9.11.01 - 9.11.11

Carolyn Schaefer: World Trade Center and Washington Square Arch, New York, 1998



Earlier this week, The New York Times ran an article titled  "Media Strive to Cover 9/11 Without Seeming to Exploit a Tragedy".  "There’s no precedent for something like this,” said Lawrence C. Burstein, the publisher of New York magazine. There has been debate about how the anniversary should be covered. Should it be left to great thinkers and elegant writers to define what the attacks have meant for the country? Or are Americans better served by the accounts of those who experienced the attacks first-hand?"

We relocated from New York City to Santa Fe in January, 2002. Our list of recommended posts (so far):

CNN: Witness to history: White House photographer Eric Draper and the images of 9/11

New York Times Interactive: The Reckoning: America and The World A Decade After 9/11

Wall Street Journal: A Decade After 9/11


New York Daily News: 9/11 Ten Years Later

La Lettre de la Photographie: Archives 9/11

BBC: 9/11 Ten Tears On

VII Photo Agency: 9/11Remembered

POP Photo: 9/11: The Photographers' Stories, Part 1—"Get Down Here. Now."
  
The New Yorker Photo Booth: Ten Years Later

Shutter Photo: 10 Years After 9/11: The Importance of Photojournalism

The Atlantic: September 11: A Story About the History of Digital Photography

Time LightBox: Stephane Sednaoui: 9/11 Search and Rescue

Time Light Box: Twin Towers and the Metropolis: 1970-2011

Time Light Box: Revisiting 9/11: Unpublished Photos by James Nachtwey

Time Light Box:  Flight 93 and Shanksville, Pa: The Forgotten Part of 9/11

Time Light Box: Photo Editors On 9/11: The Photographs That Moved Them Most

David Schonauer: Icons, The 9/11 Series Part One
                              Part Two
                              Part Three
                              Part Four

The Washington Times: Special Section: Sept. 11


The Telegraph: The 9/11 Picture I'll Never Forget (But Wish I Could)

The Guardian: The 9/11 Decade

CBS New York: Remembering 9/11/01 Ten Years Later
(including archive of live newsradio broadcasts)

Photographers revisit 9/11: 'It was that horrific'

Magnum: Susan Meiselas: Ground Zero Artifacts and Construction

Joe McNally: "Like many New York based shooters, I had a bit of a love fest with the World Trade Centers"

Richard Falco: September 11 - To Bear Witness

International Center of Photography: Remembering 9/11
(Including a full list of 9/11 exhibitions and events in New York with locations)

Related: The Newseum has 147 newspaper front pages from 19 countries published on September 12, 2001

Photographers revisit 9/11; 'It was that horrific'

Firefighters at Ground Zero, Sept. 11, 2001
© Bergen Record

Via msnbc Photo Blog

In his new documentary "Witness to History," photojournalist Thomas Franklin revisits 9/11 through the eyes - and lenses - of photojournalists who captured iconic photos that day.

Becky Bratu writes

When Tom Franklin, photojournalist for The Record newspaper in New Jersey, took the picture showing three firemen raising the American flag above the rubble of the World Trade Center on Sept. 11, 2001, he had no idea it would become an iconic image.

“It was something that just happened,” he said. “I shot it the best way I could and I moved on.”

Franklin said he was standing about 30 yards away from the three firefighters, and the photo was one of a series of frames he shot of them that fateful afternoon.

On the 10-year anniversary of 9/11, Franklin - now a multimedia editor for NorthJersey.com - revisits the day of the attacks in a new documentary about the iconic photos of the day and the photojournalists who captured them. Franklin says photographers played an important role in documenting the historic day.

“I hope a lot of people get to see [the documentary],” he told msnbc.com. “It’s a way of recognizing what journalists do.”

Featuring dramatic images of 9/11, the 13-minute documentary “Witness to History” looks behind the lenses of professional photographers such as David Handschuh of the New York Daily News and Aris Economopoulos of the New Jersey Star-Ledger, and accidental witnesses such as Carmen Taylor, who happened to be visiting New York from Arkansas that day.

Taylor, who was on vacation by herself, told Franklin she would have been screaming if she hadn’t been busy taking photos.

While iconic, most of the images from that day are stirring, if not shocking. Franklin argues there is real value in retelling what happened, particularly because of the horror of the events.

“9/11 was that bad,” he said. “It was that horrific.”

Watch the entire documentary here, and watch Thomas Franklin explain how he got the iconic image of the firemen raising the American flag.


Thomas Franklin's photograph of Firefighters at Ground Zero, Sept. 11, 2001 is included in the exhibition "History's Big Picture" at Monroe Gallery of Photography through September 25, 2011.

"Like many New York based shooters, I had a bit of a love fest with the World Trade Centers"

Joe McNally

A very good read:

Joe McNally Presents: A 9/11 Remembrance, In Pictures

Photogs. We’re storytellers, right? So, if you will, permit me a story. (It’s occasionally been a saga, and maybe, every once in a while, an opera.)

Like many New York based shooters, I had a bit of a love fest with the World Trade Centers. What was not to like? These twin exclamation points at the southern tip of Manhattan provided a sense of place, majesty, and graphic balance to your snaps, all at once. Full post with photographs continues here via Scott Kelby's blog.


Information here about donating to the ongoing maintenance and costs of the Giant Polaroid "Faces of Ground Zero" collection.

LEE FRIEDLANDER: AMERICA BY CAR/THE NEW CARS 1964

Montana, 2008. Gelatin-Silver Print. Image: 15 x 15 in. / 38 x 38 cmSheet: 20 x 16 in. / 50.8 x 40.6 cm. (©Lee Friedlander/Courtesy Fraenkel Gallery, San Francisco).


Lee Friedlander's "America By Car/The New Cars 1964" is at the Timothy Taylor Gallery, London until 1 October 2011. Below are several article and reviews.


Wayne Ford's Blog

Sean O'Hagen in the Guardian's The Observer

Charles Darwant in The Independant

Rachel Spence in the Financial Times


Press release :

Timothy Taylor Gallery is pleased to announce an exhibition of recent work by the influential and critically acclaimed American photographer Lee Friedlander, on display for the first time in the UK. This will be Friedlanderʼs first solo exhibition in London since his 1976 show at the Photographersʼ Gallery.

Lee Friedlander: America By Car charts numerous journeys made by the photographer during the last decade across most of the fifty US states. Shot entirely from the interiors of rental cars, typically from the driver’s seat, Friedlander makes use of side and rearview mirrors, windscreens, and side windows as framing devices for a total of 192 images.

In America By Car, Friedlander uses the quintessential icons of US culture - cars and the open road - to explore contemporary America, revisiting in the process many of  the places and strategies that he has incorporated into his practice throughout his career.

Elements from car interiors such as steering wheels and dashboards, as well as leather or wood panel trim, provide an index of their own; these differing qualities of finish and contemporaneity often appear strikingly at odds with the terrains in which they are located. Presented in the square-crop format that characterizes Friedlander’s more recent work, these images complicate and invigorate the most bereft of rural scenes. His desire to collapse and flatten out the three dimensional world parallels the means of cubist painting and recalls the collaging techniques of pop art.

In a career spanning over fifty years, Friedlander is renowned for his recordings of everyday phenomena in works that he describes as ‘American social landscapes’. First coming to prominence after exhibiting alongside fellow photographers Garry Winogrand and Diane Arbus in John Szarkowski’s New Documents exhibition at MoMA, New York in 1967, Friedlander has been instrumental in the medium of photography’s acceptance as a significant 20th century art form.

Lee Friedlander: America By Car was shown in its entirety at The Whitney Museum of American Art, 4 September – 28 November 2010 and was organized by Elisabeth Sussman, the Whitney’s Curator of Photography.

Lee Friedlander was born in Aberdeen, Washington in 1934 and was introduced to photography at the age of fourteen. After shooting album cover portraits of Jazz musicians in New York and New Orleans, he began freelance commercial work in the late 1950s.

Among his numerous awards are a MacArthur Foundation Award, grants from the National Endowment for the Arts and three Guggenheim Fellowships. Friedlander  has published over twenty books beginning with the groundbreaking Self Portraits in1970, and including American Musicians (1976), Lee Friedlander at work (2002), and Sticks and Stones: Architectural America (2004). Friedlander was the subject of a major traveling exhibition organized by MoMA in 2005, as well as being the 25th Hasselblad Award Winner the same year

NEWLY DISCOVERED ERNST HAAS COLOR PHOTOGRAPHS

Ernst Haas: America, 1978

A new book of recently discovered "new" color photographs by Ernst Haas has generated a lot of interest.

Ernst Haas is unquestionably one of the best-known, most prolific and most published photographers of the twentieth century.

Ernst Haas: New York, 1980

He is most associated with a vibrant colour photography which, for decades, was much in demand by the illustrated press. This colour work, published in the most influential magazines in Europe and America, also fed a constant stream of books, and these too enjoyed great popularity. But although his colour work earned him fame around the world, in recent decades it has often been derided by critics and curators as “overly commercial”, and too easily accessible – or in the language of curators, not sufficiently “serious”. As a result, his reputation has suffered in comparison with a younger generation of colour photographers, notably Eggleston, Shore and Meyerowitz.

Paradoxically, however, there was also a side of his work that was almost entirely hidden from view. Parallel to his commissioned work Haas constantly made images for his own interest, and these pictures show an entirely different aspect of Haas’s sensibility: they are far more edgy, loose, complex and ambiguous – in short, far more radical than the work which earned him fame. Haas never printed these pictures in his lifetime, nor did he exhibit them, probably believing that they would not be understood or appreciated. Nonetheless, these works are of great complexity, and rival (and sometimes surpass) anything done at the time by his fellow photographers

Exhibition at London's Atlas Gallery September 14 - October 22

Prints available from Monroe Gallery of Photography

LABOR DAY

Carl Mydans: Demonstrators in a Works Progress Administration (WPA) Strike, 1937 (Time Inc.)

WPA picketers protesting against nationwide layoffs and reduction of hourly wages of WPA workers in 1937 due to reduced funding from Congress.


Related: The History of Labor Day

Art Market Watch: The Market For Ansel Adams' "Moonrise, Hernandez"

 Ansel AdamsMoonrise, Hernandez, New Mexico
1941
gelatin silver print, mounted, ca. 14 x 19 in.
$609,600
Sotheby's New York
Oct. 17, 2006


Via Artnet.com

 by Daniel Grant

Driving back to Santa Fe, N.M., on Oct. 31, 1941, after what had been a disappointing day for picture-taking, photographer Ansel Adams (1902-84) brought his car to an abrupt stop, yelling to his companions to bring him his tripod, exposure meter and other photographic equipment so that he could take what would become one of the most famous images in fine art photography, Moonrise, Hernandez, New Mexico.

Continue to artnet.com for everything you need to know about Moonrise.

“This image encapsulates his career,”  Christopher Mahoney, senior vice-president in Sotheby’s photographs department, said, “and we can see in it his changing ideas and esthetic style.”

Wounded Photojournalist Joao Silva: ‘This Is What I Do. This Is All That I Know’

Via New York Times Lens


Photographs by Joao Silva are on exhibit at the Visa Pour l’Image photojournalism festival in Perpignan, France. Mr. Silva spoke at the Bronx Documentary Center on Aug. 2, during his first visit to New York since he was injured in Afghanistan. The following week, he went into surgery. He is doing well.

Full post with slide show here at New York Times Lens.

Premier International Festival of Photojournalism Visa pour l'Image Opens

Visa pour l'Image is the premier International Festival of Photojournalism held in Perpignan, France. This festival is a unique event where you can join thousands of kindred spirits who share a love and passion for photography. View the greatest photojournalist work from around the world in exhibitions across the city. Experience the evening screenings in the dramatic open air medieval enclosure of the Campo Santo. Take part in symposiums and conferences and meet the foremost photo agencies and manufacturers of photographic related equipment. Explore the web site for full details.

Contact information here. 

SCENES FROM A SHOW (FACES OF GROUND ZERO)

Via Joe McNally's Blog:

We set up the show on Tuesday night. When you need to get something done, it’s always good to have FDNY on your side. Louie Cacchioli rallied the guys, and over 25 firefighters showed up and worked tirelessly from 9pm through till 3am to get this in place for the Wednesday opening press reception. Pushing these frames around, many of which are close to 300 lbs., more than once I was like, “Why’d I have to shoot ‘em so big?”

I was just humbled, really, by the selfless way these guys, many of whom came from way out of town, just pitched in and got this done. My thanks also go out to Related, the owners of the building, which worked with me to allow this to happen. If we had to actually hire shippers and handlers to move it around, it simply would never get done because of the enormous cost. Louie, seen below, has been the face of the show since the book came out in 2002, and he ended up on the cover. I always tell people he’s firefighting’s answer to Robert DeNiro. He’s always been there to help.

It also would never have gotten done, were it not for the tireless efforts of Ellen Price, who has worked with the collection for almost 10 years. Her labors are done behind the scenes, organizing, cataloging, making sure it has been stored properly (24,000 lbs. of photography in museum quality, monitored storage!) and working with the 911 Museum to arrange for its’ eventual home. Below, Ellen works with the guys.

So it got done. It will be on floor of the Time Warner Center, free and open to the public, from 10am to 9pm every day until Sept. 12. After that, we’ll see what happens. More on that tk.

We had lots of press at the opening, and a bunch of subjects from the original project also graciously came. Below, Bill Butler speaks eloquently about the events of 911.

More than 75,000 people a day transit the TW Center. Which means that close to a million people will pass by these over the next couple of weeks. Hopefully, they’ll stop for a moment, and remember.

Interviews: Watch on You Tube

More; http://www.facesofgroundzero.com

Joe McNally prints