Anna Boyiazis: Global Peace Photo Award Exhibition

 Via Willy-Brandt-Haus

© Anna Boyiazis, Global Peace Photo Award

Fr., 01. Oktober 2021 12:00 Uhr bis So., 24. Oktober 2021 18:00 Uhr

GLOBAL PEACE PHOTO AWARD

The Global Peace Photo Award recognizes and promotes photographers from all over the world whose images capture the human quest for a peaceful world and the search for the beautiful and good in our lives. The prize goes to those photographs that best express the idea that our future lies in peaceful coexistence. 

Ausstellung im Willy-Brandt-Haus | 1. Oktober - 24. Oktober 2021 | Öffnungszeiten: Dienstag - Sonntag 12:00 - 20:00 Uhr

Zutritt nur mit Zeitfensterticket, keine Tageskasse vor Ort.

Kostenlose Online-Tickets ab sofort HIER

Der Global Peace Photo Award würdigt und fördert Fotograf:innen aus aller Welt, deren Bilder das menschliche Streben nach einer friedlichen Welt und die Suche nach dem Schönen und Guten in unserem Leben festhalten. Der Preis geht an jene Fotografien, die am besten die Idee zum Ausdruck bringen, dass unsere Zukunft im friedlichen Miteinander liegt.  

Die 25-köpfige Jury des Global Peace Photo Award kürt seit 2013 die besten Friedensbilder. Den Vorsitz 2020 hatte der französische Fotograf Pascal Maitre, 2021 wurde die Jury vom UNESCO-Diplomaten Eric Falt geleitet. Das Peace Image of the Year 2020 heißt „Love Story“ und kommt aus der Hand des iranischen Fotografen Sasan Moayyedi: Nachdem der damals 15-jährige Salah Saeedpour 2001 in der iranisch-kurdischen Provinz Marivan nahe der Grenze zum Irak auf eine Landmine trat, verlor er mehrere Körperteile. Trotzdem trainierte er unerschöpflich und wurde schließlich mit zahlreichen Medaillen im Schwimmen ausgezeichnet. 2014 heiratete er die Liebe seines Lebens. 

Das Children Peace Image of the Year 2020 ist das Foto “Flight of the Soul” und wurde von der 14-jährigen Anastasiya Bolshakova aufgenommen. Die junge Russin hat eine Liebeserklärung an den Sommer fotografiert. An die Zeit, in der - wovon sie überzeugt ist - „alles lebt“ und „die Natur aus voller Brust atmet“.  

Die Gewinner:innen des Contests 2021 werden am 21. September gekürt.  

View Anna Boyiazis' Finding Freedom in the Water fine art print collection here.

 

 

 

Visualizing the scale of loss to Covid-19

Via CNBC 

October 5, 2021

National Geographic reporter Stephen Wilkes describes his photographic attempt to capture the loss caused of life during the Covid-19 pandemic

‘It is becoming unbearable:’ Journalists say they have become ‘scapegoats’ at anti-vaccine protests

 Via Committee to Protect Journalists

October 4, 2021

Journalists covering demonstrations against COVID-19 countermeasures have been called “terrorists,” “pedophiles,” “murderers,” and “scumbags.” Protesters have harassed and assaulted members of the press, and told them that “the nooses are ready.”

Threats like these have become increasingly familiar for reporters in Europe and the United States, where the U.S. Press Freedom Tracker, a CPJ partner, has recorded threats and assaults against reporters in cities including Los Angeles and Portland, Oregon. 

Full report here - “Being a journalist has always meant a certain level of risk,” Ambrožič said, “but the level of anxiety and stress due to the threats have increased enormously and it is becoming unbearable. It is a very harsh world for journalists, right now.”

Artist Panel: Devour the Land: War and American Landscape Photography since 1970 with Ashley Gilbertson

 

Via Harvard Art Museums

Tuesday, October 5, 2021

4-5 PM Eastern

In this virtual panel discussion, curator Makeda Best will be in conversation with photographers Terry Evans, Ashley Gilbertson, and Will Wilson, each of whom has works in our latest special exhibition, Devour the Land: War and American Landscape Photography since 1970. The exhibition is on view at the Harvard Art Museums through January 16, 2022.

Devour the Land explores the unknown and often hidden consequences of militarism on habitats and well-being in the United States. Featuring approximately 160 photographs across 6 thematic groupings, the exhibition reveals the nationwide footprint of the U.S. military, the wide network of industries that support and supply its work, and the impacts of—and responses to—this activity.

Speakers:

Makeda Best, Richard L. Menschel Curator of Photography, Division of Modern and Contemporary Art, Harvard Art Museums
Terry Evans, Ashley Gilbertson, and Will Wilson, Photographers

This panel discussion will take place online via Zoom. The event is free and open to all, but registration is required. To register, please complete this online form.

Please read these instructions on how to join a meeting on Zoom. For general questions, email am_register@harvard.edu.

Devour the Land: An Introduction with Curator Makeda Best and commentary from photographers Nina Berman, Sharon Stewart, and Robert Del Tredici

Via Harvard Art Museums  

Curator Makeda Best, alongside commentary from photographers Nina Berman, Sharon Stewart, and Robert Del Tredici, provides a brief introduction to our new special exhibition, Devour the Land: War and American Landscape Photography since 1970. Featuring approximately 160 photographs from 60 artists, the exhibition invites you to explore the impacts of military activity on the American landscape—and how photography supports activism in response to these effects.

Make your reservation to visit the Harvard Art Museums today.

Philip Cheung, Kris Graves, and Daniella Zalcman in conversation with National Geographic Executive Editor Debra Adams Simmons discuss their ongoing projects visualizing racist and discriminatory histories through a new lens.

 Via Photoville

Sunday October 3

4:00PM EST

Online Event

Register here

Who owns history? Whose monuments do we erect and whose do we erase? Whose stories are remembered? Join National Geographic photographers Philip Cheung, Kris Graves, and Daniella Zalcman, as well as National Geographic Executive Editor Debra Adams Simmons, as they discuss visualizing racist and discriminatory histories through a new lens.

Philip Cheung’s “The Central Pacific” is an ongoing documentary photography project exploring the history of Chinese migrant laborers employed at the Central Pacific Railroad between 1864-1869. He is continuing this work on assignment through a collaboration between National Geographic and For Freedoms.

Kris Graves’ story and exhibit, “Monuments”, examines passive relics of America’s racist past in the Confederacy, the dynamic changing of these landscapes, and who will be honored now.

Daniella Zalcman’s “Signs of Your Identity” project examines the forced assimilation education of Indigenous children in North America through multiple exposure portraits. She has continued that project through a grant by National Geographic Society and has documented the repatriation of recently-identified Indigenous child remains in the United States while on assignment for National Geographic.

"The epic COVID-19 memorial on the National Mall, in one stunning photo"

 

Stephen Wilkes: “In America: Remember”, Day to Night, National Mall, Washington, DC, 2021

Via National Geographic

September 30, 2021

4,882 photos taken over 30 hours. More than 670,000 flags representing American lives lost. An incalculable measure of grief.

For more than 30 hours, photographer and National Geographic Explorer Stephen Wilkes watched people move through the sea of white flags below him on the National Mall in Washington, D.C. He saw young children bend down curiously to examine the small flags, and cyclists lay down their bikes to take in the 20-acre expanse of them. He saw skateboarders roll through, selfie-takers frame shots—and passersby slowly realize that each flag represents a life lost to COVID-19.

On September 18 and 19, starting before sunrise and finishing after sunset, Wilkes took 4,882 photographs of the art installation In America: Remember, an exhibit that aims to convey the enormity of the country’s pandemic losses. He and his team then blended the photographs into a single composite image, part of his Day to Night series. 

“One of the things I tried to capture was the epic scale of this,” says Wilkes. “It’s almost impossible to take it all in.”

Devour the Land: War and American Landscape Photography since 1970

The exhibition includes work by Gallery photographers Nina Berman and Ashley Gilbertson.

Via Harvard Art Museums

Devour the Land shines a light on the unexpected and often hidden consequences of militarism on habitats and well-being in the United States. Featuring approximately 160 photographs across 6 thematic groupings, the exhibition reveals the nationwide footprint of the U.S. military, the wide network of industries that support and supply its work, and the impacts of—and responses to—this activity.

How do photographs portray environmental damage that can be difficult to see, much less identify and measure? By posing such questions, the exhibition provides visitors a space to consider our current challenges and shared future. At the same time, the works on view also suggest how preparations for war and the aftermath can sometimes lead to surprising instances of ecological regeneration and change.

Following a trajectory that originates in the Civil War era, Devour the Land begins with the 1970s, a dynamic period for both environmental activism and photography. From there, the focus expands to our contemporary moment.

The 60 artists showcased in the exhibition bring a variety of practices and approaches to their work. They range from professional photographic artists and photojournalists to lesser known and emerging photographers; they include Robert Adams, Federica Armstrong, Nina Berman, Robert Del Tredici, Joshua Dudley Greer, Terry Evans, Lucas Foglia, Sharon Gilbert, Ashley Gilbertson, Peter Goin, David T. Hanson, Zig Jackson, Stacy Kranitz, Dorothy Marder, Susan Meiselas, Richard Misrach, Barbara Norfleet, Mark Power, Sheila Pree Bright, Jeff Rich, Sim Chi Yin, Sharon Stewart, Robert Toedter, Phil Underdown, and Will Wilson.

The majority of works on display are drawn from the Harvard Art Museums collections, including many recent acquisitions. Additional works are on loan from other Harvard repositories, North American public institutions, and private collections.

An illustrated catalogue, presenting a lively range of voices at the intersection of art, environmentalism, militarism, photography, and politics, accompanies the exhibition. Besides critical essays, nearly a hundred plates, and poems by Ed Roberson, the catalogue includes interviews with nine of the artists featured in the exhibition.

Organized by the Harvard Art Museums. Curated by Makeda Best, Richard L. Menschel Curator of Photography, Harvard Art Museums.

This exhibition is made possible in part by the generosity of the Terra Foundation for American Art and The Andy Warhol Foundation for the Visual Arts. Additional support for the project is provided by the Andrew W. Mellon Publication Fund and the Rosenblatt Fund for Postwar American Art. Related programming is supported by the M. Victor Leventritt Lecture Series Endowment Fund. Modern and contemporary art programs at the Harvard Art Museums are made possible in part by generous support from the Emily Rauh Pulitzer and Joseph Pulitzer, Jr., Fund for Modern and Contemporary Art.

Online Opening Lecture: Devour the Land: War and American Landscape Photography since 1970

Speaker:  Makeda Best, Richard L. Menschel Curator of Photography, Division of Modern and Contemporary Art

Date: Friday, September 17, 2021, 3:00pm

This talk will take place online via Zoom. Free admission, but registration is required. To register, please complete this online form.

Devour the Land explores the unknown and often hidden consequences of militarism on habitats and well-being in the United States. Featuring approximately 160 photographs across 7 thematic groupings, the exhibition reveals the nationwide footprint of the U.S. military, the wide network of industries that support and supply its work, and the impacts of—and responses to—this activity.

9/11 In Remembrance Exhibition

 

Santa Fe, NM -- Monroe Gallery of Photography announces an exhibition of photographs commemorating the 20th anniversary of the terrorist attacks on the World Trade Center that became known as 9/11. 

The twin towers design process started in 1965 and construction began in 1972. The twin towers were the tallest buildings in the world for a very short time. Photographs in the exhibit document the construction of the World Trade Center, its prominence in the skyline of Manhattan, and the devastation of September 11, 2001

View the exhibition here

Smithsonian Museum of American History Sept. 11 Photographic History Collection Acquisitions, 2011 - 2021 includes Gallery Photographers Nina Berman and Ashley Gilbertson

 

Via The Smithsonian Museum of American History

Sept. 11 Photographic History Collection Acquisitions, 2011 - 2021

Between 2011 and 2021, the Museum has added over 160 photographs to its Photographic History Collection. The photographs include Nina Berman, Ashley Gilbertson, Marco Grob, and Joanne Leonard, and Jo Tartt.

New York City-based photojournalist, filmmaker, and professor, Nina Berman’s 55 color photographs, 36 x 36-inches, sample three bodies of work previously published in magazines and books: Homeland (September 2001 to 2008), Marine Wedding of Marine Sgt. Tyler Ziegler and Renee Kline (2006, 2008), and Purple Hearts (2003-2004). 

A limited-edition portfolio, 3/3, by Ashley Gilbertson includes fourteen-14 X 24-inch gelatin silver prints in which the photographer has handwritten a description of the fallen young solider on the print. The photographs are from a book project, Bedrooms of the Fallen. Gilbertson, a member of VII Photo Agency, is frequently published in the The New York Times and other media platforms.

Swiss photographer Marco Grob’s seventeen, oversized and framed gelatin silver prints were commissioned by TIME magazine for his series, “Beyond 9/11: Portraits of Resilience, to honor the 10th anniversary of September 11, 2001.” Among the sitters are activist Cindy Sheehan; now-Senator Tammy Duckworth; Former US Defense Secretary Paul Wolfowitz; flight attendant Cristiana Jones, who is associated with the shoe-bomber flight; Ali Abbas, who was a victim of misdirected allied bombing in Baghdad; US Army Chaplin James Yee ministered to Muslim detainees at Guantanamo Bay detention camp; and the artists Paul Myoda and Julian Laverdiere, two of the artists who designed Tribute.

During his military service as an aerial gunner in Afghanistan from March 2013 to June 2013, Ed Drew produced tintypes. Ten of his photographs are portraits of his fellow Combat Rescue crew members.

Photographer and professor-emeritus at University of Michigan, Ann Arbor, Joanne Leonard clipped newspaper photographs and paired them classical paintings, famous photographs, and other images found in book publications in her series Newspaper Diary. Among the 129 -24 x 36-inch color are seventeen related to images of the middle East clipped from the New York Times and newspapers (2006, 2009, 2010-2015, 2018). Images not available digitally at this time.

Jo Tartt, photographer and former DC-based gallery owner, documented newspaper headlines, often in newspaper boxes in 49 Polaroid instant camera photographs, between March 19, 2003 as the US prepared to declare war on Iraq and the capture of Saddam Hussein in December 2003.

ICP Event: Visualizing the War from Within: Post 9/11 Imagemaking with Nina Berman, Jennifer Karady, and Debi Cornwall

Nina Berman, Homeland Security Advisory Billboard, Country Club Hills, IL, 2008

from the Homeland series

Via ICP

 Visualizing the War from Within: Post 9/11 Imagemaking

September 13, 2021 (6PM – 7PM )

Get Tickets (Free)

Following the terrorist attack on September 1, 2001, as the United States occupied Afghanistan and later Iraq, many photographers embedded with U.S. forces to document the front-line action and America's war powers. Many of these images fit comfortably within the historic traditions of war photography depicting explosions, bloodshed, and the violence faced daily. Three American women chose another approach. Their photographic work, while individually unique, collectively questions the temporality and geographic boundaries of what constitutes war space.

Nina Berman, Jennifer Karady, and Debi Cornwall have been investigating the post-September 11 landscape by looking at the war within, including the militarization of civil society; the war economy; the war training and immersive war gaming, the physical and psychological toll on veterans; and war’s lasting environmental impact. For the first time this fall, these three acclaimed visual artists will unite to discuss visualizing the twenty-year aftermath of 9/11 in a conversation moderated by David Campany, ICP’s managing director of programs.

About the Program Format

This program will take place on Zoom. Those who register to attend will receive a confirmation email with a link located at the bottom of the email under ‘Important Information’ to join through a computer or mobile device.

We recommend participants download the Zoom app on their device prior to the program. Learn how to download the latest version of Zoom to your computer or mobile device.

If you do not receive the link by 4 PM on the day of the program or if you have questions about the online program, please contact: programs@icp.org.

Live closed captions are available at our online public programs.

Speaker Bio

Nina Berman (@nina_berman, www.ninaberman.com) is a documentary photographer and filmmaker whose work examines the militarization of American life and the aftermath of war and trauma. Exhibitions include: the Whitney Museum of American Art 2010 Biennial, Museum of Fine Arts Houston, Portland Art Museum, the Wellcome Collection (UK), Dublin Contemporary and the Musée de la Photographie in Belgium. She is the author of Purple Hearts – Back from Iraq (Trolley, 2004), Homeland (Trolley, 2008), and An Autobiography of Miss Wish (Kehrer, 2017) which was shortlisted for the Rencontres d’Arles PhotoText and Paris Photo/Aperture book awards. Fellowships and grants include the New York Foundation for the Arts, the Center for Documentary Studies at Duke University, the Aftermath Project grant, Hasselblad, the Open Society Foundation and the War and Peace initiative at Columbia University. 

Jennifer Karady (@jennifer_karady, www.jenniferkarady.com) is an award-winning artist who works primarily in photography, film, and video and sound installation. Her acclaimed project, Soldiers' Stories from Iraq and Afghanistan, has been exhibited widely, including at the Palm Springs Art Museum, MASS MoCA, the University of Michigan, Berman Museum of Art, SF Camerawork, and University of Denver. Her work has been featured on PBS NewsHour and National Public Radio, in The New York Times, Los Angeles Times, The Wall Street Journal, Kunstbeeld, Polka, reviewed in Frieze, and published in books such as Suffering from Realness, Art and Agenda and Bending the Frame. Public collections include LACMA, San Francisco MOMA, The Albright Knox Gallery, Palm Springs Art Museum, and Smith College Museum of Art. Karady’s numerous residencies and awards include the Roman J. Witt Residency at the University of Michigan, the Francis Greenburger Fellowship for Mitigating Ethnic and Religious Conflict at Art Omi, MacDowell, Yaddo, The Headlands, and grants from New York State Council for the Arts, Compton Foundation, and Getty Images. Most recently, her short documentary film, Soldiers’ Stories from Iraq and Afghanistan: The Artist’s Process won the Humanitarian Award at the Fine Arts Film Festival, Honorable Mention at the International Fine Arts Film Festival and Karady was nominated for Best First-time Filmmaker at the GI Film Festival. 

Debi Cornwall (@debicornwall, www.debicornwall.com) is a conceptual documentary artist who returned to visual expression in 2014 after a 12-year career as a civil-rights lawyer. Marrying dark humor with structural critique, she uses still and moving images along with testimony and archival material to examine the performance of militarized American power in the post-9/11 era. Her photo books, Welcome to Camp America: Inside Guantánamo Bay (Radius, 2017) and Necessary Fictions (Radius, 2020) explore American “statecreated realities,” from the notorious offshore War on Terror prison and its global diaspora to the domestic military sites hosting immersive, realistic wargames. Debi’s work is exhibited internationally and has been profiled in Art in America, Hyperallergic, the New York Times Magazine, the Los Angeles Review of Books, the British Journal of Photography, Polka, and European Photography Magazine. Honors include a NYSCA/NYFA Fellowship, a Leica Women Foto Project Award, and a Harpo Foundation Visual Artist grant; shortlists for the W. Eugene Smith Fund Memorial Grant, Tim Hetherington Trust Visionary Award, Paris Photo-Aperture First Photo Book Prize and Rencontres d’Arles Photo-Text Book Award; and nominations for the Deutsche Börse Photography Foundation Prize, ICP Infinity Award, and Baum Award for an Emerging American Photographer. 

Photography exhibit looks at the World Trade Center before and after 9/11

 

Via The Albuquerque Journal

By Kathaleen Roberts

September 5, 2021

Iconic symbols of the New York skyline, the World Trade Center gleamed like golden towers in the sunset, then smoked and fell with the devastation of 9/11.

Such was the cycle of life for what had been once the tallest buildings in the world.

“Greek Orthodox Church and Towers,” by Eric O’Connell, September 11, 2001

Santa Fe’s Monroe Gallery of Photography is commemorating the 20th anniversary of that fateful day with “9/11 In Remembrance,” an exhibit of more than 20 images. The photographs document the design and building of the World Trade Center, its reign over the city skyline and its fall on that crisp September day.

World War II and lifestyle photographer Tony Vaccaro captured the towers during a 1979 sunset, as well as their architect, Minoru Yamasaki, in 1969.

Yamasaki’s preference for “aesthetic thinness” surfaced in the narrow spacing of the buildings’ windows and the vertical patterning created by aluminum alloy sheathing. When construction ended in 1976, it garnered scant praise, but the skyscrapers became symbolic of the Manhattan skyline.

When terrorists struck 25 years later, freelance photographer Eric O’Connell had just moved to New York from San Francisco. He saw the burning towers, heard a rumble and grabbed his cameras and ran toward the flames. He got to the St. Nicholas Greek Orthodox Church as everything exploded around him. When the pounding stopped, he didn’t know if he was dead or alive.

O’Connell’s print shows both the towers and the church being swallowed by smoke and flames.

“He heard people yelling, ‘It’s coming down!’ and he dove into a lobby,” gallery co-owner Michelle Monroe said. “He couldn’t tell what was inside and what was outside. It looks like a horror movie.”

O’Connell also captured the chaos and confusion of people engulfed in ash and dust in “The group in dust, West Street, September 11, 2001.”

“The group in dust, Wall Street,” by Eric O’Connell, September 11.

“Firemen on the scene of the terrorist attack on World Trade Center,” by Shepard Sherbell, September 11, 2001.

Shepard Sherbell photographed a horrified trio of firemen watching the collapse.

“There were 8 million faces that looked like that for weeks afterward,” Sidney said.

Twin Towers in sunset, New York,” by Tony Vaccaro, 1979.

“They shut down all the traffic in Manhattan,” Michelle Monroe added. “They designated streets as one-way for emergency responders. New Yorkers would line the streets as the shifts changed.”

The crowd applauded, waved signs of support and gave out water bottles and flowers, echoing the pandemic’s spontaneous salutes to first responders. Black bunting draped every firehouse, honoring the firefighters who died.

“Every firehouse was a shrine,” Sidney Monroe said.

New Mexico’s Eric Draper photographed President George W. Bush on the phone in a Florida classroom when he learned of the attack. Draper was the president’s personal photographer.

As Deputy Assistant Dan Bartlett points to news footage of the World Trade Center, President George W. Bush gathers information about the attack Tuesday, Sept. 11, 2001, from a classroom at Emma E. Booker Elementary School in Sarasota, Fla. Eric Draper  (Courtesy of Monroe Gallery of Photography)

“He was reading books to a kindergarten class,” Sidney Monroe said. “They set up an office in one of the school rooms, then they whisked him out on Air Force One and flew around until they figured out what was going on.”

In their own words

As former New Yorkers, 20 years later Sidney and Michelle Monroe still struggle with the anniversary of Sept. 11, 2001.

Their gallery stood nine blocks north of what became Ground Zero. The National Guard cut off the neighborhood, closing their business. Their daughter was 9 years old.

“Our daughter was in school,” Sidney Monroe said. “They had a recess period before the school started. They saw the plane flying over their playground.”

The school staff rushed the children into some old fallout shelters. Afterward, Japanese school children sent them 1,000 teddy bears.

“Our daughter will never, never be the same,” Michelle Monroe said.

The fires were still burning when the gallery reopened.

“You’d look out the window and there would be ash falling,” Sidney Monroe said. “It was surreal.”

The couple decided to move to Santa Fe because of its status as either the second or third most active art market in the country, depending on the source.

“It’s a dreadful, dreadful anniversary, but there were so many people who ran into the mouth of hell,” Michelle Monroe said. “We don’t do anything that day. We just say, ‘Let’s get it over with.’ I don’t think anyone stopped crying for a couple of weeks.”

“Minoru Yamasaki, World Trade Center Architect,” by Tony Vaccaro, 1969

If you go

WHAT: “9/11 In Remembrance”

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

WHEN: Through Sept. 26

CONTACT: monroegallery.com, 505-992-0800

Eric O'Connell Discusses his 9/11 Photograph of the Greek Orthodox Church

 

Via Instagram

Photographer Eric O'Connell discusses his 9/11 photograph of the Greek Orthodox Church near the World Trade Center and its relationship to Tony Vaccaro's photograph of the World Trade Towers in Sunset, 1979

Tony Vaccaro

View this post on Instagram

A post shared by Eric O'Connell (@ericoconnellphotographer)

View the exhibition 9/11: In Remembrance here

 

New local exhibition highlights the work of photojournalists on September 11

 

New York Firemen on scene of the terrorist attack on the World Trade Center, September 11, 2001

Shepard Sherbell

Via The Santa Fe Reporter

September 1, 2021

By Riley Gardner

“This is the role they play”

New local exhibition highlights the work of photojournalists on September 11

Michelle and Sidney Monroe of Santa Fe’s Monroe Gallery of Photography were a mere nine blocks north of the World Trade Center on Sept. 11, 2001.

Back then, well before the Monroes moved to Santa Fe, their New York space was already highlighting the work of photojournalists around the world. Captivating images of joy, terror or all points in between is just part of the job, and you never know when they might flare into existence. Still, the aftermath of 9/11 stuck with the Monroes, and the gallery opens a new show this week about the history of the buildings themselves, as well as that most harrowing day in American history.

“I’m a New Yorker, and I remember [the towers] being built,” Sid tells SFR. “The exhibit traces that planning, construction, landscape and the aftermath of that day. It’s like a memory, a history of those buildings.”

The gallery is an extension of the Monroes’ long career in documenting photojournalism and the photographers who often risk their own lives to record history. 9/11: In Remembrance takes a look at that role but, beyond the national trauma, also attempts to capture how the World Trade Center represented American ingenuity in the 20th century.

“It’s definitive photojournalism,” Michelle explains. “We’ve been inspired to illustrate the calling of this career to understand history—and that’s our gallery mission.”

Photographers in the show include Tony Vaccaro, who catalogues a friendship with World Trade Center architect Minoru Yamasaki, and Eric O’Connell, who grabbed his cameras as the towers burned and caught crisp black and white images of the destruction.

“There are times when people become witnesses to history, and that changes you,” Sid explains. “We knew so many people that were lost, and people who lost others.”

As the 20th anniversary of 9/11 approaches, the images of that fateful day may be seared into our collective consciousness forever. But what about the photographers themselves?

“This is the role they play,” Michelle says. “This is history.” 

9/11 In Remembrance: All day Friday, Sept. 3. Free. Monroe Gallery of Photography, 112 Don Gaspar, (505) 992-0800. Exhibition continues through September 26, 2021

The Champ, The Beatles and a Tearful Girl: The Photography of Bob Gomel

The Beatles: John Lennon, George Harrison, Paul McCartney and Ringo Starr, Miami, February 1964 

© Bob Gomel

On August 14, Bob Gomel celebrated his 88th birthday. A few days later, Life.com published the wonderful feature below.

 Via Life.com

The photographs of Bob Gomel put you in a diner with Muhammad Ali and Malcolm X, poolside with the Beatles, and high above the U.S. Capitol rotunda as John F. Kennedy lay in state.

Gomel plied his craft in the middle of history—not that he knew it at the time. “I had no idea the 60s would be so iconic,” Gomel, 88, said recently in a phone interview. “It seemed quite ordinary at the time, but looking back on it now, I realize how fortunate I was.”  -- continue with full article and image gallery

"On Aug. 20, 2018, one child staged a lone protest outside the Swedish Parliament, expecting to stay for three weeks...."

 

Adam Karls Johansson

Greta Thunberg's first school strike for Climate, outside the Swedish Parliament, August 20, 2018

Via The New York Times

August 19, 2021

"On Aug. 20, 2018, one child staged a lone protest outside the Swedish Parliament, expecting to stay for three weeks. Tomorrow we will mark three years since Greta Thunberg’s strike. Even earlier, brave young people from around the world spoke out about the climate crisis in their communities. And today, millions of children and young people have united in a movement with one voice, demanding that decision makers do the work necessary to save our planet from the unprecedented heat waves, massive floods and vast wildfires we are increasingly witnessing. Our protest will not end until the inaction does."

The Timeless Appeal of Tommie Smith, Who Knew a Podium Could Be a Site of Protest

 

1968 Olympics Black Power salute: Tommie Smith (center) and John Carlos (right) raising gloved fists during the medal ceremony for the 200-meters at the 1968 Olympic Games in Mexico City, on October 16, 1968. Silver medalist Peter Norman of Australia (left) John Dominis/©The LIFE Picture Collection

Via The New York Times

August 6, 2021

"What happens when a person becomes a symbol? Smith and Carlos would both see their careers as athletes overshadowed by the moment. The years, decades really, after their defiant act brought struggle and sometimes suffering: hate mail and death threats, broken marriages and psychic pain. Two days after the medal ceremony, longtime Los Angeles Times sports columnist John Hall wrote that “Tommie Smith and John Carlos do a disservice to their race — the human race.” Even many of those that celebrated Smith and Carlos’s act did so under the mistaken belief that they had given the Black Panther salute — something that, for his part, Smith never intended.

What happens when a symbol becomes a person again? The last decade, a time of expanding awareness of racist violence and trauma in the United States, has prompted a dramatic reassessment of Smith. Once pilloried, he’s now lionized. People build statues of him. In 2019, the United States Olympic Committee, the same body that had suspended him from the Olympic team in 1968, inducted him into its Hall of Fame. The Smithsonian collected the clothes he wore on the medal stand: his singlet and his shorts, his track suit and his suede Puma cleats. And, in this new era of protest, a generation of athletes, many of whom claim Smith as a direct inspiration, are channeling the outsized attention that the public directs to sports toward urgent social and political concerns — police brutality, mental health, voting rights and more."

Knight Science Journalism Program Names 2021-22 Project Fellows, including Nina Berman

 

Via Knight Science Journalism

July 26, 2021

Twenty-one distinguished journalists will pursue a diverse range of projects related to science, health, technology, and the environment.

The Knight Science Journalism Program (KSJ) is pleased to announce that it has selected a group of 21 distinguished science journalists for its 2021-22 project fellowship class — a cohort that ranges from award-winning freelance writers to staff reporters for outlets such as The Dallas Morning News, The New York Times, and MIT Technology Review.

It marks the second year that KSJ will offer the remote project fellowships, which were established in response to the unique challenges and public health concerns presented by the Covid-19 pandemic. The fellowships are designed to support journalists pursuing a diverse range of projects related to science, health, technology, and the environment. Each fellow will receive a stipend and a budget for project related expenses, as well as access to seminars, workshops, mentoring, and a large offering of online resources at MIT. (KSJ’s traditional in-person fellowships are expected to resume in the 2022-23 academic year.)

The newly selected fellows will pursue in-depth reporting projects probing issues such as globalization in the artificial intelligence industry, inequities in maternal health, animal lab testing, and environmental justice in the Deep South. “It’s an impressive array of projects that really embodies the multitude of ways our lives are touched by science.” said KSJ associate director Ashley Smart. “We’re proud to be able to support so much important work — and the talented journalists who are undertaking it.”

“The Knight Science Journalism Program is honored to contribute to the work being done by this talented group of science journalists,” said KSJ director Deborah Blum. “It’s a pleasure to see such innovative and insightful work across so many platforms – books, documentary films, podcasts, long-form investigative stories – all with such a promise of making a difference.”

Selected from a highly competitive pool of applicants, the 2021-22 fellowship class includes authors, reporters, documentary photographers, and multimedia journalists representing every time zone in the contiguous United States. Seven journalists will receive full-year fellowships supported by $40,000 stipends; fourteen will receive single semester fellowships supported by $20,000 stipends, with nine in the fall semester and five in the spring semester fellowships.

The Knight Science Journalism program, supported by a generous endowment from the John S. and James L. Knight Foundation, is recognized around the world as the premier mid-career fellowship program for science writers, editors, and multimedia journalists. The program’s goal is to foster professional growth among the world’s small but essential community of journalists covering science and technology, and encourage them to pursue that mission, first and foremost, in the public interest.

Since its founding in 1983, the program has hosted more than 350 fellows representing media outlets from The New York Times to Le Monde, from CNN to the Australian Broadcasting Corporation, and more. In addition to the fellowship program, KSJ publishes the award-winning digital magazine Undark and administers a national journalism prize, the Victor K. McElheny Award, honoring local and regional science reporting. KSJ’s academic home at MIT is the Department of Science, Technology and Society, which is part of the School of Humanities Arts and Social Sciences.

Nina Berman is a documentary photographer, filmmaker, author and professor at Columbia University Graduate School of Journalism. Her books include “Purple Hearts – Back from Iraq,” (Trolley, 2004), “Homeland,” (Trolley, 2008) and “An autobiography of Miss Wish” (2017). Berman’s project, When the Jets Fly, is a multi-channel documentary film, photography and audio report investigating the environmental impact of USA military training focusing on Whidbey Island, WA, and the greater Puget Sound area.

Spyware reform critical as at least 180 journalists revealed as potential Pegasus targets

 

Via The Committee To Protect Journalists

New York, July 19, 2021 – In response to reports that at least 180 journalists were identified by investigative reporters as possible targets of Pegasus spyware, produced by the Israeli company NSO Group, the Committee to Protect Journalists reaffirmed its call for immediate action by governments and companies around the world to stem abuse of powerful technology that can be used to spy on the press.

“This report shows how governments and companies must act now to stop the abuse of this spyware which is evidently being used to undermine civil liberties, not just counter terrorism and crime,” said Robert Mahoney, CPJ’s deputy executive director. “No one should have unfettered power to spy on the press, least of all governments known to target journalists with physical abuse and legal reprisals.”

The reporting, known as the Pegasus Project, was conducted by a consortium including investigative journalism nonprofit Forbidden Stories and global media outlets such as The Washington Post. Amnesty International, which performed technical analysis, reported that more than 180 journalists had been identified by the consortium on a list of 50,000 phone numbers allegedly linked to clients of NSO Group technology. In a statement emailed to CPJ, an NSO spokesperson said there was nothing to link the 50,000 numbers to NSO Group or Pegasus. In a rebuttal published online, the company said the consortium’s allegations were false.

NSO has repeatedly told CPJ in the past that it licenses Pegasus to fight crime and terrorism. The July 19 statement said its products were “sold to vetted foreign governments.”

“NSO Group will continue to investigate all credible claims of misuse and take appropriate action based on the results of these investigations,” it said. “This includes shutting down of a customers’ system, something NSO has proven its ability and willingness to do, due to confirmed misuse, has done multiple times in the past, and will not hesitate to do again if a situation warrants.”

CPJ has issued recommendations to policymakers and companies to combat spyware abuse against the media.

July 16: Uranium Remembrance Day

Nina Berman: Trinity Site #1, White Sands Missile Range, NM , 2016

 

On July 16, 1979, the worst accidental release of radioactive waste in US history happened at the Church Rock uranium mine and mill site.

While the Three Mile Island accident (that same year) is well known, the enormous radioactive spill in New Mexico has been largely unknown - it is the US nuclear accident that almost no one knows about. Just 14 weeks after the Three Mile Island reactor accident, and 34 years to the day of the Trinity atomic test, the small community of Church Rock, New Mexico became the scene of another nuclear tragedy. 

Nina Berman: Residents from Navajo communities gather on Uranium Remembrance Day, Church Rock, NM July 16, 2016. 

More than 1,100 tons of uranium mining tailings and 100 million gallons of radioactive material emptied through a collapsed dam and into the Puerco River, running directly through numerous communities. The" in a remote area inhabited by possibly the most poverty-stricken and disenfranchised community of people in the country - Native Americans. Rarely is the Church Rock anniversary either known or noted.

Nina Berman: Uranium Remembrance Day, Church Rock, NM 2016

Nina Berman received the 2016 Aftermath Project Grant for “Acknowledgment of Danger,” a look at the “toxic legacy of war on the American landscape.” She photographed the Church Rock community and the Trinity site as part of the project. Berman is a documentary photographer, filmmaker, author and educator. Her wide-ranging work looks at  American politics, militarism, environmental contamination and post violence trauma.  Her photographs and videos have been exhibited at more than 100 venues from the security walls of the Za’atari refugee camp to the Whitney Museum of American Art.  She is the author of Purple Hearts – Back from Iraq (2004), portraits and interviews with wounded American veterans, Homeland (2008), a look at the militarization in post-September 11 America, and most recently, An autobiography of Miss Wish (2017), a story told with a survivor of sexual violence which was shortlisted for both the Aperture and Arles book prizes.  Additional fellowships, awards, and grants include the New York Foundation for the Arts, the World Press Photo Foundation, Pictures of the Year International, the Open Society Foundation, the Center for Documentary Studies at Duke University and the Aftermath Project. She is a member of the photography and film collective NOOR images and is a professor at the Columbia University Graduate School of Journalism where she directs the photography program. She lives in her hometown of New York City.

Amalie R. Rothschild, photographer at Fillmore East, recalls brief but legendary run

 Via Fox 5 New York

June 24, 2021

Photographer at Fillmore East recalls brief but legendary run

NEW YORK - Sunday marks the 50th anniversary of the last shows performed at the legendary Fillmore East music hall where the likes of The Grateful Dead and the Beach Boys once played. 

The Fillmore is now a bank but its heyday- as a prime music venue- is remembered by resident photographer Amalie Rothschild.

I was a fly on the wall," said Rothschild. "I really didn’t want to be hit on. I wasn’t looking to hook up and my cameras were shields. I was serious. I was an artist. A photographer. I didn’t have the kind of confidence as a young woman yet, but I had the right mentality."

During its’ brief but legendary three-year run from 1968 – 1971, the roughly 2,600 seat Fillmore East in the East Village played host to a who’s who of legendary performers. Elton John, Crosby, Stills, Nash and Young, The Who, and the Allman Brothers just to name a few. 

Rothschild was, in essence, the venue’s house photographer.

"When the Fillmore opened. The tickets were $3, $4 and $5. And when they closed it was $3.50, $4.50 and $5.50, said Rothschild.

Tickets to similar see bands with similar star power today would cost $500.

"And the first tickets to sell out were the last four rows in the balcony, in the top of the balcony," added Rothschild.

Rothschild, who has enjoyed a long successful career as a photographer and filmmaker, captured some of her most famous photos during a Thanksgiving Day Rolling Stones Show in 1969 at Madison Square Garden. Ike and Tina Turner opened and Janis Joplin made an unexpected cameo onstage.

Amalie R. Rothschild

Janis and Tina, Madison Square Garden, November 27, 1969

"Before they went on, Janis was just standing at the side of the stage with a few friends and right as I pulled the shutter I saw someone walk into the frame and when I developed the film and developed the contact sheet, I went ‘oh" because the person who walked in was Jimi Hendrix," said Rothschild.

Historical in more ways than one. Once bands like the Rolling Stones made their leap to arenas, making more money playing fewer shows to bigger audiences, the days of smaller theaters like the Fillmore were numbered.

In April of 1971, promoter Bill Graham announced he was shutting the venue.

"No one had any clue. It was a terrible shock for the staff to take in. He could’ve kept it going for a few more years but it wouldn’t be the same," said Rothschild.

The final show was a sendoff for the ages. A June 27 1971 all-night show headlined by the house favorites, the Allman Brothers.

"As you know no one wanted it to end.. and one of my favorite pictures of the Beach Boys is that I was able to catch all of them onstage with Bill Graham behind a speaker column watching them onstage.... it went until dawn and we walked out and the sun was out and everybody was crying and we went to Ratner’s for breakfast and it was a real tear-jerker and real difficult.'

Photography Daily Podcast: Ryan Vizzionson Van Life With A Camera

 

©Ryan Vizzions: Wild Mustangs, Utah, 2021

Via Photography Daily

STORIES OF LIFE, TOLD BY PHOTOGRAPHERS

VAN LIFING WITH A CAMERA - BEST JOB EVER!

June 23, 2021

Photojournalist Ryan Vizzions excites us about being on the open road in a van, photographing every American state to produce the most remarkable life experience book. We talk about escapism, freedom, mental health, the wonder of making photographs, solitude, social media, the human spirit and how being on the road affects basic instinct and needs such as sleep. But he’s not doing this entirely alone, as you’ll find out. Ryan has been a guest once before when he talked of pictures about protest and tomorrow on the Thursday Patreon show, he talks about the most precious picture made so far, one of which you can see below; the Mustangs in Utah. Follow him on the road through his Twitter feed.

Ryan Vizzions photographs are included in the current exhibition Present Tense, and you can view his full collection here.

Video Tour of the Tony Vaccaro Exhibition "Life is Wonderful"

 Via Helsingin Taidehalli (Helsinki Art Hall)

Tony Vaccaro: Fun in Finland, 1965

Helsingin Taidehalli has added video tours of the Tony Vaccaro exhibition "Life is Wonderful", in Finnish and English.

Tony Vaccaro, Life is Wonderful, guided tour in English from Taidehalli Helsinki on Vimeo.

Related video: Tony Vaccaro at 98