HERE WE GO AGAIN: OCCUPY WALL STREET ARRESTS

 Moccupychi via Instagram

"One officer repeatedly shoved photographers with a baton and a police lieutenant warned that no more photographs should be taken. “That’s over with,” the lieutenant said."

Arrests Near Stock Exchange Top 100 on Occupy Wall St. Anniversary

UPDATE: One Year of Occupy. One Year of Journalist Arrests

UPDATE: NYPD Caught on Video Violently Shoving Photographer

NYPD Continues Arresting Photogs at Occupy Wall Street Anniversary Protest

UPDATE: The detention of journalists again brought back memories of last fall, when the NYPD on occasion arrested journalists wearing NYPD credentials.

Dozens of Occupy Wall Street arrests in NYC

Two Photogs, One Journalist Arrested as Activists Descend Upon Wall Street for Anniversary

Student editor arrested while covering Occupy Wall Street anniversary protests
Ironically, the arrests take place on Constitution Day, a day which Congress has set as a day to celebrate, study and discuss the United States Constitution, including the Bill of Rights.

Civil Rights and Press Freedom One Year After Occupy

In Pictures: Occupy Wall Street protesters hold rally in New York to mark anniversary

A New York City Police Department officer pushes photographer Craig Ruttle during the Occupy Wall Street protestPicture: STAN HONDA/AFP/GettyImages


Mickey Osterreicher, general counsel for the National Press Photographers Association, gave the following statement:

NPPA has been receiving reports from a number of our members who are covering the OWS demonstrations in NY. We are deeply concerned and troubled by the aggressive and indiscriminate manner in which officers and command staff are allegedly treating those exercising their First Amendment rights to photograph and record matters of public concern on the streets of NY. These acts of intimidation, detention and sometimes arrest continue to occur despite Commissioner Kelly's Finest message (reminding 'members of the service of their obligations to cooperate with media representatives acting in a news-gathering capacity at the scene of police incidents'), issued last year in response to the arrests of journalists covering the events in and around Zuccotti Park, as well as specific directives in the NYPD Patrol Guide regarding the rights of "Observers at the scene of Police Incidents."

It should also be noted that whereas the Tampa and Charlotte-Mecklenburg Police Departments chose to work with NPPA and other organizations in order to prevent these incidents during the recent political conventions held in those cities (where no journalists were arrested), the NYPD has declined to accept similar offers of training. While NPPA appreciates the fact that NYPD has adopted the above referenced guidelines, without proper training and appropriate disciplinary action, those directives are just pieces of paper.

Related: Tracking Journalist Arrests at Occupy Protests Around the Country, Part Two

The REMIX Culture Panel Discussion on Vimeo

Via photo eye Blog

The REMIX Culture Panel Discussion on Vimeo

We are happy to share the video of the final part of our three part summer Art Law Lecture Series -- The REMIX Culture: Appropriation Art and Fair Use in the Digital Age. Led by moderator Talia V. Kosh of New Mexico Lawyers for the Arts, panelists David L. Dirks, Sid Monroe, Casey Bock, Craig Anderson and Benjamin Allison discussed the high profile Cariou v. Prince appropriation case and the importance of appropriation and forms of visual referencing in our culture.

The REMIX Culture: Appropriation Art and Fair Use in the Digital Age

Taking place on August 15th, the panel discussion was co-sponsored by photo-eye and New Mexico Lawyers for the Arts. Our thanks to all those who participated.

Rise and Fall of Apartheid

 An anonymous photograph of the crowd at the opening day of the 1956 'Treason Trial', in which 156 anti-apartheid leaders were accused of treason. Photograph: Times Media Collection/Museum Africa, Johannesburg

Rise and Fall of Apartheid – review

Via The Guardian

Jason Farago

Friday 14 September 2012

 

An ambitious exhibition at New York's International Center of Photography documents the cruelties and absurdities of life in apartheid-era South Africa

 

South Africa has given the art world a good number of famous photographers – David Goldblatt, Santu Mofokeng, Roger Ballen – but the wider photographic history of the country remains almost unknown. That would be enough to make Rise and Fall of Apartheid, the extensive and strikingly ambitious exhibition now open at the International Center of Photography in New York, into an important event.

 What makes this show unmissable is something else: the forceful argument of its Nigerian-born curator, Okwui Enwezor, that apartheid-era South Africa was "essentially a neofascist culture", and photography, more than any other artistic medium, offered a means to reinforce it or to contest it.
It's a broadly chronological show, and its opening galleries show the speed with which South African photography was transformed from an ethnographic practice to an engaged, politicised one.

Photographic output exploded after the institution of apartheid in 1948, especially in the contested spaces of South Africa's cities. In one shot we see a bench marked Whites Only, where a young fair-haired girl sits while her black nanny hovers behind her. In another, an older white woman in pearls is sitting on a bench with the same repugnant text on it – but she's wearing a black sash, the symbol of the non-violent women's anti-apartheid organisation.

South Africa goes on trial, by Alf Khumalo, shows the scenes outside courts when three major sabotage trials started in Pretoria, Cape Town and Maritzburg in 1963. Photograph: Baileys Archives

Photography was never just a documentary tool in South Africa. It was also, especially for the black majority, a means of self-fashioning. Drum Magazine, founded in Johannesburg in 1951, modernised the image of the black South African from rural native to urban habitué. Photographers of all races contributed, and the magazine mixed reportage with fashion and arts photography: there's a killer shot by Jürgen Schadeberg of Miriam Makeba in a strapless dress, singing with her eyes closed. Elsewhere in the show there are grimly fascinating photographs by Billy Monk, a bouncer at a Cape Town nightclub in the 1960s, whose snaps of drunk white revellers necking liquor and groping each other are a far cry from National Party propaganda, or the arid fashion magazines Enwezor displays beneath them.

But as the apartheid regime grew more severe – with the banning of the ANC and the imprisonment of Nelson Mandela – the character of the photos changed. The photographers of this era were rarely on assignment: they were actors in the struggle. During the Soweto Uprising of 1976, Sam Nzima photographed a 12-year-old boy shot by police – and then bundled him into a car to take him to a clinic, where the boy was pronounced dead.

Funerals, in particular, frequently served as a key vehicle for black visibility and political action. Mourners gathered by the thousands after the Sharpeville massacre, Steve Biko lying in his open casket, Winnie Mandela alongside the mothers of assassinated activists: these images came to symbolise the apartheid struggle itself, and made racial separation into a matter of life and death.

Harriet Gavshon in Jan Smuts Ave, Johannesburg, by Gille de Vlieg. The image records part of a Black Sash protest stand on 19 July 1985 in which protesters had to stand alone, or be arrested as an illegal gathering. Photograph: Gille de Vlieg

By the 1980s, the anti-apartheid movement had gone global, and the art world took notice. Hans Haacke created fake advertisements for Alcan, the erstwhile Canadian mining giant with large holdings in South Africa, that featured Biko beaten to death. Adrian Piper defaced pages of the New York Times which featured reports on apartheid with grotesque charcoal drawings. And in turn South African artists, from William Kentridge to Zwelethu Mthethwa, gained international attention for work that exposed the cruelties and absurdities of life under the apartheid regime.

In the final gallery we see the famous photograph, shot by Graeme Williams, of Nelson Mandela emerging from prison, his fist raised in the air. But Enwezor refuses to sound a falsely triumphant note at the end of this commanding exhibition. There are no images of happily queuing black South Africans voting in the 1994 election – but bodies dead in the street, or graves being dug for the victims of political violence that continued even after apartheid's end. And the young photographer Thabiso Sekgala shows us a scene from one of the former bantustans: scorched grass, stunted trees, barbed wire, a rusting car, a shack made of plywood and corrugated iron. There is little sign that anyone will ever live here again. The photograph is called "Inheritance."

More on this story

Rise and Fall of Apartheid: photography captures the protests and prejudice – in pictures
A new photographic exhibition in New York examines the legacy of the apartheid system through nearly 500 photographs, films, books, magazines and newspapers, covering more than 60 years of South African history

Unpublished JFK Photos: Houston Remembers President Kennedy's 1962 "Moon Speech" At Rice Stadium

Via KUHF

Today is the 50th anniversary of President John F. Kennedy's famous speech in which he declared, "We choose to go to the moon ..." He delivered it here in Houston, vowing to put Americans on the moon within the decade.

Listen:

I'm sitting here in the bleachers at Rice, on the stadium's east side, where most of the 40,000 people had gathered to hear Kennedy speak. It was Sept. 12, 1962 and reportedly it was quite hot but clear that day. The crowd included not only the mayor of Houston, the county judge, and the president of Rice, but also the Texas governor and various Texas congressman.

"It was blazingly hot. And poor Lyndon Johnson was drenched with perspiration."

Bob Gomel was photographing Kennedy that day for LIFE magazine. He says the president, unbelievably, didn't seem sweaty at all.

"He was cool, man. He just didn't, he just somehow or other, was oblivious to it. He looked perfectly fine."

Houston was the third stop on a presidential tour of aerospace facilities.

Gomel had gone with him to the rocket facility in Huntsville, Alabama and to Cape Canaveral.
At Rice he was so busy taking photos that he didn't realize the importance of the speech until later.

"It was very daring, it was very daring. I mean the Russians were out there in space. And he elected to put us in competition."

Excerpt from speech:
"But why, some say, the moon? Why choose this as our goal? And they may well ask why climb the highest mountain? Why, 35 years ago, fly the Atlantic? Why does Rice play Texas? We choose to go to the moon. We choose to go to the moon in this decade and do the other things, not because they are easy, but because they are hard …"

 

• 
  

  President JFK and LIFE magazine photographer Bob Gomel

  LIFE magazine photographer Bob Gomel, 28, at right in background holding camera, as the president enters the stadium before the famous speech. Photo credit: Unknown.
• 
  

  Unpublished Photo by Bob Gomel

  At Houston's Manned Spacecraft Center on 6040 Telephone Road, President Kennedy pokes his head out of a spacecraft in this previously unpublished photo. Photo credit: Bob Gomel.
• 
  

  President at the Podium

  At Rice University, the presidential speech that ignited the dream. Photo by: Bob Gomel
• 
  

  "We choose to go to the moon ..."

  "We choose to go to the moon in this decade and do the other things, not because they are easy, but because they are hard ..." Photo by: Bob Gomel
• 
  

  Space Industry Tour

  President John F. Kennedy and Vice President Lyndon Johnson began their space industry tour on Sept. 11, 1962 at rocket-production facilities in Huntsville, Alabama. Photo credit: Bob Gomel.
• 
  

  President JFK and VP Lyndon Johnson

  President Kennedy, with Vice President Johnson by his side, speaks at Cape Canaveral during his 1962 tour of U.S. aerospace facilities. Photo credit: Bob Gomel.
• 
  

  President Kennedy at Cape Canaveral

  President Kennedy at Cape Canaveral. Photo credit: Bob Gomel.
• 
  

  President Kennedy walking into Rice Stadium

  President Kennedy walking into Rice stadium. Photo by: Bob Gomel
• 
  

  President at the Podium

  At Rice University, the presidential speech continues. Photo by: Bob Gomel
• 
  

  President with Clenched Fist

  President Kennedy with clenched fist during speech. Photo by: Bob Gomel
• 
  

  President during Convocation

  President Kennedy during Rice University's Convocation. Photo byBob Gomel

  

Rice presidential historian Douglas Brinkley says this was not only the most important event in Rice's 100-year history, but it was also one of Kennedy's best and most successful speeches, in which he sold the American public on a vast public works project, that despite its expense, united the country.

"It was a way to get Congress to appropriate hundreds of billions of dollars into the space program. This was the single largest public discovery project ever. In scope, it dwarfed the Panama Canal. Maybe only the interstate highway system of Eisenhower is comparable."

Brinkley says Kennedy wisely sold the project as more than just a Cold War space race with the Soviets.

"Kennedy framed it as the march of human civilization into the galaxies. And framed it in that language of breaking the shackles of earth."

Brinkley notes that this was the last time a U.S. President managed to unite the country around a vast, expensive, and noble goal.

The tragedy of the Vietnam war, followed by Ronald Reagan's call to shrink government, made Americans more skeptical about public spending, especially on infrastructure and exploration.

"We aren't seeming to do public discovery anymore. It's all become private sector. And you don't have the government leading the charge on one big grand possibility like Kennedy threw out in front of the 40,000 people at Rice Stadium."



Bob Gomel: LIFE in The 1960s will be on exhibit October 5 - November 18, 2012 at Monroe Gallery of Photography. Bob Gomel will be in attendance at a reception in his honor on Friday, Oct 5, 5 - 7 PM.


Related: 50 years ago, Kennedy reached for stars in historic Rice address

50 years ago a promise made, a promise kept: going to the moon

Kennedy’s speech a ‘tonic’ for nation losing to Russia

World Trade Center Commemorative Time-Lapse of Re-Building

Via YouTube


In honor of the 11th anniversary of September 11th, EarthCam is proud to premiere this new commemorative time-lapse with cinematic views of the World Trade Center site from multiple webcams. The movie focuses on the rise of One World Trade Center, New York's tallest building, and has spectacular shots of the entire downtown New York City skyline. The footage was captured between February 2010 and September 2012.

Panel Discussion | Shifting Sands: Conflict Photojournalism and Ethics

featuring Marcus Bleasdale and Stephen Mayes
Tuesday, September 18, 2012, 6:30pm
Aperture
547 West 27th Street, 4th Floor
New York, NY 10001

What are the ethical responsibilities of a photojournalist who chooses to cover conflict? Can he or she be truly neutral, or do they have a responsibility to reflect the moral and political imbalances of the situations they report on?

Democratic Republic of the Congo, 2003
© Marcus Bleasdale/VII

The panel will explore the ethical pressures on photojournalists in conflict and will consider their accountability for the positions they take and the pictures they make, how they make them, where they place the work and the voice they attach to it. The discussion will consider the responsibilities and consequences, intended and otherwise, of reporting on conflict.


Marcus Bleasdale – Photographer, VII
Jason Cone – Communications Director, Doctors Without Borders USA
Philip Gourevitch – Journalist, The New Yorker
Thomas Keenan – Director of the Human Rights Project, Bard College
Kira Pollack – Director of Photography, Time Magazine
Stephen Mayes, Moderator – Managing Director, VII


More here.

Bill Eppridge speaks at Echo Foundation and Charlotte Observer exhibit of

Bill Eppridge's photographs. Photo by Meredith Jones

Read more here: http://www.charlotteobserver.com/2012/09/03/3501561/dnc-party-pics-090312.html#storylink=cpy

Read more here: http://www.charlotteobserver.com/2012/09/03/3501561/dnc-party-pics-090312.html#storylink=cpy

Via Charlotte Observer

Kathleen Kennedy Townsend speaks Echo Foundation and Charlotte Observer exhibit

of Bill Eppridge's photographs. Photo by Meredith Jones

 

 

 

Echo Foundation and Charlotte Observer exhibit of Bill Eppridge's photographs.

Photo by Meredith Jones

Read more here: http://www.charlotteobserver.com/2012/09/03/3501561/dnc-party-pics-090312.html#storylink=cpy

Read more here: http://www.cDNC Exhibit showcases photos of harlotteobserver.com/2012/09/03/3501561/dnc-party-pics-090312.html#storylink=cpy

 

Read more here: http://www.charlotteobserver.com/2012/09/03/3501561/dnc-party-pics-090312.html#storylink=cpy

Read more here: http://www.charlotteobserver.com/2012/09/03/3501561/dnc-party-pics-090312.html#storylink=cpy

Related: DNC Exhibit showcases photos of Robert F. Kennedy

FreePress: Journalists in Need of a Safety Net

Via FreePress

Josh Stearns

September 4, 2012

More and more independent journalists and citizens are putting themselves on the front lines to cover city halls and city streets, politics and protests — and they’re doing so without the support or protection afforded staff at established newsrooms.

Indeed, these journalists undertake incredible personal and legal risks to do their work. The Committee to Protect Journalists found that of the 179 journalists imprisoned worldwide in 2011, 86 were digital journalists and 78 were freelancers. Here in the U.S., nearly 90 journalists — many of whom are independents or freelancers — have been arrested or detained in the past year, and in state after state people have scuffled with police over their right to record.

We cannot build a bright future for news if we cannot create ways to protect and support the independent and citizen journalists who are trying to create that future.

Some of these journalists are building new networks of support to expand their reach and insulate them from legal threats. Learn more about these ad-hoc support networks in my post on PBS’ Media Shift site.

Original photo by Flickr user P. Weiskel

---

To support our journalism campaign, please consider a donation to the Free Press Action Fund.

"I mean, photojournalism is not dead. I think we can agree on that."

Kadir van Lohuizen, interviewed on the New York Times Lens Blog as the NOOR photo agency is commemorating their fifth anniversary at the 2012 Visa Pour l'Image Festival.

DNC Exhibit showcases photos of RFK

 Bill Eppridge, Senator Robert Kennedy at a rally in Sioux City, Iowa 1966

  ©Time Inc.

Via Charlotte Observer
 By Claire McNeill
cmcneill@charlotteobserver.com

Magazine photographer followed Kennedy during 1968 presidential campaign

Read more here: http://www.charlotteobserver.com/2012/09/02/3499126/exhibit-showcases-photographers.html#storylink=cpy

Life magazine photographer Bill Eppridge shadowed Bobby Kennedy on the 1968 presidential campaign trail, witnessing everything from quiet moments to massive rallies.

On June 5, 1968, Eppridge took a famous photo of Kennedy lying on the floor of the Ambassador Hotel in Los Angeles, moments after he had been shot.

“There is not a day that goes by that I don’t think about that man,” Eppridge said.

Now, with politics on center stage in Charlotte, a special exhibit featuring nearly 40 of Eppridge’s photos of Kennedy will be on display.

The show, “One America, One American,” is sponsored by The Echo Foundation and The Charlotte Observer.

Housed in the Observer’s lobby, the exhibition is open to the public Sept. 4-Oct. 19, following The Echo Foundation’s 15th annual award gala opening Monday.

Eppridge, born in 1938 and still taking photographs, will attend the opening, as will Kennedy’s oldest daughter, Kathleen Kennedy Townsend, a former lieutenant governor of Maryland. Townsend will accept the foundation’s inaugural Family Legacy Award on behalf of the Kennedy family.

Former presidential candidate and retired Gen. Wesley Clark will deliver the night’s keynote address, “Courageous Leadership in Turbulent Times.”

Eppridge, a self-taught photographer and veteran of Life, National Geographic and Sports Illustrated, said the exhibit’s timing – coinciding with the Democratic National Convention – is “really special.”
“I think a lot of (delegates) don’t really know who he was or what he stood for or the importance of that man, and maybe this will get them thinking about where we’ve been or where we might be able to go,” he said.

Before Kennedy became a Democratic senator from New York, he was attorney general in the administration of his brother, John F. Kennedy, who was assassinated in 1963. Bobby Kennedy was an icon of the civil rights movement and took a strong stance against the war in Vietnam.
Eppridge said Bobby Kennedy’s importance lay in his honesty, popularity and dedication to getting troops home from Vietnam as soon as possible.

“I had quite unusual access to that man. I heard and saw and knew things that other people didn’t, and I realized that he was dead serious when he told us, ‘We are out of Vietnam on the day I take office,’ ” Eppridge said. “I don’t think anything was impossible to him.”

The Echo Foundation will also display the winning photographs from its international student photojournalism competition, which sought photography responding to the question, “What does democracy or tyranny; justice or injustice look like?”

From more than 500 entries from students across the globe, Tobin Jones, who attends the University of Westminster in the United Kingdom, was chosen as grand-prize winner.

Jones won the opportunity to travel to Charlotte during the convention and take photos alongside Eppridge for one day.

Copyright 2012 The Charlotte Observer. All rights reserved. This material may not be published, broadcast, rewritten or redistributed.

 Want to go?
The free public exhibit, “One America, One American,” is open 7 a.m. to 8 p.m. Monday-Friday and 9 a.m. to 6 p.m. Saturday and Sunday, Sept. 4-Oct. 19 in the Observer lobby, 600 S. Tryon St.   

Read more here: http://www.charlotteobserver.com/2012/09/02/3499126/exhibit-showcases-photographers.html#storylink=cpy

Read more here: http://www.charlotteobserver.com/2012/09/02/3499126/exhibit-showcases-photographers.html#storylink=cpy