several dozen whites attacked the riders only two blocks from the sheriff's office. With the intervention of the U.S. Justice Department, most of CORE's Freedom Riders were evacuated from Birmingham, Alabama to New Orleans. John Lewis, a former seminary student who would later lead SNCC and become a US congressman, stayed in Birmingham.
 
 
DESCRIPTION
Joseph Postiglione
(Collection of the Birmingham Civil Rights Institute)
The aftermath of a mob attack on a Freedom Ride bus in Anniston, Alabama

CORE Leaders decided that letting violence end the trip would send the wrong signal to the country. They reinforced the pair of remaining riders with volunteers, and the trip continued. The group traveled from Birmingham to Montgomery without incident, but on their arrival in Montgomery they were savagely attacked by a mob of more than 1000 whites. The extreme violence and the indifference of local police prompted a national outcry of support for the riders, putting pressure on President Kennedy to end the violence.

The riders continued to Mississippi, where they endured further brutality and jail terms but generated more publicity and inspired dozens more Freedom Rides. By the end of the summer, the protests had spread to train stations and airports across the South, and in November, the Interstate Commerce Commission issued rules prohibiting segregated transportation facilities.  (via CORE)

More: It’s been 50 years now, but there are times when Charles Person still finds it hard to talk about the summer of 1961 without his voice breaking.


Steve Schapiro: Summer of 1965 Freedom Bus Riders