"A nursing station in the Frost 19 unit, Christus St. Vincent Regional Medical Center, Santa Fe, NM, December, 2020" was taken during a surge in Covid-10 cases, and was part of a series that resulted in a first place New Mexico Press Association award. View the full essay here in the Santa Fe New Mexican.
On Demand - Available until November 25, 2021
Photographer Ashley Gilbertson, who captured the iconic image of Officer Goodman on January 6, recounts his observations in the documentary. Three of Gilbertson's photographs from that day were in the Monroe Gallery exhibit "Present Tense".
Four Hours At The Capitol - Watch the HBO Original Documentary | HBO
Four Hours at the Capitol is an immersive chronicle of the insurrection at the U.S. Capitol on January 6, 2021, when thousands of American citizens from across the country gathered in Washington D.C. to protest the results of the 2020 presidential election, many with the intent of disrupting the certification of Joe Biden’s presidency. The documentary film is executive produced by Dan Reed (HBO’s Leaving Neverland, Three Days of Terror: The Charlie Hebdo Attacks, Terror at the Mall) and directed by Jamie Roberts.
Via The San Diego Union Tribune
November 14, 2021
“Things as They Are: City, Society and Conflict” covers everything from a chilling shot of Nazi minister of propaganda Joseph Goebbels by Alfred Eisenstaedt in 1933. Two of Bourke-White’s prints are on view in the “Things as They Are: City, Society and Conflict” section. One is a 1951 image of the U.S. Navy aircraft carrier Boxer, stationed in San Diego, the other is of the Buchenwald concentration camp liberation in 1945. "
By Grace Holliday
Sat 13 November, 2021
Sky high: Ed Kashi’s best phone picture
‘This image was a breakthrough. I began to see the world anew’
Ed Kashi regards his shot of a California aerial tram ride as a personal turning point. For three decades, on assignment in countries including Nigeria, Iraq and Pakistan, he had taken countless images of civil discord and extreme suffering. “I had absorbed that trauma – many photojournalists do. Often our singular goal is to get as close as possible to the most horrible things on Earth and document them,” Kashi says. “I needed to rehabilitate myself, to make a photo that was soft, beautiful and candy-coloured – to expand my emotional range. This image was a breakthrough. I began to see the world anew.”
Kashi describes this period as the “Plasticine era of Instagram”, a time when the smartphone was transitioning from “a fun, novelty toy to a viable tool for an image maker”.
The shot was taken at an amusement park in the US city of Santa Cruz on a day trip with college students, during the afternoon session of a photography workshop Kashi was conducting. “When I’m ‘on’ as a photojournalist, I’m always looking for and responding to visual clues, whether it’s the horizon or the light,” he says.
Spontaneously boarding the aerial tram, he reached for his iPhone 5 instead of his usual 35mm camera. Even in an amusement park dedicated to pleasure and fun, he saw darker undercurrents (not least the plastic figure taking a ride). “The people in the shot aren’t beaming,” he says. “Their facial expressions suggest that perhaps they’re hungry, or tired, or just had a fight. That’s just being human.” And, as the cabin rose, a thought he’d had in far more serious contexts urged him on: “The photo gods have bestowed this upon me – don’t screw it up.”
View more of Ed Kashi's photography here
November 7, 2021
Gallery photographer Sanjay Suchak's "Take 'em Down" series covering the removal of confederate statues in Virginia as the only official photographer allowed to be part of the wrecking crew was featured on Virginia Public Media (VPM). His work was featured in Monroe Gallery's "Present Tense" exhibit earlier this summer.
"There's no better example of democracy and photography than the statue removals happening around Virginia. I've always liked documenting construction - more destruction of things, abandoned buildings, tearing down arenas, places filled with such life that you tear down piece by piece. So the idea of dismantling these statues, which are celebrated at some point, for all the wrong reasons is very attractive to me as a photographer.”
NEW YORK – The Association of International Photography Art Dealers (AIPAD) has announced new dates and a new midtown Manhattan location for The Photography Show presented by AIPAD. The highly anticipated 41th edition will be held from May 19 through 22, 2022, at Center415 located on Fifth Avenue between 37th and 38th streets in New York City.
More than 45 of the world’s leading galleries of fine art photography
will present museum-quality work including cutting-edge contemporary,
modern, and exemplary 19th-century photographs, as well as photo-based
art, video, and new media, at the premier fine art photography fair.
“After an absence of almost three years due to COVID-19, we can’t wait
to reunite the global photography community in New York City for The
Photography Show presented by AIPAD,” said Michael Lee, President of
AIPAD and Owner of Lee Gallery, Winchester, Mass. “There is a great
desire for photography dealers, collectors, curators and museum groups
to finally gather again in front of the best in photography. We look
forward to presenting a tightly focused member fair in a fresh venue in
the middle of Manhattan and with dates that place AIPAD in the exciting
art calendar in May.”
The Photography Show, a vital part of New York City’s cultural scene and
a must-see among fine art photography collectors, is the longest
running exhibition dedicated to the photographic medium. The 2022 Show
will feature leading galleries – all of whom are members of AIPAD – from
across the U.S. and around the world, including Europe, Asia, Canada,
and South America.
An essential annual event for the international photography community,
The Photography Show presented by AIPAD commences with an Opening
Preview on Thursday, May 19.
SHOW LOCATION
Center415, 415 Fifth Avenue, between 37th and 38th Streets, New York City
For further details, visit aipad.com or contact info@aipad.com.
MEDIA INFORMATION ONLINE
Information about The Photography Show presented by AIPAD is available at aipad.com. Find AIPAD on Facebook at facebook.com/AIPADphoto or follow @AIPADphoto on Instagram and Twitter.
AIPAD BACKGROUND
Founded
in 1979, The Association of International Photography Art Dealers
(AIPAD) represents more than 80 of the world’s leading galleries in fine
art photography. AIPAD is dedicated to creating and maintaining the
highest standards of scholarship and ethical practice in the business of
exhibiting, buying, and selling fine art photography. More information
is available at AIPAD.com.
October 31, 2021
The New Mexico Press Association recognized the best of New Mexico’s newspaper writing, photography and advertising at the Better Newspaper Contest Banquet on Saturday.
The Santa Fe New Mexican captured 24 first-place honors and 18 second-place finishes and was the winner of the General Excellence award Saturday night in the New Mexico Press Association’s Better Newspaper Contest.
The contest honors work in all aspects of a news platform, including website and advertising content. The New Mexican competes in the largest category, daily newspapers with a circulation above 11,000. Journalists from throughout the state received their awards at a banquet Saturday night at Santa Fe’s Eldorado Hotel.
Photo Series: First Place, Gabriela Campos
Online Photo Gallery: First Place, Gabriela Campos
October 26, 2020
The show is called “Devour the Land: War and American Landscape Photography since 1970.” It’s at Harvard Art Museums, it was put together by curator Makeda Best, and it’s about how photographers have fought to expose the hidden effects of the U.S. military and its associated industries on America’s environment and the health of its population. More broadly, it’s about inequality and justice.
" Should museums mount exhibitions with a moral agenda? Absolutely. If they do it well....I’ve just seen a major exhibition that I think delivers on exactly the kind of thing they had in mind.And, guess what? It’s brilliant. "
Gallery photographers Nina Berman and Ashley Gilbertson are included in this exhibition.
October 20, 2021
Gallery photographer Ed Kashi worked on this important story with NYT reporters David Gelles and Emily Steel about how one of the main PFAS plants in America, in North Carolina, has caused health and environmental problems.
By Ebubechi J. Nwaubani, Contributing Writer
October 19, 2021
On Sept. 17, The Harvard Art Museum opened its doors to the new “Devour the Land” photography exhibition. The showing is divided into three rooms and travels through the ramifications of nuclear war, environmental poisoning, and urbanization in six parts titled: “Arming America” Part 1 and Part 2, “Slow Violence,” “Regeneration,” “Other Battlefields,” and “Resistance.”
According to curator Makeda Best, “Devour the Land” originates from General William Tecumseh Sherman’s description of a devastated and desolate land following the Union Army’s “scorched earth” policy during the Civil War. Images captured by photographer George Barnard, who accompanied General Sherman on this campaign, depicted “destruction with a certain beauty,” according to Best. This tragic beauty is a thread throughout the three rooms — and a sentiment shared by attendees.
“It’s quite deep, and unfortunately, sad, but there’s also a beauty,” said security guard Patricia A. Daly while standing in front of a series of photos by influential photographer Richard Misrach. In the center of a sun bleached landscape stands a yellow school bus ravaged by nuclear weapons and rot; the photograph is labeled “School Bus Target.”
Disparities within the artwork scenes were picked up by other onlookers as well. Visitor Michael E. Halwes said “The pieces that have really contrasted the war on terror aspects of the Gulf War were pretty compelling and then also the ones where you get a good juxtaposition of the industrial masking [of] the audience's view of the nature behind it.”
This contrast is most prominent in Frederica Armstrong’s photo series “In Plain Site.” Armstrong captures suburban areas of Silicon Valley in her series, areas which have an aura of the mundane: and parking lot, a street corner at sunset. Below each image is the corresponding EPA classification number that identifies it as a superfund site. “The National Priorities List creates lists of sites that are so toxic as to need a superfund [which is] a fusion of federal dollars to clean up and kind of get it under control,” says Best, waving finger quotations in the air around the words “clean up.” Below two images read “Site ready for use: No.”
In a glass box in the center of one of the rooms of the exhibit lies a card titled “Nuclear Mail” with the date August, 1982 in the top left corner. The card reads: “WASHINGTON, D.C. — U.S. Postal Service officials revealed plans to assure mail delivery in the event of nuclear war. … Should Washington D.C. be destroyed, the national postal service will be run from Memphis, Tenn. If Memphis is also devastated, San Bruno Calif. will take over.” Best touches on these effects, saying that “the military is the number one polluter in the country.” Best spoke to the exhaustion of resources done by the scorched earth policy. “We’re still doing that, we’re using up our land, but we’re only poisoning ourselves. We’re only destroying ourselves this time.”
The exhibit stands out from most atomic photography presentations in that it addresses the long term effects of this war on land. Best credits “Slow Violence and the Environmentalism of the Poor” by Rob Nixon as her inspiration for the third section of the exhibit “Slow Violence.” Best says the book makes “recognition of violence as attritional versus spectacular.” A series of photographs depict an area in Louisiana known as Cancer Alley, which has one of the largest concentrations of petrochemical plants and refineries in the nation. Most citizens of the area are descendants of slaves. Best addresses the question of geographical racism thoroughly throughout the exhibit. One frame depicts the bright lights of a penitentiary — whose prisoners are disproportionately black — against a pitch black sky. In response, Best says “Many prisons in the country are superfund sites, so what does that mean?”
This exhibition, as much great art does, asks the question: “What’s next?” Attendee Micheal E. Hawles admits that he feels pessimism about the future but says, “People have a responsibility to bear witness to what’s going on in the world around them. … There’s always the chance that someone is going to be exposed to new information and I think it's just about the constant drumming of building public sentiment against these sorts of practices that, ideally, get reflected in policy changes.”
Attendee Ashley M. Kelley was also emotionally impacted by the exhibit. “It's important to take note, [that] even though you aren’t able to see what’s around you, and if you’re privileged enough, know that this is still going on and health hazards have large effects on families and generations,” says Kelley.
It’s clear that the issue of nuclear warfare is not a linear one, but one with many starting points and stories that run parallel to each other throughout history. This exhibition stands as a testament to these parallel stories and, hopefully, points towards an end to such damaging practices.
Monroe Gallery photographers Nina Berman and Ashley Gilbertson are contributors to this exhibition.
