Tuesday, July 10, 2012
Is Linking A Crime?
A very compelling read:
Via Gigaom
"With the case, the U.S. government appears to be asserting that linking to copyright infringing files under any circumstances should not only be an offence but an extraditable offence, and that the U.S. government is fully prepared to reach into other countries and extradite their citizens when there is virtually no connection whatsoever between that person’s acts and U.S. law or jurisdiction."
Monday, July 9, 2012
Monroe Gallery of Photography at VIP Photo
You’re Invited to VIP PHOTO!
Start Collecting on July 12. Opens at 8:00am EST.
Start Collecting on July 12. Opens at 8:00am EST.
Monroe Gallery of Photography invites you to discover hundreds of photographs from over thirty international galleries. Be the first to view this innovative event where you can browse, share and collect fine photography, exclusively online.
Click here to register for free: http://photo.vipartfair.com/gallery/invite/815
Registering ensures you receive exclusive offers from VIP, newly available work, and news about upcoming events!
-
VIP PHOTO | www.vipartfair.com
Journey anywhere. Collect online.
July 12 – August 12, 2012
Preview Day July 11
Journey anywhere. Collect online.
July 12 – August 12, 2012
Preview Day July 11
Remembering Miss O’Keeffe: Stories from Abiquiu
Former Caretaker Recalls O’Keeffe
Via the Albuquerque Journal North
In 1977, a 24-year-old woman took a job as caretaker for an elderly artist in one of New Mexico’s remote villages.
The woman was Margaret Wood; the artist was Georgia O’Keeffe, and their pairing would launch an adventure into food and friendship that would last a lifetime.
Wood was living in Lincoln, Neb., when she received a call from an acquaintance about a job opening in Abiquiu. Wood had graduated from Nebraska’s Hastings College with a degree in art education.
O’Keeffe was 90 at the time, and her eyesight was failing. She needed someone to stay with her throughout the night and to prepare simple meals. Wood’s duties included brushing O’Keeffe’s long white hair, using just the right pressure, reading to her and accompanying her on her walks beneath the red cliffs of Ghost Ranch or down her sweeping Abiquiu driveway.
She always called her “Miss O’Keeffe.”
Wood recalls her five years with the great artist in “Remembering Miss O’Keeffe: Stories from Abiquiu” ($19.95, Museum of New Mexico Press). Wood will talk about her time with O’Keeffe and sign books at Collected Works, 202 Galisteo St., No. A, at 6 p.m. Tuesday.
“I knew someone who had been a companion for Georgia O’Keeffe, and she was looking for someone to take her place,” said Wood, now living in Santa Fe and working as a speech therapist. “Her (O’Keeffe’s) eyesight was failing due to macular degeneration.
“I was very excited,” she continued. “I thought perhaps I could do this. I had studied art, and I knew of her paintings. I was a fan. I especially liked the paintings of New Mexico.”
Her friend warned her of O’Keeffe’s exactitude; everything had to be to her specifications. She cautioned Wood to be patient. Wood rented a former schoolhouse in the small village of Barranco. She thought she knew how to cook, but she quickly learned otherwise.
O’Keeffe took great pride in her healthy lifestyle. Whole wheat flour was always ground fresh with the artist’s personal mill. Yogurt was homemade, often from the milk of local goats. Fresh herbs, fruits and vegetables came from the artist’s garden.
“I tried to fit in what she needed,” Wood said. “It took me several months to make friends with her. She was such a private person and an independent person that it was an invasion to have someone assist her in this way.
“It was hard because I had to learn everything from how to make the lunch soup just right to how to brush her hair with just the right pressure. If the plates were not heated, she would say, ‘Oh, my dear, these plates are stone cold.’
“I didn’t expect the level of simplicity yet perfection that she liked in her food and her surroundings.”
Freshly made beds had to be perfectly tucked in. Food had to be attractively arranged on the plate.
Wood worked from 5 p.m. to 8:30 a.m., while the rest of the staff went home.
“She enjoyed listening to music,” Wood said. “She had two beautiful stereo systems — one in her studio and one in her house.”
O’Keeffe was a fan of Bach, Schubert and Monteverdi. She liked Wood to read to her — mostly Prevention, Time and Newsweek magazines, the bold print version of the New York Times and art books.
But no rock and roll.
Despite her carefully cultivated image as a recluse, O’Keeffe regularly welcomed visitors. Wood was thrilled when singer-songwriter Joni Mitchell came calling, resplendent in gold eyeshadow.
“That was a great visit for me,” Wood said. “Georgia O’Keeffe didn’t know much about her. (Mitchell) was a painter. She gave her an album. We listened to it, and Miss O’Keeffe thought the music made her drowsy.”
Allen Ginsberg arrived with his partner Peter Orlovsky. They admired the late afternoon light as they compared the nature of words to action. O’Keeffe declared that talk was easy but it was action that got things going. Ginsberg countered that words often inspired people to action. He and Orlovsky climbed the ladder to the roof to watch the sunset.
O’Keeffe often talked about her late husband, the photographer and impresario Alfred Stieglitz.
“She talked about how people thought he liked the arts page, but he (really) liked the sports page because of the horse races.
“She thought Alfred could look down on her and smile.”
Sometimes, O’Keeffe’s traditional ways clashed with the changing times — especially the women’s movement. Wood felt like she was in a time warp.
“I was being trained in these old ways,” Wood said. “I felt like I was in an old-fashioned place.”
She left to pursue graduate school.
“I knew I needed to get more education in a field I could use for the rest of my life,” Wood explained. “All the positions in the O’Keeffe house were filled.”
She visited O’Keeffe after Juan Hamilton, her companion, had moved her to Santa Fe for 24-hour care. But on her second visit, Hamilton warned her that the artist’s memory was fading.
O’Keeffe did not recognize her. Wood was stunned, then felt waves of grief. She stopped going but still dreamed about the artist.
Today, Wood finds a direct link between her profession and her years spent with the great artist.
“I work for elderly people, and I think it’s because of my work with Miss O’Keeffe,” she said. “I like their stories and their experience of being in this world. Most of them are very comfortable with themselves.”
But mostly, she remembers the food.
“I have an appreciation and a style of cooking simple, nutritious food,” she said.”I still cook the lemon chicken. I still make the herb salad. I make the lemon pecan fruitcake every Christmas.”
If you go WHAT: “Remembering Miss O’Keeffe: Stories from Abiquiu” by Margaret Wood. A conversation and book signing with the author and Miriam Sagan.
WHEN: 6 p.m. Tuesday
WHERE: Collected Works Bookstore, 202 Galisteo St., No. A
CONTACT: 988-4226
John Loengard: Georgia O'Keeffe, Abiqui, 1967
Via the Albuquerque Journal North
In 1977, a 24-year-old woman took a job as caretaker for an elderly artist in one of New Mexico’s remote villages.
The woman was Margaret Wood; the artist was Georgia O’Keeffe, and their pairing would launch an adventure into food and friendship that would last a lifetime.
Wood was living in Lincoln, Neb., when she received a call from an acquaintance about a job opening in Abiquiu. Wood had graduated from Nebraska’s Hastings College with a degree in art education.
O’Keeffe was 90 at the time, and her eyesight was failing. She needed someone to stay with her throughout the night and to prepare simple meals. Wood’s duties included brushing O’Keeffe’s long white hair, using just the right pressure, reading to her and accompanying her on her walks beneath the red cliffs of Ghost Ranch or down her sweeping Abiquiu driveway.
She always called her “Miss O’Keeffe.”
Wood recalls her five years with the great artist in “Remembering Miss O’Keeffe: Stories from Abiquiu” ($19.95, Museum of New Mexico Press). Wood will talk about her time with O’Keeffe and sign books at Collected Works, 202 Galisteo St., No. A, at 6 p.m. Tuesday.
“I knew someone who had been a companion for Georgia O’Keeffe, and she was looking for someone to take her place,” said Wood, now living in Santa Fe and working as a speech therapist. “Her (O’Keeffe’s) eyesight was failing due to macular degeneration.
“I was very excited,” she continued. “I thought perhaps I could do this. I had studied art, and I knew of her paintings. I was a fan. I especially liked the paintings of New Mexico.”
Her friend warned her of O’Keeffe’s exactitude; everything had to be to her specifications. She cautioned Wood to be patient. Wood rented a former schoolhouse in the small village of Barranco. She thought she knew how to cook, but she quickly learned otherwise.
O’Keeffe took great pride in her healthy lifestyle. Whole wheat flour was always ground fresh with the artist’s personal mill. Yogurt was homemade, often from the milk of local goats. Fresh herbs, fruits and vegetables came from the artist’s garden.
“I tried to fit in what she needed,” Wood said. “It took me several months to make friends with her. She was such a private person and an independent person that it was an invasion to have someone assist her in this way.
“It was hard because I had to learn everything from how to make the lunch soup just right to how to brush her hair with just the right pressure. If the plates were not heated, she would say, ‘Oh, my dear, these plates are stone cold.’
“I didn’t expect the level of simplicity yet perfection that she liked in her food and her surroundings.”
Freshly made beds had to be perfectly tucked in. Food had to be attractively arranged on the plate.
Wood worked from 5 p.m. to 8:30 a.m., while the rest of the staff went home.
“She enjoyed listening to music,” Wood said. “She had two beautiful stereo systems — one in her studio and one in her house.”
O’Keeffe was a fan of Bach, Schubert and Monteverdi. She liked Wood to read to her — mostly Prevention, Time and Newsweek magazines, the bold print version of the New York Times and art books.
But no rock and roll.
Despite her carefully cultivated image as a recluse, O’Keeffe regularly welcomed visitors. Wood was thrilled when singer-songwriter Joni Mitchell came calling, resplendent in gold eyeshadow.
“That was a great visit for me,” Wood said. “Georgia O’Keeffe didn’t know much about her. (Mitchell) was a painter. She gave her an album. We listened to it, and Miss O’Keeffe thought the music made her drowsy.”
Allen Ginsberg arrived with his partner Peter Orlovsky. They admired the late afternoon light as they compared the nature of words to action. O’Keeffe declared that talk was easy but it was action that got things going. Ginsberg countered that words often inspired people to action. He and Orlovsky climbed the ladder to the roof to watch the sunset.
O’Keeffe often talked about her late husband, the photographer and impresario Alfred Stieglitz.
“She talked about how people thought he liked the arts page, but he (really) liked the sports page because of the horse races.
“She thought Alfred could look down on her and smile.”
Sometimes, O’Keeffe’s traditional ways clashed with the changing times — especially the women’s movement. Wood felt like she was in a time warp.
“I was being trained in these old ways,” Wood said. “I felt like I was in an old-fashioned place.”
She left to pursue graduate school.
“I knew I needed to get more education in a field I could use for the rest of my life,” Wood explained. “All the positions in the O’Keeffe house were filled.”
She visited O’Keeffe after Juan Hamilton, her companion, had moved her to Santa Fe for 24-hour care. But on her second visit, Hamilton warned her that the artist’s memory was fading.
O’Keeffe did not recognize her. Wood was stunned, then felt waves of grief. She stopped going but still dreamed about the artist.
Today, Wood finds a direct link between her profession and her years spent with the great artist.
“I work for elderly people, and I think it’s because of my work with Miss O’Keeffe,” she said. “I like their stories and their experience of being in this world. Most of them are very comfortable with themselves.”
But mostly, she remembers the food.
“I have an appreciation and a style of cooking simple, nutritious food,” she said.”I still cook the lemon chicken. I still make the herb salad. I make the lemon pecan fruitcake every Christmas.”
If you go WHAT: “Remembering Miss O’Keeffe: Stories from Abiquiu” by Margaret Wood. A conversation and book signing with the author and Miriam Sagan.
WHEN: 6 p.m. Tuesday
WHERE: Collected Works Bookstore, 202 Galisteo St., No. A
CONTACT: 988-4226
Saturday, July 7, 2012
AN EVENING WITH GAYLE TZEMACH LEMMON
The Santa Fe International Folk Art Market presents:
AN EVENING WITH GAYLE TZEMACH LEMMON, journalist and New York Times Best-Selling Author of The Dressmaker of Khair Khana
7 pm Lensic Performing Arts Center, 211 West San Francisco Street (admission fee)
Tickets: Lensic Box Office or call the Lensic Box Office at 505-988-1234
Gayle Tzemach Lemmon’s riveting book, The Dressmaker of Khair Khana, follows the true story of Kamila Sidiqui, an extraordinarily determined young female entrepreneur living under the restrictive and punishing rule of the Taliban in Kabul after the civil war. By picking up a needle and thread and establishing a clandestine sewing business, Kamila, other female members of her family and neighbors managed to earn income to feed themselves and survive under impossible conditions for women. From reporting Kamila’s inspirational story, Ms. Lemmon has become a major voice to encourage financial institutions and governments to support female entrepreneurship in order to rebuild society in conflict and post-conflict regions around the world. She is Contributing Editor At Large for Newsweek Magazine and the Daily Beast, and the deputy director of the Council on Foreign Relation’s Women and Foreign Policy program. She will be joined by Market participant and entrepreneur Rangina Hamidi and Gene Grant, host of PBS New Mexico in Focus.
A limited number of $125 tickets provides prime seating for the event at the Lensic, and includes a pre-event party reception with the author at the Coyote Cantina (5:30 – 6:30 pm). Party goers will enjoy cocktails, appetizers, and will also receive a signed copy of the hardcover edition of Lemmon’s inspiring bestseller, The Dressmaker of Khair Khana. (This is a fundraiser to support the Santa Fe International Folk Art Market.)
Other tickets are priced at $35 for preferred seating, $25 general seating, and $15 balcony seating.
Full schedule of 2012 Santa Fe International Fold Art Market here.
Related: The Santa Fe International Folk Art Market is a treasure for its global reach and domestic drawing power, a model for artists and artisans around the world:
Kandahar Treasures, is giving financial freedom to women who do the traditional geometric embroidery unique to the area. Started by Rangina Hamidi, an Afghan whose family fled war to the United States when she was a child, the project now has more than 400 women selling products. Some of the women earn up to $100 a month, which is almost double the average government salary. Homes with mothers and daughters participating have dramatically improved their family’s economic standing, and given women more control over their lives.
The Santa Fe International Folk Art Market is a results-oriented entrepreneurial 501(c)3 nonprofit organization that provides a venue for master traditional artists to display, demonstrate and sell their work. By providing opportunities for folk artists to succeed in the global marketplace, the Market creates economic empowerment and improves the quality of life in communities where folk artists live.
It is now the largest international folk art market in the world, and its success led to Santa Fe’s designation as a UNESCO City of Folk Art, the first U.S. city named to UNESCO’s prestigious Creative Cities Network.
Thursday, July 5, 2012
People Get Ready
A lone man stops a column of tanks near Tiananmen Square, 1989 Beijing, China
People Get Ready
Exercise your freedom and come witness 55 powerful photographs from significant human rights struggles in history. Reception 5-7 pm Friday, July 6.
Wednesday, July 4, 2012
JULY 4, 2012
The Fourth of July, or Independence Day, is a federal holiday that celebrates the adoption of the Declaration of the Independence on July 4th, 1776.
On July 8, 1776, the first public readings of the Declaration were held in Philadelphia's Independence Square to the ringing of bells and band music. One year later, on July 4, 1777, Philadelphia marked Independence Day by adjourning Congress and celebrating with bonfires, bells and fireworks.
The custom eventually spread to other towns, both large and small, where the day was marked with processions, oratory, picnics, contests, games, military displays and fireworks. Observations throughout the nation became even more common at the end of the War of 1812 with Great Britain.
On June 24, 1826, Thomas Jefferson sent a letter to Roger C. Weightman, declining an invitation to come to Washington, D.C., to help celebrate the 50th anniversary of the Declaration of Independence. It was the last letter that Jefferson, who was gravely ill, ever wrote. In it, Jefferson says of the document:
"May it be to the world, what I believe it will be ... the signal of arousing men to burst the chains ... and to assume the blessings and security of self-government. That form, which we have substituted, restores the free right to the unbounded exercise of reason and freedom of opinion. All eyes are opened, or opening, to the rights of man. ... For ourselves, let the annual return of this day forever refresh our recollections of these rights, and an undiminished devotion to them."Congress established Independence Day as a holiday in 1870, and in 1938 Congress reaffirmed it as a holiday, but with full pay for federal employees.
Sunday, July 1, 2012
"Is there too much press freedom? Ask 72 dead journalists"
Via The Guardian
"Journalists murdered or killed in action in the first six months of 2012: 72. That's well on course to break all macabre records before the year ends...
But that's the dreadful truth at the heart of today's world press freedom fight. It's sliding backwards, getting worse year by year. Democracy, on the evidence of the world's weightiest human rights rapporteurs here assembled, is sinking, not swimming. And you can't merely measure such things by the thump of a car bomb or the clank of a prison door. Try looking much closer to home – at Romania or Bulgaria, in the EU, starting to slip towards seedy repression; at Hungary, driving Brussels to outright alarm."
Related exhibition - People Get Ready: The Struggle for Human Rights
Friday, June 29, 2012
IRAQ PHOTOJOURNALISTS ON WAR
With previously unpublished photographs by an incredibly diverse group of the world’s top news photographers, Photojournalists on War presents a groundbreaking new visual and oral history of America’s nine-year conflict in the Middle East. Michael Kamber interviewed photojournalists from many leading news organizations, including Agence France-Presse, the Associated Press, the Guardian, The Los Angeles Times, Magnum, Newsweek, The New York Times, Paris Match, Reuters, Time magazine, VII Photo Agency and The Washington Post to create the most comprehensive collection of eyewitness accounts of the Iraq War yet published. These in-depth interviews offer first-person, frontline reports of the war as it unfolded, including key moments such as the battle for Fallujah, the toppling of Saddam’s statue, and the Haditha massacre. The photographers also vividly describe the often shocking and sometimes heroic actions that journalists undertook in trying to cover the war, and discuss the role of the media and issues of censorship. These hard-hitting accounts and photographs, rare in the annals of any war, reveal the inside and untold stories behind the headlines in Iraq.
Only 30 signed and numbered special edition copies available. Pay now and reserve your copy.
Release date: winter, 2012.
Each book is accompanied by a signed 8×10 inkjet print of Joao Silva’s ‘Sniper’.
Each book is signed by five photojournalists interviewed in the book.
Each book comes in presentation box.
Price is $500
Full details and ordering information here.
NY Times Lens Blog: "It is a brutally honest account of the war in Iraq from the point of view of the men and women who photographed it."
--This important book is almost ready for publication. Subscription of these 30 special-edition books will clear the final financial hurdle to publication. Monroe Gallery has placed our orders, please consider placing yours!
Wednesday, June 27, 2012
"It is neither a police officer’s duty or right to decide what is appropriate news coverage of any story"
An Albuquerque police officer first told a news videographer that he would not be allowed to continue filming an incident where the body of a motorcyclist remained trapped underneath a car this morning.
Mickey Osterreicher, general counsel for the National Press Photographers Association, who will be sending a letter to Albuquerque Police Chief Ray Schultz, provided the following statement:
Mickey Osterreicher, general counsel for the National Press Photographers Association, who will be sending a letter to Albuquerque Police Chief Ray Schultz, provided the following statement:
Watching the video of a senior officer who should know better illustrates how important proper guidelines and training are regarding these issues.
It is neither a police officer’s duty or right to decide what is appropriate news coverage of any story. So long as news personnel are in a public forum and not violating any ordinances they have a right to gather news unfettered by the personal feelings or opinions of law enforcement. Anything less may be considered a form of prior restraint or censorship. It is all well and good that the police set-up a media staging area but that does not mean it is the only place that media are allowed to be. They can go wherever the public is allowed, which in this case is outside of the "crime scene" perimeter. To expand that area for the sole purpose to preventing photographs or video recording is not a reasonable time, place and manner restriction and limits more First Amendment protected activity than is necessary to achieve a governmental purpose.
This department would be well-advised to take a page from the Crime/disaster scene guidelines of San Diego Sheriff's Department Media Guide, specifically:
Do not establish artificial barriers. For example, do not hold the press at bay a block from the crime scene, while allowing the general public to wander freely just beyond the crime scene tape.
Do not prevent the taking of pictures or interviews of person(s) in public places. The media, when legally present at an emergency scene, may photograph or report anything or interview anyone they observe.
Do not isolate the media outside the crime/incident scene unless the area has been secured to preserve evidence or their presence jeopardizes law enforcement operations.
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