A league of their own

 Via Pasatiempo

May 5, 2023

By Brian Sanford

In one image, an older woman sits on a bus, clutching her purse and looking pensive. In another, a man, his face obscured, gazes searchingly into an armpit-high trash bin. In a third, six children congregate in an empty lot with four-story row housing visible in the distance, their faces registering no signs of discomfort.

To observers in 2023, these septuagenarian images by two Photo League members offer candid views of daily life in a handful of American cities, primarily New York, as the shadow of World War II falls away. The images show little of the suffering that’s common in photographs from the Great Depression 15 years prior or the Vietnam War 15 years later. Yet to U.S. Attorney General Tom C. Clark in 1947, the images of real life were sufficiently objectionable to land the Photo League on a list of groups considered “totalitarian, fascist, communist or subversive.”

The league was a collective of photographers, many of whom were women or first-generation Americans, who thought their work could improve social conditions in the United States. The collective had endured since 1936 but couldn’t survive the power-mad paranoia of McCarthyism, when a mere accusation of harboring communist sympathies was enough to destroy an association, a career, a life, a family. The league’s placement in 1948 on the Attorney General’s List of Subversive Organizations was the beginning of the end — preventing members from selling their work or getting passports — and it shuttered in 1951.

That’s 73 years ago. Remarkably, Sonia Handelman Meyer only recently died in 2022, at age 102, and Ida Wyman in 2019, at age 95. Work by both is featured in Sonia Handelman Meyer and Ida Wyman: Two Pioneering Women Photographers of the Photo League, running through June 18 at the Monroe Gallery of Photography. The exhibit primarily features photographs from 1946 through 1950.

Sonia and Ida embrace at the Norton Museum of Art in Florida during a Photo League exhibit in 2013. 

Courtesy Joe Meyer/Monroe Gallery of Photography

At the exhibition’s opening April 21, Wyman’s granddaughter Heather Garrison and Meyer’s son Joe Meyer told a standing-room-only crowd about what inspired their famous photographer family members.

“If you’re wondering what a radical looks like, this old lady here in our backyard, this is what they look like,” Meyer says, pointing to a recent color image of his then-silver-haired mother. “Eventually, they can relax in front of the pond and chill out.”

Meyer then shows an image of his mother from her days in the Photo League, her hair still dark as she playfully balances herself while seated on a bucket, shooting the photographer a side-eyed look.

“This is what a radical looks like back in the day, when they were really active,” he says, proudly adding that his mother was born the year the 19th Amendment was ratified, granting women nationwide the right to vote. That was 1920, eight years after New Mexico became a state.

Meyer says his mother continued working, giving lectures and signing prints, until her death last September.

Sonia Handelman Meyer, Girl on stairs, New York City (c. 1946-1950)

courtesy Monroe Gallery of Photography

Sonia Handelman Meyer’s Boy wearing mask features a child tying his shoes while gazing impassively at the camera. In Girl on stairs, a little girl wearing a blouse stands in a stairwell, illuminated by light from the window behind her.

“She loved children,” Meyer says, while showing the audience Children playing in vacant lot, which he calls one of his mother’s most-loved images. ”You know, they’re the hope, and they’re innocent. And these kids, they’re having fun in their vacant lot. There’s no grass, but they’re going to make do, and they’re going to have fun. That touched her, and she captured it.”

Sonia Handelman Meyer had a twin-lens reflex camera, allowing her to look down and see exactly what the images she took would look like once they were developed, rather than having to gaze through a viewfinder and get an approximation. The technological setup allowed her to take photographs without being noticed, her son says, as she didn’t need to raise the camera to eye level.

“She had this like-minded circle of friends; she was kind of left-leaning, as the Photo League was,” he says of his mother’s ideology. “She was anti-war, pro-human rights, pro-women’s rights and equality, you name it.”

She also was afraid — of her government. While the Photo League resisted its demise at first, a member and longtime FBI informant testified in 1949 that the league was a front organization for the Communist Party.

“My parents lived underground in Philadelphia for three years because they were so freaked out, and she was freaked out about the FBI knocking on the door until the day she died,” Meyer says.

Photography funding

Garrison, showing the crowd the only known photo of Wyman’s first camera, says Wyman had to beg her father for the $5 to purchase it. Wyman got an unwanted lesson in overcoming adversity when the camera was stolen at a Woolworth’s store, but she saved enough from babysitting jobs to buy a replacement and joined the camera club in high school.

After graduating at age 17, Wyman had plans to enroll in nursing school but was still a minor.

Ida Wyman, Sidewalk Clock, New York City (1947); courtesy Monroe Gallery of Photography

“She called up every photo editor in New York City and asked for work, and they all laughed and hung up,” Garrison says. “She also called the [Associated Press] and United Press International and ACME Newspictures, and only ACME asked her to come down, but they offered her a job in the mailroom. The mailroom had vacancies because the men were going to war.” ACME was a U.S.-based news agency that operated from 1923 to 1952.

Wyman was promised the ACME role would lead to photography work, Garrison says, but she instead became a printer — an interest maintained throughout her life.

“She began taking photos of children playing in the neighborhood, beautiful buildings with brick, and she just spent time walking around New York,” Garrison says of Wyman’s early career. “She had a talent for connecting with people. As a child I was embarrassed by this, because at every bus stop in New York, she would just strike up a conversation with a stranger.”

As Wyman gained a reputation and clout, she landed a dream assignment for Life magazine. Life, with its wide pages and widespread circulation, focused on photography from 1936 until it ceased weekly publication in 1972.

While doing work for Life was appealing, the subject matter was not. The assignment involved photographing a group of women in Beverly Hills, California, Garrison says.

“Her [takeaway] was that the men doing work for Life kind of got the real assignments, and the women were left with the fluff,” she says.

Wyman stepped away from photography when she had children, as childcare was not financially feasible. By the time Wyman was ready to re-enter the workforce years later, Garrison says, she no longer received assignments and took a job as a medical photographer.

After a cancer scare, she decided at age 57 to rededicate herself to freelance feature photography, forgoing the pension she would have received had she kept her previous job.

“The staff and friends thought that she was crazy for leaving all this behind and going to an uncertain world,” Garrison says. “But she said nothing focuses the mind more than a near-death experience.”

Wyman continued printing in the second bedroom of her New York City apartment well into her 60s, her daughter says.

“I remember that when visitors were coming, we would move the bins of chemicals out of her bathtub so they wouldn’t see this darkroom in her bathroom,” Garrison says.

Wyman took photographs regularly into her 80s, Garrison says — recently enough that she was able to try her hand at digital and cellphone cameras. While she didn’t care for either, Garrison says, she acknowledged the luxury of not having to transport heavy photography equipment.

Sonia Handelman Meyer, Bus Stop, New York City (c. 1946-1950)

 courtesy Monroe Gallery of Photography

Gallery owners Michelle and Sid Monroe say 1946 to 1950 was a time of great change in the U.S. in general and in New York City in particular, with an influx of immigrants integrating into an optimistic society.

“We are beginning to describe ourselves as the world’s model of democracy,” Michelle Monroe says of the U.S. at the time. “We saved Europe, we vanquished the Japanese. When you put into context what these photographers’ mission was, that directly contradicted this new description of America. ‘What do you mean, you’re the world’s model for democracy? Look at these children. Look at the conditions that they’re living in.’

“People have been incredulous, asking how these possibly could be deemed threatening. Well, let’s go back to the culture of America post-World War II. They were in direct opposition with the narrative that the McCarthy era was describing. When we explain that to people, they’re like, ‘I got it.’”

Meyer and Wyman met — but not in their Photo League days. An exhibit in New York about a decade ago featured a photograph of them embracing at a museum in Charlotte, North Carolina, says Sid Monroe.

Michelle Monroe adds, “As women, they understood that they couldn’t be pushy, because you know what would happen if you were a pushy woman back then. But they knew how to get things done on the down low, so to speak, and I think that served them well for their entire lives.” ◀

Sonia Handelman Meyer and Ida Wyman: Two Pioneering Women Photographers of the Photo League

10 a.m. to 5 p.m. daily, through June 18

Monroe Gallery of Photography, 112 Don Gaspar Ave.

505-992-0800, info@monroegallery.com, monroegallery.com

More reading:

The Radical Camera: New York’s Photo League, 1936-1951 (Yale University Press, First Edition, 2011), a hardcover coffee table book by Mason Klein and Catherine Evans, features 150 photographs by Photo League members.

Where the U.S. stands on World Press Freedom Day 2023 (May 3)

 

Via Freedom Forum

Where the U.S. stands on World Press Freedom Day 2023

As the United Nations marks 30 years of World Press Freedom Day on May 3, it’s worth remembering how a mere four words in the First Amendment – “or of the press” – is the basis for press freedom in the United States.

Despite having prime constitutional billing, U.S. news outlets and journalists don’t enjoy the freest press conditions in the world. The U.S. doesn’t even rank in the top 20.

Wait, what?

Reporters Without Borders (known by their French initials, RSF) ranks the U.S. as 42 out of 180 countries. But that is up two spots from the 2021 ranking.

As RSF’s annual report puts it: “In the United States, once considered a model for press freedom and free speech, press freedom violations are increasing at a troubling rate.”

Similarly, global advocacy organization Freedom House gives the U.S. a three out of four on press freedom conditions. Not the worst, but there’s room to improve.

Certainly the U.S. isn’t North Korea, which RSF consistently ranks last.

Nor is it Russia, where the recent arrest of Wall Street Journal reporter Evan Gershkovich and ongoing treatment of imprisoned opposition leader, advocate of free expression and 2023 Freedom Forum Free Expression Award honoree Alexey Navalny makes the country’s press freedom ranking of 155 out of 180 countries seem too generous.

U.S. press freedom black holes

WEST VIRGINIA PUBLIC BROADCASTING

West Virginia Public Broadcasting, licensed to the state government, fired reporter Amelia Ferrell Knisely last December. The reporter claimed it was after pressure from state officials who didn’t like her reporting on accusations against a state agency and its treatment of people with disabilities.

NPR media correspondent David Folkenflik covered the fallout, reporting: “Interviews with 20 people with direct knowledge of events at West Virginia Public Broadcasting indicate Knisely's involuntary departure from her position as a part-time reporter was not an aberration but part of a years-long pattern of mounting pressure on the station from Gov. Jim Justice's administration and some state legislators.”

More than 200 local public radio stations, members of the NPR network, are independently owned and operated. Those stations are nonprofits, often licensed to public entities, such as universities, school districts, or in a few cases, state governments.

Whether these stations are licensed to an independent nonprofit or to a public entity, their editorial independence is what makes them essential and reliable news sources. Government funding of any amount does not equal editorial control. When interference happens, it undermines public trust in a free press.

FLORIDA LICENSE PROPOSAL

A bill introduced this year in Florida immediately drew the ire of free press groups – and Gov. Ron DeSantis – for seeking to make “bloggers who write about elected officials to register with the state.”

The bill doesn’t target journalists working at established news outlets, but the spirit runs afoul of the First Amendment.

“53% would support a special licensing process for journalists, like that for doctors and lawyers – perhaps not recognizing press freedom is a right for all and that licensing would limit this freedom,” according to Freedom Forum’s 2022 Where America Stands survey.

Proposals like this aren’t new, particularly in the past 20+ years as publishing and sharing information by people who don’t work for traditional news outlets has become easier. The First Amendment protects more than just “the press,” an amorphous term more than 200 years on. It protects every person’s freedom to talk, write, or share opinions about government or any topic. Attempts to license people, be they journalists, bloggers or your neighbor complaining on Nextdoor will always draw scrutiny as being unconstitutional.

 THREE AFFILIATED TRIBES

Despite the First Amendment’s broad protections for U.S. journalists, those freedoms generally don’t extend to sovereign Native American nations and their tribal-owned media. Federal and state freedom of information laws broadly guarantee anyone can request and receive communications of public officials and other government documents. But these laws don’t cover tribal governments.

For example, the Three Affiliated Tribes of North Dakota have been accused of multiple transparency violations of its own constitution and bylaws, according to the Society of Professional Journalists.

These violations caused the Society of Professional Journalists to give the tribal nation its annual Black Hole Award, which “highlights the most heinous violations of the public’s right to know.”

Journalists who work for tribal-owned media and groups like the Native American Journalists Association and Indigenous Media Freedom Alliance have been pushing tribal governments to extend free press protections and broaden transparency, press access and freedom of information within their sovereign nations.

Continue reading

REMEMBERING THE RADICAL WOMEN OF NEW YORK'S PHOTO LEAGUE

 Via Huck Magazine

April 26, 2023

By Miss Rosen

A new exhibition revisits the work of Sonia Handelman Meyer and Ida Wyman, who devoted themselves to social justice and chronicling daily city life as part of one of the most progressive art collectives in US history.

In 1936, a group of predominantly Jewish-American photographers in New York City came together to form The Photo League, dedicating themselves to using the camera in the ongoing fight for social change. By the ‘40s, the League’s roster included luminaries like W. Eugene Smith, Berenice Abbott, Paul Strand, Lisette Model and Weegee, with women accounting for more than a third of their membership at a time when gender equity in the industry was extremely rare.

Standing at the vanguard of art and activism, the League was dedicated to supporting the struggles of American workers through the Depression and the start of the post-war boom – only to be targeted by the FBI during the early years of the Red Scare. In 1947, the US Department of Justice blacklisted the Photo League as a “subversive organisation,” putting members at risk of government persecution.

The League rallied but was ultimately no match for the state, which used a paid informant to destroy the photography collective in court. Although the League finally disbanded in 1951, its legacy lives on in both the work of its members and their shared commitment to human rights.

Sonia Handelman Meyer

Sharp dressers on the corner, Spanish Harlem (1946-1950) 

In a new exhibition, gallerists Sid and Michelle Monroe revisit the groundbreaking work of two photographers whose work as gone unrecognised until recent years: Ida Wyman (1926-2019) and Sonia Handelman Meyer (1920-1922).

Joe Meyer, manager of the Sonia Handelman Meyer Estate, remembers his mother as an artist and activist who first took interest in social issues as a teen. “When she joined the Photo League in her mid-20s, she found a new medium to share her radical ideals with an even broader audience,” he says.

Handelman Meyer attended rallies and participated in boycotts, devoting herself to civil rights, environmental and anti-war causes. Standing at the frontlines, she was tear gassed during protests in Washington D.C., charged by a mounted policeman in New York, and had rocks thrown at her during the 1949 Peekskill Riot.

In an artist statement written in her later years, Handelman Meyer recounted her work for the League photographing at an anti-lynching rally in Madison Square Park, at a Jehovah’s Witness convention in Yankee Stadium, and at the Hebrew Immigration Aid Society, as well as chronicling daily life in New York, which she descried as “rough-edged, tender and very beautiful in its diversity.”

After the League shut down, Handelman Meyer packed up her prints and negatives and went underground for three years, fearing repercussions of her involvement. She lost track of League members, focusing her energy on raising a family and photographing nature instead.

After a series of events brought her work back into the public eye in 2007, Handelman Meyer, then 87, was finally able to receive the recognition she deserved. Charged with purpose, she picked up where she left off, passing along the mission of the Photo League to a new generation of photographers.

Sonia Handelman Meyer and Ida Wyman: Pioneering Women of the Photo League is on view April 21 – June 18, 2023, at Monroe Gallery in Santa Fe, New Mexico.

Capturing Humanity: Photography exhibit explores snapshots of New York’s ordinary people

 

Via The Albuquerque Journal

BY KATHALEEN ROBERTS / JOURNAL STAFF WRITER

Sunday, April 23, 2023

Two pioneering women photographers who were blacklisted by the Red Scare share wall space at Santa Fe’s Monroe Gallery of Photography.

Both Sonia Handelman Meyer and Ida Wyman were members of the Photo League. The league was a collective of photographers active from 1936-1951, who believed their work could change poor social conditions and champion photography as an art form. It thrived as one of the most progressive, dynamic and creative centers for photography in the country. About one-third of its members were women.

Handelman Meyer and Wyman roamed the streets of New York, capturing the humanity of ordinary people. In some ways, their gender helped them remain invisible to the people they photographed.

“There was a great advantage to being a woman at that time, to be considered as no consequence,” gallery co-owner Michelle Monroe said.

Handelman Meyer learned about socially engaged photography in workshops by one of the Photo League founders Sid Grossman.

She captured three boys affecting tough guy poses after chasing her down the streets of Spanish Harlem demanding that she photograph them. She also shot “Boy Wearing Mask, New York City” (1946-1950), an image less mysterious that it seems.

“He was playing cops and robbers,” Monroe said. “The way he’s looking at her; there’s a lot of ambiguities about that child. Was he playing? Is it mistrust? Was it just an interruption from an adult? He’s just playing.”

Wyman photographed for Life and Business Week magazines, as well as her own enjoyment. Her work went unheralded for decades.

She was 19 and working in Manhattan as a photo printer for the Acme Newspictures agency when she photographed several men in Manhattan’s garment district in April 1945. One held up a copy of The Jewish Daily Forward, the Yiddish-language newspaper, as the others read about President Franklin D. Roosevelt’s death. Wyman’s “Looking East on 41st Street, NYC” (1947) down a canyon of skyscrapers captures the majesty and industry of the city.

“Men of the Garment District Read of President Roosevelt’s Death, NYC, 1945,” Ida Wyman. (Courtesy of Monroe Gallery)

Before Handelman Meyer and Wyman, women were often assigned to shoot department store openings, Monroe said.

In 1947, the Photo League appeared on a long list of organizations identified with the Communist Party. Efforts to counter the allegation included a large exhibition, “This Is the Photo League.” But in 1949, Angela Calomiris, a Photo League member and F.B.I. informant, publicly testified that members of the organization were Communists. The League disbanded in 1951, a casualty of the Red Scare.

The league’s secretary at the time, Handelman Meyer answered the office phone when requests for comment about the accusations poured in from the media. She also received threatening calls.

“It got to be too much,” she told The New York Times. “They were blacklisting people. There were photographers who could not get their passports for overseas jobs. Little by little, it dissolved.”

When the league closed, Handelman Meyer put her photos and negatives in boxes and moved on with her life. They wouldn’t be opened for many years.

In the early 1940s, the list of notable photographers who were active in the league or supported their activities also included Margaret Bourke-White, W. Eugene Smith, Helen Levitt, Farm Security Administration photographer Arthur Rothstein, Beaumont Newhall, Nancy Newhall, Richard Avedon, Weegee, Robert Frank, Harold Feinstein, Ansel Adams, Edward Weston and Minor White.

‘Two Pioneering Women Photographers of the Photo League’

Sonia Handelman Meyer and Ida Wyman

WHEN: Through June 18

WHERE: Monroe Gallery of Photography, 112 Don Gaspar Ave., Santa Fe

CONTACT: 505-992-0800, monroegallery.com

Pulitzer-winning photojournalist, Kent State shooting survivor John Filo discusses modern journalism

 Via The Berkeley Beacon

Pulitzer-winning photojournalist, Kent State shooting survivor John Filo discusses modern journalism

By Shannon Garrido, Content Managing Editor

April 20, 2023

A little more than half a century after the 1970 massacre at Kent State University, the Pulitzer Prize-winning photojournalist John Paul Filo feels that the nation is in a state of confusion and outrage.

Filo, a survivor of the tragic shootings, photographed 14 year-old protester Mary Ann Vecchio kneeling over the body of 20-year-old Jeffrey Miller, a college student protesting the Vietnam War, who was shot dead by the Ohio National Guard soldiers. In an event last week, sponsored by Emerson’s Communication Studies Department, Filo and Vecchio were invited to speak to students last week at the Bright Screening Room of the Paramount Theatre.

Filo’s kind eyes and enthusiastic tone make his otherwise tall demeanor and impressive reputation less intimidating. Yet, in an interview with the Beacon, Filo went quiet before answering how people view that tragic event today—“I don’t know,” he says.

“It’s a generational thing,” Filo said. “The people that don’t know anything about Kent State are only a little younger than me. Yet the killing of Americans is still going on. And it’s even become more efficient.”

Filo, at the time a student journalist, was in the college photo lab when he heard gunshots on campus, leading him to rush to the courtyard where he witnessed Vecchio crying out to a body on the ground. As he prepared his lens, he noticed a guard pointing and firing a gun directly at him. Once he realized the guards carried real bullets—something many of the students did not initially realize—he turned back to run. However, he experienced something he describes as a “combination of innocence and stupidity” causing him to change his mind, and before he knew it, Filo was running back to photograph the scene.

Filo said sarcastically that his actions on that day were normally reserved for conflict zones.

“I never wanted to be a war photographer,” he said. “I was shot at once, that was enough for me.”

Since the KSU shooting, semi-automatic weapons available to the public have become twice as deadly, yet Filo said that the outrage, and the corresponding need to understand the history behind gun violence, has become far less common.

For years, students from middle school to college would constantly contact Filo, curious to learn about his experience at Kent State that fateful day. He hasn’t received a call like that in nearly five years. He wonders if the more time goes by, the more people forget that the massacres’ consequences affect politics in this nation today.

Filo believes that this disconnection is part of the new wave of journalism, where quantity trumps quality and the more terrifying an issue becomes, the more desensitized people become to it.

“Great things happened when people started shining a light on the bad parts of our society,” said Filo. “In the turn of the 1800s, pictures showing child labor were horrible, but that brought in labor laws. Horrific pictures of the Holocaust or the Civil Rights Movement actually shocked people.”

Filo said that the Kent State shooting was another moment that shocked people. A wave of papers would not run his photographs, he said, because it revealed many truths across the nation.

Filo wonders if “the dumbing down of our whole industry,” where journalists stop trying to send a message, prevents stories from having the same impact.

“Now we are on this teeter totter of mass murder, funeral, mass murder, funeral,” Filo said. “And there’s nothing breaking this rocking back and forth. Personally, I’m saying there needs to be that shock and outright disgust that brings people to the street to protest.”

Although he is glad his photograph gained the traction it did, the efforts would be futile to Filo if journalism stops having the same impact today. In regards to how photojournalism could steer away from sensationalism while still being persuasive, Filo believes there is no harm in relying on tools of the past.

“What happens today is to get their money’s worth, the [newspapers] say ‘hey take a digital camera go out and shoot,’ said Filo. “Don’t try to edit down the visual space to try to get a message out of it, to push onto the viewer. Instead they go and take the 2000 photos.”

Photography, Filo said, held a different value during his career. When new film colors came out—and suddenly color meant more than just ink on paper—it transformed the photographer’s ability to tell stories. Filo said he misses the authenticity of it all, joking about a past frustration with sports photographers in the West Coast who could make their players look tanner and livelier than those in the east coast. Yet it was reflective to the West Coast sun—which is less constant here in the gloomy east.

Today, Filo said he fears he can no longer tell where the photos were taken, with photoshop and advanced camera equipment. He believes this makes it more difficult to trust, or even care about the pictures displayed in the media. However, the need for far-reaching photojournalism is more dire than ever.

Filo said that the media should not distinguish its coverage between what he considers state-sanctioned violence—like what occurred at Kent State—to the surplus of mass shootings the nation has experienced the last few decades. Yet he fears that a careless and repetitive media that “recycles” facts, photos and figures does little to make the viewer uncomfortable when mass shootings occur.

He referenced the shooting at The Covenant School in Nashville, Tennessee where six lives were lost, including nine-year-olds—adding on to his initial point that regardless of how much coverage it received, there wasn’t nearly enough shock or outrage.

“It’s one thing to see a wounded adult,” Filo said. “It’s another thing to see a butchered child.”

He woders if the media’s approach to this news as “another day, another tragedy,” discourages action instead of promoting it.

Save the date: FaultLines: Democracy: A conference on building a democratic press

 Via Columbia University Journalism School

Tuesday, April 25, 2023 10:00 AM -

Wednesday, April 26, 2023 3:00 PM

Pulitzer Hall, 2950 Broadway, New York, NY 10027

Room/Area: Jamail Lecture Hall

Save the date for this critical, two-day conversation about the role of a free press in a thriving democracy and its responsibility when a democracy is under assault. This signature event from the Columbia Journalism School will feature historians, journalists, policy makers and others to assess the state of the press in America and provide a roadmap for what happens next. A detailed agenda and a list of confirmed speakers to be announced soon.

For more details, go to democracy.cjr.org

Columbia University is committed to protecting the health and safety of its community. To that end, all visiting alumni and guests must meet the University requirement of full vaccination status in order to attend in-person events. Vaccination cards may be checked upon entry to all venues.

RSVP here.

By RSVP'ing, I attest that I meet the University’s vaccination requirement for event attendance and that I will be prepared to provide proof day of.

DAY ONE: TUESDAY, APRIL 25, Lecture Hall, Columbia Journalism School

10 a.m. Welcome by President Lee C. Bollinger, Columbia University

10:15 a.m.-11:15 a.m.

America 2030

Moderator: Adam Serwer, The Atlantic

Annette Gordon-Reed, historian

Robert Kagan, Brookings Institution

Kathy Roberts Forde, author

Jeff Chang, journalist

11:30 a.m.-12:30 p.m.

Democracy and the World

Masha Gessen, The New Yorker

Jodie Ginsberg, Committee to Protect Journalists

Sheila Coronel, Columbia Journalism School

LUNCH: The World Room, Columbia Journalism School

 1:35 p.m.-2:30 p.m.

Journalism and Democracy

Moderator: Jelani Cobb, Columbia Journalism School

Errin Haines, the 19th

George Packer, The Atlantic

Margaret Sullivan, Guardian US columnist

Graciela Mochkofsky, City University of New York

Charles Whitaker, Medill School of Journalism

2:40 p.m.- 3:40 p.m.

Policy and the Press

Moderator: Jonathan Capehart, MSNBC

Joe Kahn, The New York Times

Sally Buzbee, The Washington Post

Kevin Merida, The Los Angeles Times

Alessandra Galloni, Reuters

Olatunde C. Johnson, Columbia Law School

DAY TWO: WEDNESDAY, APRIL 26

10:05 a.m.- 11:05 a.m.

Saving America

Moderator: Eugene Robinson, The Washington Post

Subrata De, Vice

Zeynep Tufekci, Columbia Journalism School

Eric Foner, historian

11:10 a.m.-11:20 a.m.

Video message from President Barack Obama

11:25 a.m.- 12:25 p.m.

Covering Vulnerable Communities

Moderator: Duy Linh Tu, Columbia Journalism School

Nina Alvarez, Columbia Journalism School

Nina Berman, Columbia Journalism School

June Cross, Columbia Journalism School

Daniel Alarcon, Columbia Journalism School

LUNCH: World Room, Columbia Journalism School

1:30 p.m.-3:00 p.m.

Democracy Town Hall

Host: Maria Hinojosa, Futuro Media

Event Contact Information:

Kyle Pope

klp2146@columbia.edu

Glazer's Presents: The January 6th Insurrection in Photos with Nate Gowdy

 Via Glazer's Camera

   5:07:45 PM, January 6, 2021, US Capitol, Washington, DC

Join Nate Gowdy for an engaging visual presentation on the making of Insurrection, the only book of photojournalism dedicated to chronicling the deadly mob attack on the US Capitol on January 6th, 2021.

As a seasoned political photographer who had already covered 30 Trump rallies, Gowdy was confident he could handle one more. However, the events that transpired were beyond anyone’s expectations.

Gowdy will share his firsthand anecdotes and insights into his creative process amidst the chaos and violence of that fateful day. Despite being “fake news” and assaulted twice for carrying professional cameras, he remained committed to capturing the truth.

This event offers attendees the opportunity to connect with the photographer and delve deeper into the stories behind his January 6th portfolio, originally shot on assignment for Rolling Stone. He will also discuss his journey in self-publishing.

Copies of Gowdy's debut monograph, Insurrection, will be available after the presentation and Q&A.

Gowdy maintains a photography studio in Seattle’s International District, and his fine art is represented at Monroe Gallery of Photography in Santa Fe, New Mexico.

Save the date: Two Pioneering Women Photographers of The Photo League Gallery Talk April 21

 

SONIA HANDELMAN MEYER and IDA WYMAN

TWO PIONEERING WOMEN PHOTOGRAPHERS OF THE PHOTO LEAGUE

Opening Gallery talk April 21 with managers of the photographer’s estates, Joe Meyer, son of Sonia Handelman Meyer, and Heather Garrison, granddaughter of Ida Wyman. The talk starts promptly at 5:30, seating is limited and RSVP is essential. Zoom registration here. The exhibition continues through June 18, 2023.

The Photo League was a collective of photographers active between 1936-1951 who believed their work could change poor social conditions and champion photography as an art form in the process. The Photo League thrived as one of the most progressive, dynamic and creative centers for photography in America, and was unusual in its time as many of the collective’s members were women.

In the 1940s when McCarthyism started gathering momentum in the US, suspicious authorities decided to clamp down on the Photo League’s confrontational and uncensored representations of urban American society. In 1948, it was declared a subversive organization and blacklisted. As the league’s secretary at the time, Sonia Handelman Meyer answered the office phone when requests for comment about the accusations poured in from the media. “It got to be too much,” she told The New York Times. “They were blacklisting people”.

Both photographer’s work went unrecognized for decades. In recent years, there has been a revived interest in the radical collective that contributed incomparably towards promoting early street photography as an art form.

RSVP

Zoom Registration

Conversation Series David Butow

 Via Daniel Milnor YouTube

What's better than an interview with David Butow? Two interviews with David Butow. In this episode, we focus briefly on new developments in AI while narrowing our conversation more specifically to photography. What does David carry on assignment, how does he approach a scene and what happens with that work after a project is complete? We hit editing, sequencing the origins of his Brink book, and much more. 

Gaston County considering defunding history museum; comes less than a year after a dispute between county officials and the museum over a photo of two men kissing

Via The Gaston Gazette
March 29, 2023

"Gaston County officials are considering defunding the Museum of Art and History, a move that could, according to some, force the museum to close its doors.....County Manager Kim Eagle brought up the museum, which is located in Dallas, at a county work session on Tuesday, asking for input from the Board of Commissioners on whether to continue funding the museum as a county department.

The talk of pulling funding comes less than a year after a dispute between county officials and the museum over a photo of two men kissing that the county manager ordered to be pulled from an exhibit."

2019 Charlotte, North Carolina Pride Parade, August 18, 2019

Grant Baldwin's photograph is in our exhibit at The AIPAD Photograph Show in New York City this weekend, March 30 - April 2, booth #114, Center 415, 415 5 Avenue.