At 8:32 Sunday Morning, May 18, 1980, Mount St. Helens Erupted

Bill Eppridge: Mt. St. Helen's Survivors, July, 1980




Shaken by an earthquake measuring 5.1 on the Richter scale, the north face of this tall symmetrical mountain collapsed in a massive rock debris avalanche. In a few moments this slab of rock and ice slammed into Spirit Lake, crossed a ridge 1,300 feet high, and roared 14 miles down the Toutle River.


The avalanche rapidly released pressurized gases within the volcano. A tremendous lateral explosion ripped through the avalanche and developed into a turbulent, stone-filled wind that swept over ridges and toppled trees. Nearly 150 square miles of forest was blown over or left dead and standing.

At the same time a mushroom-shaped column of ash rose thousands of feet skyward and drifted downwind, turning day into night as dark, gray ash fell over eastern Washington and beyond. Wet, cement-like slurries of rock and mud scoured all sides of the volcano. Searing flows of pumice poured from the crater. The eruption lasted 9 hours, but Mount St. Helens and the surrounding landscape were dramatically changed within moments.

A vast, gray landscape lay where once the forested slopes of Mount St. Helens grew. In 1982 the President and Congress created the 110,000-acre National Volcanic Monument for research, recreation, and education. Inside the Monument, the environment is left to respond naturally to the disturbance.
--Mt. St. Helens National Volcanic Monument

Museum Exhibit Surveys Relationship of Painting to Photography

Jackie, 1964.

Acrylic and silkscreen ink on linen, 20 x 16 inches.

The Andy Warhol Museum, Pittsburgh. Founding Collection,

Contribution The Andy Warhol Foundation for the Visual Arts, Inc.

© 2010 The Andy Warhol Foundation for the Visual Arts, Inc./Artists Rights Society (ARS), New York.

 

Shared Intelligence: American Painting and the Photograph

May 20, 2011 - September 11, 2011
The Georgia O'Keeffe Museum
Curators: Jonathan Weinberg and Barbara Buhler Lynes



Shared Intelligence will be the first major museum exhibition to survey the fraught but highly productive relationship of painting to photography in 20th-Century American Art. It brings together approximately 75 photographs and paintings by such artists as Robert Bechtle, Chuck Close, Thomas Eakins, Sherrie Levine, Georgia O’Keeffe, Cindy Sherman, Charles Sheeler, Ben Shahn, Edward Steichen, and Alfred Stieglitz for whom the two mediums were essential to their practices.


In opposition to Modernist critics such as Clement Greenberg and John Szarkowski, who have tried to establish the autonomy of painting and photography, a crucial theme of this exhibition is the way in which the two mediums have always intersected and spilled into each other. The camera has been used repeatedly to reinvigorate painting, even as photography has been frequently enriched by a dialogue with painting.

Whereas in the beginning of the 20th Century photographers felt obligated to justify their use of the camera as a means of expression, today the question is no longer, can photography be the equal of painting but rather has the photograph, and photo-based images, supplanted painting’s position in the hierarchy of the art world. Certainly it is nearly impossible to imagine a contemporary artist whose work is untouched by the camera, if only as a means of reproduction. And yet the photograph’s role in modern art goes far beyond reproduction or even as a source of subject matter. Photographic seeing, the way the lens freezes, flattens, enlarges and crops the world conditions all visual representations. Above all there is no way of escaping the photographic archive, the camera’s service to the vast legal, scientific and economic systems of knowledge that categorize and regulates modern existence itself.

Central to the exhibition will be the role of the crop and the close up in the modernist figurative tradition. O’Keeffe’s early work cannot be separated from the photographic practice of her husband, Alfred Stieglitz and the other photographers he represented. Her use of the close up in her paintings, while not literally based on particular photographs, responded to and influenced the photographs of Stieglitz and of Paul Strand. Certainly Stieglitz and his collaborator, Edward Steichen, were profoundly influenced by contemporary painting and collage (Steichen began his career as a painter).

The exhibition will pair paintings and photographs in which the visual relationship is both compelling and intrinsic to the creative process. How did Ben Shahn translate his photographs of a store window into a painting of the same subject? What elements did David Hockney take from his photographs of pools and swimmers in order to create a painting of a boy diving into the water? How does Chuck Close obsessively grid out and copy his source material so that in the end the process itself becomes an essential part of the work’s meaning? The aggregate result of the exhibit will be to refute the idea that painting from a photograph is some sort of failure of imagination or technique—rather the two mediums enrich each other. Ultimately, the exhibition will emphasize the role of the artist as picture maker, rather than as either painter or photographer.

Museum information and tickets here.

MAY 17, 1954: BROWN vs BOARD OF EDUCATION DECIDED

Linda Brown (L), the 10 years old, who was refused admission to white elementary school, and her 6-yr-old sister Terry Lynn walking along railroad tracks to bus which will take them to segregated Monroe Elementary School.

Carl Iwasaki's assignment for LIFE magazine was to photograph the Brown Sisters starting school during the time of the Brown vs. Board of Education trial. This essay ultimately was one of Iwasaki's most poignant and significant. The remarkable photograph of Linda Brown and her younger sister walking to school is one of the more iconic photographs representing the early civil rights struggles of the 1950s. Recently, Iwasaki, now 87,  remarked about this photo, "I distinctly remember tagging along with Linda and her sister on their 20-minute walk to school. I spent two days on the assignment and recall that it seemed curious that there was virtually no other photo coverage of the Brown family. I had a hunch as I worked that I was covering a history-making story."

In this landmark court case, Brown v. Board of Education of Topeka, Kansas, U.S. Supreme Court Justice Earl Warren delivered the unanimous ruling that State-sanctioned segregation of public schools was a violation of the 14th Amendment and was therefore unconstitutional. Handed down on May 17, 1954, the unanimous (9–0) decision stated that "separate educational facilities are inherently unequal."

This historic decision marked the end of the "separate but equal" precedent set by the Supreme Court nearly 60 years earlier and served as a catalyst for expanding the civil rights movement during the decade of the 1950s and paved the way for significant opportunities for African Americans in our society—especially for equal justice, fairness and education.


Japanese-American Carl Iwasaki took up photography as a middle school student and began receiving assignments for the student newspaper and yearbook as he entered high school. His development, though, was interrupted when he and his family were forced into a prison camp in Wyoming by the War Relocation Authority. This arm of the government was designed to protect American soil during WWII from potentially dangerous Japanese infiltrators and locked thousands of people up for no other reason than their race.

While the experience was not a pleasant one, it did put Iwasaki in line for his first commission. Upon his release, in 1943, he was hired to take photographs for the WRA, chronicling life inside the camps and the relief experienced upon release. Working from Denver, he took over 1300 photographs for the project and gained enough on-the-job training to pursue a full-time photography career after the war. Iwasaki worked for Life, Time and Sports Illustrated, often drawn to stories about the marginalized and disenfranchised; his photos of the civil rights movement are some of the most affecting.

WARHOL TO THE RESCUE!

Bill Ray: Andy Warhol with Polaroid camera, New York, 1980

The dust has not yet settled from this week's Contemporary auctions, but work by Andy Warhol was clearly one of the big highlights - especially photo-based paintings. The top lot was Andy Warhol’s 1963-64 “Self- Portrait,” made of four photo-booth-strip images in different shades of blue. It went for $38.4 million, above the $30 million high estimate, after a tortuous -- some dealers said tedious -- bidding war between private art dealer Philippe Segalot and a telephone client of Brett Gorvy, deputy chairman and international head of postwar and contemporary art at Christie’s. The price was an auction record for a Warhol portrait. (Via Bloomberg)

"Self-Portrait" (1963-1964) by Andy Warhol, acrylic and silkscreen ink on canvas.

Source: Christie's via Bloomberg

"The market for important works by Andy Warhol, the reigning king of Pop, continued to reach new heights at Christie’s New York tonight, as bidders chased two iconic self-portraits by the artist, setting a new world auction record for a Warhol portrait in the process." Artdaily.org

"Sixteen Jackies" by Andy Warhol, silk screen on canvas.

Source: Sotheby's via Bloomberg

At the Sotheby's sale on Tuesday evening, a Warhol from 1964, "Sixteen Jackies" (est. $20-30 million), featuring a mixed composition of several Jacqueline Kennedy portraits in blue, brown, and white sold to an anonymous telephone bidder for $20,242,500 . Most experts thought that excessive estimates dampened enthusiasm at Sotheby's $128 Million Contemporary Art Auction.
 
The four images of Jacqueline Kennedy, each repeated four times, were enlargements of news photographs that appeared widely and continually in the media after the assassination. Taken from issues of Life magazine, the images depict, from top to bottom: Jackie stepping off the plane upon arrival at Love Field in Dallas; stunned at the swearing-in ceremony for Lyndon B. Johnson aboard Air Force One after the president's death; grieving at the Capitol; and smiling in the limousine before the assassination. 16 Jackies combines a number of themes important in Warhol's work, such as his fascination with American icons and celebrities, his interest in the mass media and the dissemination of imagery, and his preoccupation with death.

Bill Ray: Andy Warhol with 20 x 24 Polaroid Camera, New York, 1980

The more you look at the same exact thing, the more the meaning goes away and the better and emptier you feel."--Andy Warhol, 1975


Related: Composing The Artist: Photographs of Artists and Writers

History, One Photo at a Time

Click here for interactive look inside the archive

The Wall Street Journal
May 11, 2011

When my grandmother passed away a few years ago, it fell to me to clean out her apartment—after the good stuff was divided among family members or sold—and decide what should be thrown out and what kept. It was also up to me to preserve things such as photographs, some dating back to the 19th century, and postcards. The latter ranged from black-and-white scenes of Eastern European capitals in the 1920s to a view of the Empire State Building before it got its antenna to a 1940 color photograph of the brand new Pennsylvania Turnpike.

My mother was pretty good at being able to identify many of the faces in the photographs from the '20s and '30s—friends and relatives relaxing at the beach, having a picnic, going out for a spin in a roadster and my grandmother proudly posing alongside her cowboy tour guide during my grandparents' first trip to the U.S., in 1938.

There were also some people my mother couldn't recall, but that her parents surely would. Short of death, there are few things that remind one of the evanescence of life as profoundly as the realization that when loved ones go they often take with them, and forever, information they would have had at their fingertips.

I was also surprised that I seemed almost the only one in the family who had any interest in preserving all this stuff. I'm not sure what to chalk it up to—possibly sentimentality, a hoarding instinct or the belief that it remains important, though for reasons I can't quite articulate.

In any case, it's hard enough keeping track of this material across a couple of generations, let alone five of them, as the Meserve-Kunhardt Foundation, which I visited recently, has been able to do. And theirs aren't family photos, either. Started by Frederick Hill Meserve, the family patriarch, in the 1890s, and comprising more than 200,000 items, the collection constitutes one of the nation's greatest archives of Civil War and Abraham Lincoln photographs, taken by the likes of Matthew Brady and Alexander Gardner. The trove includes a lock of Lincoln's hair (with an accompanying handwritten note from Dorothy Meserve Kunhardt, Frederick's daughter, explaining its provenance) and the battered wooden boxes Matthew Brady took into the field for storing his negatives.

Gordon Parks/The Gordon Parks Foundation

The foundation has Gordon Parks photos of such luminaries as Muhammad Ali, pictured in 1970.

Furthermore, Meserve-Kunhardt owns the photographic archive of Gordon Parks, the celebrated Life magazine photographer. Mr. Parks, who died in 2006, was a civil rights trailblazer as Life's first African-American photographer. And he was a close friend of Philip Kunhardt, a managing editor at Life, and Mr. Meserve's grandson. "Gordon Parks, who was an old friend of our family and spent Thanksgiving at our home, was so impressed by this family keeping its collection together he decided he wanted the Gordon Parks Foundation to be established as a division of Meserve-Kunhardt," explained Peter Kunhardt Jr., the foundation's current director and Frederick Hill Meserve's great-great-grandson. "He was incredibly close with my grandfather on a personal level. That's a big reason why we have the Gordon Parks collection."

Within the last few years the Meserve-Kunhardt Foundation has also acquired the archive of another Life magazine photographer, Edward Clark, whose most famous image is that of the tear-streaked face of Graham Jackson, a Navy accordion player, taken as FDR's hearse passed on the way to the train station in Warm Springs, Ga. Meserve-Kunhardt's copy of the print is autographed by Messrs. Jackson and Clark.

The experience of visiting the foundation—located at SUNY Purchase in Westchester—is nothing short of thrilling, though one wouldn't normally associate sifting through old photographs with high excitement. (Then again, maybe I'm not the right person to ask, as I decided we had to save the pictures from the '30s of my grandmother flirting with her ski instructor in St. Moritz.) Open any drawer and you're pretty much guaranteed to get—please, oh, please forgive me, Henry Steele Commager, James MacGregor Burns, Shelby Foote, etc.—a Jell-O shot of American history.

The Meserve-Kunhardt Foundation

The foundation has a trove of Lincoln photos.

It starts with the Lincoln portraits. Indeed, there are so many of them that in 2009 the Kunhardts published "Lincoln Life-Size" a monograph devoted entirely to studies of Lincoln's face across a 20-year span from 1846 to 1865. But Lincoln is just the tip of the iceberg. While I fully understand that the earliest image of Lincoln ever taken might make stand the hairs on the back of the neck of a presidential historian but not excite everyone, who can resist Ed Clark's image of JFK taking a break from the pressures of the presidency to check in on baby Caroline in her crib?

The Kennedys apparently so liked the image that President Kennedy was photographed holding a framed copy of the picture. And Jackie Kennedy sent Mr. Clark a thank-you note in 1964 describing the picture as one of her favorites and adding, "I shall treasure it forever—as a reminder of such happy days—when we were all together…." The note is also part of the collection.

However, it's the Gordon Parks connection that lends the foundation much of its glamour—attested by the fact that the honorees at a June 1 gala for the Gordon Parks Foundation include Spike Lee, Karl Lagerfeld and Arianna Huffington, with Iman serving as mistress of ceremonies. Among the Parks works are intimate portraits of celebrities taken over the course of his eventful career and ranging from the likes of Aaron Copeland and Ingrid Bergman, in the throes of her love affair with Roberto Rossellini, to Muhammad Ali.

Cataloging the images has been a monumental undertaking, the Parks material just now reaching completion after a four-year process, the Ed Clark archive barely begun. And then there's "Pat The Bunny," the venerable children's book written by Dorothy Meserve Kunhardt, Frederick's Meserve's daughter and Peter Jr.'s great-grandmother. The Dorothy Meserve Kunhardt Collection includes manuscripts, drawings and the original, handmade 1940 prototype.

It also serves to remind that Meserve-Kunhardt remains very much a family affair. Indeed, Peter Jr. grew up with the Foundation's 1863 Alexander Gardner imperial albumen portrait of a seated Lincoln. "It hung in the living room over the fireplace," he remembered, "until we realized it shouldn't be in that environment."

Write to Ralph Gardner at ralph.gardner@wsj.com

Charles Moore: Civil Rights and Beyond

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.

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.

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

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, PHotoEspaña, 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.

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