The state of the world's human rights

Amnesty International has just released the 2012 report The State of the World's Human Rights.

A watershed year for activism

"2011 was a truly tumultuous year. Millions of people took to the streets to demand freedom, justice and dignity – some of them securing memorable victories.
Successful uprisings in Tunisia and Egypt early in the year ignited protests across the region and then the world, stretching from Moscow, London and Athens in Europe, to  Dakar and Kampala in Africa, to New York, La Paz and Cuernavaca in the Americas, to Phnom Penh and Tokyo in Asia.
In the Middle East and North Africa, the pent up grievances and demands of a rising generation exploded onto the streets, sweeping aside or threatening the survival of autocratic regimes that had ruled with iron fists for decades and had seemed invincible.
Inspired by these events, people elsewhere in Africa also risked reprisals by protesting against their desperate social and economic conditions and expressing their desire for political freedoms.
In Europe and Central Asia, as well as the Asia-Pacific region, people repeatedly challenged injustice and violations of their rights. In some cases, governments responded by stepping up already stifling levels of repression. The autocratic regimes in several of the successor states to the Soviet Union, for example, strengthened their grip on power by crushing protests, arresting opposition leaders and silencing dissenting voices.
The demand for human rights also resounded across the Americas – on the streets, in national courts, and in the Inter-American system. The calls for justice from individuals, civil society organizations and Indigenous Peoples gained strength, frequently bringing people into direct confrontation with powerful economic and political interests.
At the heart of many of these conflicts were economic development policies that left many, particularly those living in poverty and marginalized communities, at increased risk of abuse. Many forms of discrimination also continued to engender a sense of injustice that sparked and were reflected in protests around the globe.
All these events and trends are reflected in the Amnesty International Report 2012, which documents the state of human rights in 155 countries and territories in 2011 – the year that Amnesty International celebrated its 50th anniversary.
The report highlights the endemic failure of leadership at a local and international level to protect human rights. It shows that the response of the international community to human rights crises was often marked by fear, prevarication, opportunism and hypocrisy. Nowhere was this more apparent than in the Middle East and North Africa, with markedly different responses to government crackdowns on mass protests across the region.
The failure in leadership was also apparent as governments continued to exploit legitimate concerns over security or high crime rates to justify or to ignore abuses by their own security forces, and failed to hold business corporations to account for their impact on human rights.
As Amnesty International moves into its sixth decade, this report bears witness not only to the plight of those living in the shadow of human rights violations, but also to those who are inspired to take action, often at great personal risk, to secure human rights and dignity for all."

--Amnesty International

Related Exhibition - "People Get Ready" The Struggle For Human Rights"
Monroe Gallery of Photography
July 6 - September 23, 2012

Anatomy of an iconic photograph

(Brian Cassella, Chicago Tribune / May 20, 2012 )

A Chicago police officer throws a punch at a protester who broke a stick over another officer's head.

Via The Chicago Tribune

James Janega interviews the Tribune's Brian Cassella, who is the photographer behind the photo of a Chicago police officer punching a protester during the NATO summit.

NPPA WORKING TO RELEASE PHOTOGRAPHER ARRESTED AT NATO SUMMIT

 

 Via National Press Photographers Association

CHICAGO, IL (May 21, 2012) – At least one photographer was arrested and another struck over the head with a police baton late Sunday while covering anti-war protesters marching in opposition to the NATO summit in Chicago.

Details are sparse, but photographs posted on Twitter and other Web sites show Getty Images freelance photographer Joshua Lott being arrested on Sunday night,while another photograph shows Getty's Scott Olson with blood streaming down his face after being hit with a Chicago police baton.

Sixty heads of state gathered in Chicago for a two-day NATO meeting to discuss the war in Afghanistan and other global defense issues. Reports say more than 2,500 journalists are there to cover the thousands of protesters who converged on the NATO meeting. Chicago's police responded to the influx of protesters and reporters by deploying thousands of police clad in riot gear, not only Chicago officers but also police pulled in from departments outside of the city.

NPPA's lawyer Mickey H. Osterreicher joined forces with the Reporters Committee for Freedom of the Press to support a hotline for journalists arrested or assaulted while covering NATO protesters.

NPPA's lawyer was allowed to meet with Lott in an attorney interview room to let the photojournalist know that NPPA was there and working on his release, and Osterreicher then waited outside a Chicago police station for Lott until he was released shortly before 4 a.m. Monday morning.

Osterreicher said that for the most part, outside of Sunday night's late clash that included Lott, the Chicago police had been "very restrained" in dealing with photographers.

Calls and emails to Getty Images at the editorial picture desk in New York asking for more information have not been answered. Unconfirmed reports say that Lott's cameras were smashed by police, and that while he had been originally arrested on a more serious charge it had been reduced to a lesser charge before he was released on a personal bond.

The photograph posted on Twitter by The Toronto Star of Lott being arrested was credited to Spencer Platt.

There will be more NATO protests in Chicago on Monday.

Related: Department of Justice Warns Police Against Violating Photographers' Rights

Department of Justice Warns Police Against Violating Photographers' Rights

Via PDN
Photo District News


The Civil Rights Division of the US Department of Justice doesn't mince words in a May 14 letter to the Baltimore Police Department. Citizens have a constitutional right to record police carrying out their public duties, and it is illegal for police to seize and delete the recordings, the letter says. The DOJ goes on to give the BPD a blueprint for re-writing its policies regarding journalists or citizens recording police activities.

The letter, posted on the DOJ web site, could be a powerful tool for photographers (or citizens) who are harassed or arrested anywhere in the country for photographing police activities. It says exactly what National Press Photographers Associations, the ACLU, and others have long argued--one painstaking case at a time-- about citizens' right to record police activities.

"Private individuals have a First Amendment right to record police officers in the public discharge of their duties," the DOJ writes to the Baltimore police. The letter continues, "[O]fficers violate individuals’ Fourth and Fourteenth Amendment rights when they seize and destroy such recordings without a warrant or due process."

The letter re-iterated the arguments that the DOJ made to a federal court in Maryland earlier this year in a civil rights case involving the Baltimore Police Department. Christopher Sharp sued the BPD in 2011, alleging that police officers had seized, searched, and deleted the contents of his cell phone after he used it to record the officers arresting his friend. The incident took place at the 2010 Preakness Stakes horse race.

BPD said the claim was groundless and asked the court to throw it out. But the DOJ urged the court to rule that private citizens have a First Amendment right to record police carrying out their duties, as well as Fourth and Fourteenth amendment protections against unlawful search and seizure and deprivation of property without due process.

The court agreed, and has allowed the case to proceed. Among Sharp's allegations is that the BPD has a policy of advising its officers to to detain citizens who record police activities and to seize, search, and delete individuals’ recordings. He is seeking an injunction to force the BPD to change its policies.

In an effort to pre-empt that part of Sharp's claim, the BPD made public in February a general order titled "Video Recording of Police Activity" directing its police officers how to handle the recording of their activities. The order says citizens have the "absolute right to photograph and/or video record the enforcement actions of any Police Officer" as long as they don't "interfere."

The DOJ has reviewed that BPD order, and concluded that it doesn't adequately protect citizen's First, Fourth, and Fourteenth Amendment rights. In support of Sharp, the DOJ is now urging the court to order the BPD to amend the general order as part of the resolution of Sharp's lawsuit.

For instance, the DOJ says, the policy does not explicitly state that citizens have a First Amendment right to record police activity. "Given the numerous publicized reports over the past several years alleging that BPD officers violated individuals’ First Amendment rights, BPD should include a specific recitation of the First Amendment rights at issue," the DOJ says.

The letter goes on to provide what amounts to a prescription for a new policy that protects citizens rights. Among the recommendations:

• BPD should clarify that the right to record public officials is not limited to streets and sidewalks – it includes areas where individuals have a legal right to be present, including an individual’s home or business, and common areas of public and private facilities and buildings.
• [P]olicies should instruct officers that, except under limited circumstances, officers must not search or seize a camera or recording device without a warrant.
• Officers should be advised not to threaten, intimidate, or otherwise discourage an individual from recording police officer enforcement activities or intentionally block or obstruct cameras or recording devices.
• Policies should prohibit officers from destroying recording devices or cameras and deleting recordings or photographs under any circumstances.
• If a general order permits individuals to record the police unless their actions interfere with police activity, the order should define what it means for an individual to interfere with police activity and, when possible, provide specific examples.

(With regard to the issue of interference, The DOJ also notes, "an individual’s recording of police activity from a safe distance without any attendant action intended to obstruct the activity or threaten the safety of others does not amount to interference. Nor does an individual’s conduct amount to interference if he or she expresses criticism of the police or the police activity being observed.")

• [The order] must set forth with specificity the narrow circumstances in which a recording individual’s interference with police activity could subject the individual to arrest.
• [The order] should encourage officers to provide ways in which individuals can continue to exercise their First Amendment rights as officers perform their duties, rather than encourage officers to look for potential violations of the law in order to restrict the individual’s recording.
• A supervisor’s presence at the scene should be required before an officer takes any significant action involving cameras or recording devices, including a warrantless search or seizure.
• A general order should provide officers with guidance on how to lawfully seek an individual’s consent to review photographs or recordings...[and] [p]olicies should include language to ensure that consent is not coerced, implicitly or explicitly.

The case of Sharp v. Baltimore City Police Department is currently in the discovery phase. The next hearing in the case is scheduled for May 30.

50 YEARS AGO: The Night Marilyn Sang to JFK

 

Marilyn Monroe Singing "Happy Birthday" to President John F. Kennedy,

Madison Square Garden, NY, 1962

©Bill Ray

On May 19, 1962 - half-century ago, on a spring night in New York City, 35 year-old screen goddess Marilyn Monroe — literally sewn into a sparkling, jaw-droppingly sheer dress — sauntered onto the stage of New York's Madison Square Garden and, with one breathless performance, forever linked sex and politics in the American consciousness. For the 15,000 spectators there that night, including LIFE photographer Bill Ray, Marilyn's "Happy Birthday" to President John F. Kennedy amplified the buzz about an affair between the two. But beyond the titillation, the moment Ray captured in this, his most iconic shot, went on to play a major role in both Marilyn's and JFK's biographies, coming as it did near the end of their short lives. As the 48th anniversary of that legendary birthday party approaches, Ray sits down with LIFE.com to share his photos from that night, most of which have never been seen, and to tell the story of how he overcame countless obstacles — the cavernous setting, tricky lighting, and security "goons" eager to keep the press at bay — to get The Shot. --- Life.com

Watch: Bill Ray's memories

Madison Square Garden Memories

"On the evening of May 19th, 1962, the brightest stars in the Hollywood galaxy joined Hollywood’s heaviest hitters and New York’s power elite at the old Madison Square Garden to celebrate with President John F. Kennedy his 45th birthday.


It was a good time to be young. The country was “moving” again. Our fathers had voted for Eisenhower; we voted for JFK. We had the Peace Corps, were going to the moon, and the New Frontier was here. It was High Tide in America.

With Jack Benny as host, and a long list of stars that featured Maria Callas, Ella Fitzgerald, Jimmy Durante and Peggy Lee, the evening was going to be great. But the moment every one of the 17,000 guests was waiting for, was for the Queen of Hollywood, the reigning Sex Goddess, Marilyn Monroe to serenade the dashing young President.

Venus was singing to Zeus, or maybe Apollo. Their stars would cross, their worlds would collide.

I was on assignment for Life Magazine, and one of many photographers down in front of the stage.

As the show was about to start, the New York police, with directions from the Secret Service, were forcing the Press into a tight group behind a rope. I knew that all the “rope-a-dopes” would get the same shot, and that would not work for LIFE, the great American picture magazine. I squeezed between the cops and took off looking for a better place.

In addition to 2 Leicas with 35mm and 28mm lenses, and 2 Nikons with 105mm and 180mm, I brought along a new 300mm 4.5 Kilfit just for the Hell of it. I started to work my way up, one level at a time, looking for a place where I could get a shot of both MM and JFK in the same frame. An impossibility behind the rope, the 300mm telephoto was looking better and better.

It seemed that I climbed forever, feeling like Lawrence Harvey in “The Manchurian Candidate” up among the girders. When I found a pipe railing to rest the lens on, (exposure was by guess), I could see JFK through the telephoto, but the range of light level was too great. I worked with feverish intensity every second MM was on stage, but only one moment was truly magical, and perfectly exposed!

When the moment came, the Garden went black. Then all sound stopped. All that low buzz/roar that a crowd gives off stopped; total silence.

One very bright spotlight flashed on, and there was Marilyn Monroe, in the dress, the crystals sparkling and flashing. Marilyn was smiling, waiting several beats, with everyone on the edge of their seats, trying to hear the silence.

Then, in her breathy, sexy, unique voice, looking the entire time at JFK in the front row, she sang "Happy Birthday Mr. President”.

No one that night could imagine that in two and a half months, Marilyn would be dead of an overdose; in eighteen months JFK would be assassinated; Viet Nam would turn into our worst nightmare; Camelot would be gone.

Marilyn wore a dress designed by Jean Louis, that had no zippers, buttons, hooks, or snaps. The pieces were sewn together on her body. It was more or less flesh-colored, and decorated with thousands of Zwarovski crystals. Adlai Stevenson described it as “Skin and Beads”.

It was auctioned off at Christie’s in New York, October, 1999 for over 1.2 million dollars. The buyers later thought it was a steal, and said they were prepared to pay 3 million.

Though the evening was long and illustrious, and Marilyn’s song was short, the world, myself included, only remembers her, the song, the dress, and JFK’s 45th birthday.

The rest is history. " -- ©Bill Ray

President John F. Kennedy at his birthday party after Marilyn Monroe Sang "Happy Birthday", Madison Square Garden, NY, 1962 ©Bill Ray

Stephen Wilkes: Day To Night Exhibition Featured in La Lettre de la Photographie

Flatiron Building, Day To Night (2010) © Stephen Wilkes

  COURTESY MONROE GALLERY OF PHOTOGRAPHY

Via La Lettre de la Photographie

For more than two decades Stephen Wilkes has been widely recognized for his fine art, editorial, and commercial photography. With numerous awards and honors, as well as five major exhibitions in the last five years, Wilkes has made an impression on the world of photography. His most recent series features vibrant photographs of Times Square, Park Avenue, Coney Island, and Central Park, among other iconic New York locations, and capture, in a single frame, the transition from “Day to Night”. Using digital composites of images of the same site taken over a period of up to 15 hours, the photographs have a time-traveling quality, with the hustle and bustle in the afternoon sun giving way to the glow of city lights in darkening, cloud-streaked skies.

"Anything one can imagine one can create. Over the last several years, photographic technology has evolved to a point where anything is possible. I imagined changing time in a single photograph. I began to explore this fascination with time in a new series of photographs called: “Day to Night”. Photographing from one camera angle continuously for up to 15 hours, capturing the fleeting moments throughout the day and night. A select group of these images are then digitally blended into one photograph, capturing the changing of time within a single frame."

"Day to Night embodies a combination of my favorite things to photograph; documentary street photography melded with epic cityscapes. The work is a personal reflection of my deep love for New York. As this series has evolved, I discovered that the photographs began to highlight a form of emergent behavior within the daily life of the city. Studying the communication between pedestrians on sidewalks, cars and cabs on the street, these individual elements become a complex life form as they flow together to create the chaotic harmony that is Manhattan."

Full post and slide show here.

NOTE: Exhibition has been extended through June 24, 2012

High Contrast: The Enduring Paradox of Native Photography

Via Georgia O'Keeffe Museum

Stark comparisons of the traditional and the modern have informed the visualization of Native Americans from colonization to the present. Early contemporary Native photographer Horace Poolaw (1906–1984) created a dialogue with modernism through his adoption of composite narratives steeped in the cosmopolitan realism of the early 20th century. Lecture by Nancy Mithlo, Assistant Professor, Art History and American Indian Studies Department, University of Wisconsin-Madison.

LOCATION: Georgia O'Keeffe Museum Education Annex, 123 Grant Avenue.
COST: $5; Members and Business Partners, FREE.

Reservations suggested: 505.946.1039 or online at www.okmuseum.org

Register here.

WORLD REMEMBERS PHOTOJOURNALIST HORST FAAS

 

Horst Faas/AP

In this March 1965 file photo by Associated Press photographer Horst Faas, hovering U.S. Army helicopters pour machine gun fire into the tree line to cover South Vietnamese ground troops advancing on a Viet Cong camp northwest of Saigon. Faas' work in Vietnam won four major photo awards, including the first of his two Pulitzers. He was severely wounded there in 1967

 "Horst Faas was a giant in the world of photojournalism whose extraordinary commitment to telling difficult stories was unique and remarkable," said Santiago Lyon, AP's global head of photography

 "Under his direction, AP photographers captured images that quickly became synonymous with the long war: among the most notable were Eddie Adams' image of the execution of a Viet Cong suspect and Nick Ut's picture of a naked Vietnamese girl fleeing a napalm attack." --BBC



 New York Times Lens: A Parting Glance: Horst Faas

The Telegraph: In Pictures, Horst Faas, Pulitzer Prize-winning Vietnam War photographer

The Guardian: Photojournalist's work in uncovering the horrors of Vietnam war helped turn mainstream opinion against US offensive 

BBC: Vietnam War photographer Horst Faas dies

The Independant: Horst Faas, the photographer whose images defined the Vietnam War, dies aged 79


MSNBC Photoblog: Horst Faas, legendary Vietnam combat photographer, dies

"Sometimes it’s not enough for a photographer to be in the right place at the right time, you have to capture the perfect moment as well"

A lone man stops a column of tanks near Tiananmen Square, 1989 Beijing, China

Jeff Widener/AP

Via PetaPixel


The Famous Tiananmen Square Tank Man Photo From Slightly Different Views

"The iconic version we’ve come to know is only one of 4 very similar photos taken that same moment.

Each photographer: AP photographer Jeff Widener, Newsweek photographer Charlie Cole, Magnum photographer Stuart Franklin, and Reuters photographer Arthur Tsang all captured almost the exact same moment from slightly different perspectives."



Jeff Widener's photograph is featured in the forthcoming exhibition: "People Get Ready: The Struggle For Human Rights" at Monroe Gallery of Photography, June 22 - September 2, 2012.


Related: JEFF WIDENER: Tiananmen Square Tank Man

Abandoned Ellis Island – And How It Can Be Saved

Via Scouting New York:

The following article was produced in participation with the Partners in Preservation program, which will be awarding $3 million in grants to historic sites across New York City based on your votes – so go vote now!

Chances are, when you think of Ellis Island, you picture just one building…

The “Main Building,” a Beaux-Arts masterpiece built in 1900, through which millions of immigrants passed until its closure in 1954. Today, it houses the Immigration Museum, and if you’ve ever visited on a school field trip, or passed through on a vacation, this is where you spent your day.

One question: while you were there, did you happen to turn around…

…and notice the row of gorgeous Belgian-style buildings across the water? The ones that seem to be totally abandoned?

Full article with numerous photograph here.

Monroe Gallery of Photography is currently exhibiting Stephen Wilkes' "Day To Night" collection.

 

Perhaps Wilkes’ most ambitious project was photographing the south side of Ellis Island (1998 – 2003). With his exclusive photographs and video work, Wilkes was able to help secure $6 million in funding to restore the south side of the island. Today all that remains of the past are Wilkes' haunting images. These photographs have appeared in The New York Times Magazine and have won numerous awards including American Photographer, The Art Directors Club, Applied Arts Magazine, Graphis and other industry awards. Wilkes continues to be involved with his passion for Ellis Island, working with the "Save Ellis Island" foundation. Wilkes received the Alfred Eisenstaedt Award for magazine photography, and in 2004 he received the Lucie Award for Fine Art Photographer Of The Year Award. His work is in the permanent collection of several important museum collections. Ellis Island: Ghosts of Freedom was published by W.W. Norton & Company in the fall of 2006, and was accompanied by a major exhibition at Monroe Gallery of Photography October 6 – January 7, 2007.

CHRISTIE'S PHOTOJOURNALISM AUCTION TO BENEFIT CHILDREN OF ANTON HAMMERL, KILLED IN LIBYA

FOR IMMEDIATE RELEASE

First-ever auction of contemporary photojournalism prints at Christie’s to be held May 15 in New York to support family of freelance photographer Anton Hammerl killed in Libya

Acclaimed photographers donate prints to honor the memory of Anton Hammerl and support his family. Christiane Amanpour of ABC News/CNN will host the evening.

New York, NY – May 7, 2012 – Non-profit Friends of Anton is organizing the first auction of contemporary photojournalism prints ever held at Christie’s, on May 15th 2012 in New York to raise funds for the three young children of freelance photojournalist Anton Hammerl who was killed by the Libyan regime last year.

On April 5, 2011 South African freelance photographer Anton Hammerl went missing after coming under fire from Gaddafi loyalists. For 44 days his family was told repeatedly by the Libyan regime that he was alive and well. The truth is he was left to die in the desert. A campaign is currently underway to locate and recover his remains.

Anton Hammerl working in Brega, 1 April 2011.
Photo: Unai Aranzadi.

2011 was one of the worst years for photojournalism with 3 deaths in addition to Anton’s, followed by yet another in 2012. Besides raising funds for 11-year-old Aurora, 7-year-old Neo and 1-year-old baby Hiro, the evening aims to highlight the sacrifices made by photographers – particularly freelancers – who assume great risks to bring back images to agencies, magazines, publishers and readers worldwide, often with little backup.

Christiane Amanpour of ABC News and CNN will host the event during which signed prints by some of the world’s leading photographers – including Sebastiao Salgado, Alec Soth, Tim Hetherington, Platon, Gilles Peress, Christopher Anderson, Ed Kashi, Yuri Kozyrev, Larry Fink, Kenneth Jarecke, Lynsey Addario, Susan Meiselas, Ron Haviv, David Burnett, Joao Silva, Bruce Davidson, Samuel Aranda, Roger Ballen and Vincent Laforet – will be auctioned off Christie’s Senior Vice President Lydia Fenet.

“The upcoming ‘Friends of Anton’ auction at Christie’s is a milestone in contemporary photojournalism”, says New York-based collector Alan L. Paris, “As a collector of photojournalism, I am particularly excited because this is the first ever auction dedicated to contemporary photojournalism. The contributors are top notch, the photos are of the highest quality, the material is fresh to the marketplace, and it is all for a very good cause.”

- Christie’s is located at 20 Rockefeller Plaza, New York, NY 10020.
- Auction: 6:30pm, May 15th, 2012.
- 501c(3) Reporters Without Borders is the fiscal sponsor of this all-volunteer evening, which is made possible by the generous assistance of Christie’s, Innovative Philanthropy and Edelman.

"I'm Nina Berman. I'm a Photographer"

A Short documentary about American photographer Nina Berman. Filmed and directed by Denise R. Gaberman.

Click here.                   

May 4, 1970: Kent State

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©John Filo: Mary Vecchio grieving over stain student, Kent State, May 4, 1970

Via Newseum: Today in News History: May 4, 1970: Four students were killed and nine others were wounded at Kent State University by members of the Ohio National Guard. John Paul Filo’s iconic image of the massacre received the 1971 Pulitzer Prize for spot news.


(Click above link for video interview with John Filo.)

Related: Kent State, 40 years on: the shredding of constitutional liberty still goes on

May 3, 2012

Dear Attorney General Eric Holder:

 The First Amendment has come under assault on the streets of America. Since the Occupy Wall
Street movement began, police have arrested dozens of journalists and activists simply for
attempting to document political protests in public spaces. While individual cases may not fall
under the Justice Department’s jurisdiction, the undersigned groups see this suppression of
speech as a national problem that deserves your full attention.


The alarming number of arrests is an unfortunate and unwarranted byproduct of otherwise
positive changes. A new type of activism is taking hold around the world and here in the U.S.:
People with smartphones, cameras and Internet connections have been empowered with the
means to report on public events. These developments have also created an urgent need for
organizations such as ours to defend this new breed of activists and journalists and protect their
right to record.

Freedom of speech, freedom of assembly and freedom of access to information are vital whether
you’re a credentialed journalist, a protester or just a bystander with a camera. In the digital age,
these freedoms mean that we all have the right to create and share information using all manner
of devices and lawful means.

In this new environment, we must guard these rights and protect the networks that give so many
the means to connect and voice their political beliefs. The First Amendment’s protections must
extend to everyone.

The right to record is an essential component of our rights at a time when so many of those
witnessing public protests carry networked, camera-ready devices such as smartphones.

Continuous access to the open Internet and social media — over both wired and wireless
networks — is also essential.
We the undersigned call on authorities at the local, state and federal level to stop their assault on
people attempting to document protests and other events unfolding in public spaces. We must
protect everyone’s right to record.

Sincerely,

Access

American Civil Liberties Union
Electronic Frontier Foundation
Free Press
National Press Photographers Association
New America Foundation
Reporters Committee for Freedom of the Press
Reporters Without Borders
Witness

OPENING NIGHT: STEPHEN WILKES - DAY TO NIGHT

All Photographs by Hance Partners/Image Craft ©All Rights Reserved

On April 27, 2012, Monroe Gallery in Santa Fe, New Mexico, opened a one man show featuring photographer Stephen Wilkes' series of Day to Night images, Ten very large framed prints occupied the entire gallery in this first one man show of Stephen’s latest work.

Hance Partners/Image Craft, under the direction of master printer Richard Jackson, collaborated with Stephen to produce the prints said to be some of his most stunning images ever.

Hance Partners/Image Craft produces these magnificint images up to 80 inches wide, and also creates a complex four stage mounting and framing process to complete these works of art.

For more info on the images, please see the Hance Partners/Image Craft blog at:
imcraft.wordpress.com/2011/08/23/stephen-wilkes-ny-day-to...

World Press Freedom Day 2012

About World Press Freedom Day
Via UNESCO World Press Freedom Day

Every year, May 3rd is a date which celebrates the fundamental principles of press freedom; to evaluate press freedom around the world, to defend the media from attacks on their independence and to pay tribute to journalists who have lost their lives in the exercise of their profession.

3 May was proclaimed World Press Freedom Day the UN General Assembly in 1993 following a Recommendation adopted at the twenty-sixth session of UNESCO's General Conference in 1991.

It serves as an occasion to inform citizens of violations of press freedom - a reminder that in dozens of countries around the world, publications are censored, fined, suspended and closed down, while journalists, editors and publishers are harassed, attacked, detained and even murdered.

It is a date to encourage and develop initiatives in favour of press freedom, and to assess the state of press freedom worldwide.

It serves as a reminder to governments of the need to respect their commitment to press freedom and is also a day of reflection among media professionals about issues of press freedom and professional ethics. Just as importantly, World Press Freedom Day is a day of support for media which are targets for the restraint, or abolition, of press freedom. It is also a day of remembrance for those journalists who lost their lives in the exercise of their profession.

Exhibit: "People Get Ready: The Struggle for Human Rights"
Monroe Gallery of Photogrphy, June 22 - September 22, 2012

Related: Freedom of the Press?

 

          The New York Times Sends Angry Letter to NYPD Over Blocked Photographer

MAY 1 AND DOROTHY DAY

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Vivian Cherry: Dorothy Day, founder of the Catholic Worker newspaper, picketing against the Atomic Bomb, New York, 1959

May 1 marks the 79th anniversary of Dorothy Day’s great achievement: a movement whose vision of activist faith couldn’t be farther from the moralizing of the religious right that has seemed to define Christianity’s incursion on politics since the 1980s. The Catholic Worker, which Day founded with Peter Maurin, a French immigrant, was — and remains — a philosophy, a social initiative, a way of life. Its understanding of personal responsibility maintains not that we all must rely on ourselves, but rather that we are all beholden to better the lives of the less fortunate. On May 1, 1933, during the height of the Great Depression, Day took to Union Square handing out the first copies of her newspaper, also called The Catholic Worker, which delivered the message of compassion and justice at the cost of one penny; the price has never gone up. 

A Different Intersection of Church and Politics   Via The New York Times

Marcus Yam for The New York Times

PROTESTING: Loren Hart, a member of the Catholic Worker Movement, on Thursday.

Forthcoming Exhibition: People Get Ready: The Struggle For Human Rights

Monroe Gallery of Photography

June 22 - September 2

1 World Trade Center becomes NY's tallest building today

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Carolyn Schaefer: World Trade Center and Washington Square Arch, New York, 1998

On Monday, April 30, 2012, at approximately 2:00 p.m., the Port Authority will mark a major milestone in the construction of One World Trade Center with the installation of steel columns that will make the skyscraper the tallest building in New York. When the columns are put in place, the building will officially surpass the height of the Empire State Building, which currently is the tallest structure in New York.


An inside look of construction on the 91st Floor of One WTC

"Cowboys of the sky.” The New York Times Magazine featured a series of images by Damon Winter, who spent five days in July, 2011 with the ironworkers who are rebuilding the Manhattan skyline atop 1 World Trade Center

Ron Antonelli for the New York Daily News

OPENING RECEPTION TONIGHT, 5 - 7: STEPHEN WILKES - DAY TO NIGHT

Pasatiempo

Santa Fe--Monroe Gallery of Photography, 112 Don Gaspar, is pleased to present "Day To Night", an exhibition of large-scale color photographs (up to 50 x 80 inches) by leading contemporary photographer Stephen Wilkes. The exhibition opens with a public reception with Stephen Wilkes from 5 - 7 PM tonight, Friday, April 27. The exhibition continues through June 16. 

More.

Worldwide Pinhole Photography Day is April 29!

 

Via Worldwide Pinhole Photography Day
What is Pinhole Day?

Anyone, anywhere in the world, who makes a pinhole photograph on the last Sunday in April, can scan it and upload it to this website where it will become part of the annual Worldwide Pinhole Photography Day celebration's online gallery.

The next pinhole day is April 29, 2012

Locate a workshop near you.

Worldwide Pinhole Photography Day is an international event created to promote and celebrate the art of pinhole photography.

On this unique day, we encourage people throughout the world

• to take some time off from the increasingly technological world we live in and to participate in the simple act of making a pinhole photograph.
• to share their visions and help spread the unusual beauty of this historical photographic process.

VIVIAN MAIER: Deceased April 21, 2009; Exhibit Closes Today

Via The Obit Patrol

....John Maloof set out to learn more about Vivian Maier. His first Google searches had fizzled, but in April 2009, he spotted her name scrawled on the lab envelope of a roll of developed film. He tried again.

This time, he found an obituary in the Chicago Tribune. "Oh, my God," he said.

Vivian Maier had died just days earlier.

"Vivian Maier, proud native of France and Chicago resident for the last 50 years died peacefully. ... A free and kindred spirit who magically touched the lives of all who knew her. Always ready to give her advice, opinion or a helping hand. Movie critic and photographer extraordinaire ..."

Her 83 years on earth, summed up in 96 words. But one sentence stood out: "Second mother to John, Lane and Matthew." Maloof wondered. Perhaps she was their stepmother?

Maloof called the Tribune, but the newspaper's leads turned out to be dead ends.

Then came one of those serendipitous moments: As he was filing loose negatives and about to throw out a shoe box that had been stuffed in the larger box, he spotted an address in north suburban Highland Park.

Bingo. A starting point.


 And, as they say, the rest is History. Today, Sunday, Aprl 22, 2012 is the final day of VIVIAN MAIER: DISCOVERED.  The gallery will be open from 10 to 5.

STEPHEN WILKES: DAY TO NIGHT

 

 

Coney Island, Day To Night

Santa Fe--Monroe Gallery of Photography, 112 Don Gaspar, is pleased to present "Day To Night", an exhibition of large-scale color photographs (up to 50 x 80 inches) by leading contemporary photographer Stephen Wilkes. The exhibition opens with a public reception with Stephen Wilkes from 5 - 7 PM on Friday, April 27. The exhibition continues through June 16. 

For more than two decades Stephen Wilkes has been widely recognized for his fine art, editorial, and commercial photography. With numerous awards and honors, as well as five major exhibitions in the last five years, Wilkes has made an impression on the world of photography. His most recent series features vibrant photographs of Times Square, Park Avenue, Coney Island, and Central Park, among other iconic New York locations, and capture, in a single frame, the transition from “Day to Night”. Using digital composites of images of the same site taken over a period of up to 15 hours, the photographs have a time-traveling quality, with the hustle and bustle in the afternoon sun giving way to the glow of city lights in darkening, cloud-streaked skies.

 "Anything one can imagine one can create. Over the last several years, photographic technology has evolved to a point where anything is possible. I imagined changing time in a single photograph. I began to explore this fascination with time in a new series of photographs called: “Day to Night”. Photographing from one camera angle continuously for up to 15 hours, capturing the fleeting moments throughout the day and night. A select group of these images are then digitally blended into one photograph, capturing the changing of time within a single frame."

"Day to Night embodies a combination of my favorite things to photograph; documentary street photography melded with epic cityscapes. The work is a personal reflection of my deep love for New York. As this series has evolved, I discovered that the photographs began to highlight a form of emergent behavior within the daily life of the city. Studying the communication between pedestrians on sidewalks, cars and cabs on the street, these individual elements become a complex life form as they flow together to create the chaotic harmony that is Manhattan."

"Henri Cartier Bresson once said, “Photography is the recognition of a rhythm in the world of real things.” I am forever fascinated by the rhythm that is New York, the city’s relentless energy from “Day to Night”'.--Stephen Wilkes

Selected photographs from the Day To Night series were exhibited at 2011 Art Basel Miami, and just recently at the 2012 AIPAD Photography Show in New York to widespread acclaim. This exhibition will be the first time the full collection has been exhibited together.

 Photography has been Stephen’s passion since age 12, when his fascination with science led him to take photographs through a microscope. He began working on his own at age 15, attended Syracuse University’s Newhouse School of Communications, graduating in 1980. In 1982, Wilkes opened his own studio in Manhattan.

 “Ever since I took my first pictures, photography has always been the joy of discovery for me,” says Wilkes. “The excitement not only lies with what I see and how I see it, but mostly when someone looks at the finished photograph and feels the same emotions I felt when I took the picture. There is something sacred about the right moment. The frame where all the energy comes together and, in one instant, a story is told.”

Wilkes' photographs are in the permanent collection of The Library of Congress, Washington, D.C.; George Eastman House, Rochester, New York; Museum of Fine Arts, Houston; Dow Jones & Company, New York City; The Jewish Museum, New York City; and in numerous important private collections throughout the world. His work has graced the covers of numerous international publications, including Sports Illustrated, Fortune, Vanity Fair, The New York Times Magazine, Life Magazine, and Time Magazine.

PHOTOGRAPHY MARKET APRIL, 2012

ArtMarketInsight [Apr 2012
 Via ArtPrice
 

Photographs [Apr 12]

Sotheby's photography sale on 6 April last year (2011) was particularly successful, generating a sales revenue of $4.5 million (excluding fees) and 82% of the works sold. Two days later (8 April), its rival Christie’s generated nearly as much ($4.2m) from a photography sale, and then on 9 April 2011, Phillips de Pury & Company ended the week with a massive photography sale (259 lots, 90% sold) that generated $4.6m. Together the three leading auction houses generated $13.3m from their New York Photography sales in April 2011. A year later, this figure has been revised downward by $1m primarily due to a sharp decline at Sotheby's, whose unsold ratio rose from 18% to 31%. The other two auctioneers maintained their sales figures with $4.2m at Phillips de Pury & Company on 4 April 2012 (19% unsold) and no less than $5.38m at Christie's on 5 April 2012 (19% unsold).

The Sotheby's total would not have been so low had it not failed to sell its star lot: a box containing 10 photographs of Diane ARBUS, each numbered as one of a limited series of 50. These photographs, taken by Neil SELKIRK in the early 1970s (Diane Arbus died in 1971) were estimated at between $400,000 and $600,000. And yet the most famous pictures of this limited edition can fetch $80,000 at auctions, as we saw with Identical twins acquired in April 2010 at Phillips de Pury & Company. The same subject, printed during the artist’s lifetime and signed by the artist, fetches between $200,000 to $400,000 on average! If the classic favourites such as Ansel Easton ADAMS, William Henry Fox TALBOT, Robert FRANK, Irving PENN and Robert MAPPLETHORPE sold without much trouble, more contemporary signatures have not yet caught up with their 2007 prices. For example, Andres SERRANO’s Black Mary (100.3 x 68.6 cm, limited edition of 10) did not reach its low estimate of $30,000, although it fetched $34,000 in 2001 and $36,000 in 2007.

Christie's did better thanks notably to 25 photographs by Irving PENN. His famous Black and white Vogue Cover reached $360,000, the second best hammer price for this very graphic 1950 photo (the best was $400,000 in April 2008 at Christie's). In fact, the old Vogue cover generated the best result of the three days of sales dedicated to photography.

Earlier this year, on 12 March 2012, Christie's New York dispersed no less than 36 photographs by William EGGLESTON of which 16 found buyers between $100,000 and $480,000. The work of this pioneer of colour in art photography rose in value by 23% between 2004 and 2008. The subsequent contraction in his prices over the 2009-2010 period provided an excellent buy opportunity. Nowadays his small formats are reaching unprecedented prices, such as his Untitled (1973) (21.1 x 47.7 cm) which seems to crystallise the America of the 1970s and which fetched $200,000 on 5 April against an initial estimate of $70,000 – $90,000. Indeed, Christie's mammoth photography sale in New York on 5 April offered another 15 works by William EGGLESTON, most of which were priced between $5,000 and $15,000. Other notable results at the Christie's 5 April Photographs sale included $180,000 for Schadographie Nr. 17 by Christian SCHAD, champion of the New Objectivity, well known for his paintings, setting a new record for a photo by the artist.

The collectors of legendary photographs hotly contested Helmut NEWTON’s famous Self Portrait with Wife and Models ($75,000, whereas his less famous shots generally fetch between $9,500 and $12,000) and Robert FRANK’s Trolley - New Orleans which sold for $360,000 against a high estimate of $150,000. There was also a lot of 29 photogravures by Edward STEICHEN which fetched $100,000. Meanwhile, the Contemporary signatures maintained their prices next to the great classics and works signed by Massimo VITALI, Adam FUSS, Vik MUNIZ, Candida HÖFER or Hiroshi SUGIMOTO found buyers for between $45,000 and $55,000.

The prices of pictures from the 1960s to 1980s have also climbed steeply: Phillips de Pury & Company recorded an impressive record for Candy Cigarette (1989, ed. 25) by Sally MANN which sold for $220,000 against a high estimate of $60,000, as well as a new record for Francesca WOODMAN whose Untitled, Rome,1977, was acquired for $140,000 against an estimate of $15,000 to $20,000. Above all, there was a result of $520,000 for Cindy SHERMAN’s Untitled Film Still # 49(1979) against an estimate of $400,000!

As usual, these mammoth sales also offered plenty of affordable works such as chromogenic prints by the famous Cindy Sherman or albumen prints by Eugène ATGET from $2,000.

The next major photographs auctions will be held in London in May: Christie's will be offering a hundred lots estimated between £30,000 and £120,000 on 16 May with a Diptych by Andreas GURSKY (Art Market Confidence Index, est. £80,000 - £120,000), the Guggenheim Museum, New York seen by Hiroshi SUGIMOTO (est. £70,000- £90,000) or a large format print of Helmut NEWTON’s Self-Portrait with Wife and Models ‘Vogue’ Studios, Paris 1980 (est. £70,000 - £90,000).

A week before these sales, the world of Contemporary photography will be looking forward to Christie's Post-War & Contemporary Art Evening Sale in New York on 8 May which includes an Untitled # 96 by Cindy SHERMAN from her Centerfold series (1981). Recall that another copy of the same work fetched no less than $3.4m in May 2011, becoming for a while, the world’s most expensive Contemporary art photograph. The copy submitted for auction on May 8th will be a good test of the high end of the art photography market.

Copyright © Artprice.com- Breakdowns / figures cover all catalogued sales of fine art works recorded by Artprice (paintings, sculpture, print, poster, drawing, photography, etc.) excluding antiques and furniture.

Artprice accepts no responsibility for any use made of the information it provides. Any reproduction or representation of all or part of the information or graphics by any means whatsoever that does not include a mention stating source © Artprice.com or copyright © Artprice.com is illegal and represent a breach of copyright.

 Related: Drutt Report - Photography Reconsidered

Instagram Joins The Brownie As The Next Great Photography Disruptor

Which explains how a company with 13 employees can replace a now bankrupt company that once employed 30,000 as the “manufacturer” of a device to bring photography to the masses.

APhotoEditor

A Photographic Legacy: the Career of Japanese American Icon Carl Iwasaki

One of photographer Carl Iwasaki's (pictured right) subjects was Japanese Prince Akihito during his tour of North America.

From President Dwight Eisenhower and the Civil Rights Movement to Football Legend Joe Namath, Iwasaki’s photography career tells the story of U.S. history.

By Christine McFadden, Pacific Citizen Correspondent
March 2, 2012
Via The Pacific Citizen

Most Americans do not know famed photographer Carl Iwasaki personally, but they are likely familiar with his iconic work that has graced the covers of Time Magazine, Life and Sports Illustrated during his six decades long career.

Iwasaki was there in person to capture the desegregation of schools in the South. It was his vivid photo of Linda Brown and her sister Cheryl walking to school that so aptly covered the story of Brown v. Board of Education during the height of the Civil Rights Movement.

He was also lucky enough to photograph President Dwight Eisenhower three times, getting to know the former president on a personal level. He would eventually capture the lives of the likes of Presidents Richard Nixon and Harry Truman, Winston Churchill and he spent over a year following famed football icon Joe Namuth whose image graced the August 2004 Sports Illustrated cover.
“Not many people know about this, but (Eisenhower) loved to paint,” said Iwasaki, 87, who counts the former president as one of his favorite subjects to photograph. “I photographed him painting and he autographed it for me … I got to know him very well.”

“I try to shoot the pictures naturally, without too much posing,” he adds about his famous works.
Although now retired in Denver with three kids, Iwasaki’s work is still shown in galleries and exhibits across the country including the Monroe Gallery in Santa Fe, New Mexico.

Sid Monroe, owner of the Monroe Gallery, marvels at Iwasaki’s ability to tell an individual’s story from one single photograph.

“That’s something that a lot of [Iwasaki’s] photographs do, and especially the [one of the] Brown sisters,” he said.

But Monroe admires Iwasaki not only for his talent, but for how he embarked on his career in photography. It was during his incarceration at Heart Mountain that he began his professional career.
“His background and his entry into photography is really extraordinary,” said Monroe. “I can’t think of any other photographer that has even a remotely similar story.”

Iwasaki was 18 and a senior in high school when the Japanese bombed Pearl Harbor. He and his family were eventually sent to Heart Mountain, Wyoming during World War II along with tens of thousands of Americans of Japanese ancestry who were incarcerated along the West Coast.
One of his first jobs at the camp was as an X-ray technician because of his limited photography background. Eventually he became friends with some of the editors at the camp newspaper, the Heart Mountain Sentinel.

One day some War Relocation Authority photographers were on site to take pictures of some of the scenes and people. Iwasaki struck up a conversation with the photographers when he learned that there was an opening for a darkroom technician at their Denver headquarters.

Iwasaki was soon hired for the position and recalled how difficult it was for him to leave behind his mother and sister who were still incarcerated at Heart Mountain.

“That was the hardest part,” he said. But he was also wary of how Japanese Americans would be treated while the U.S. was still at war with Japan. “It was a little scary because I just didn’t know how the people felt about [us].”

At first, Iwasaki spent most of his time in a photo lab processing film and making prints. In his spare time he photographed some Japanese Americans that had relocated to the Denver area.
Soon his photos got noticed and he was hired to work in the WRA’s Photographic Section, or WRAPS, which documented relocated internees adjusting to life outside the camps.

“I guess they liked what I shot,” said Iwasaki.

“Mr. Iwasaki was the only Japanese American who was hired full-time as an official photographer for the WRAPS,” said UCLA professor Lane Hirabayashi, who featured Iwasaki in his book: “Japanese-American Resettlement Through the Lens: Hikaru Iwasaki and the WRA’s Photographic Section, 1943-1945.”

Several famous photographers worked at the WRA including Dorothea Lange, Russell Lee, Francis Steward, Tom Parker and Charles Mace. Iwasaki is now the only living photographer from this distinguished group.

Although the only JA to be documenting his community’s struggle for the WRA, Iwasaki says in general he was treated well. Still that didn’t stop his feelings of anxiety at the beginning, especially fearing that some would think he was a spy.

“At that time I was afraid,” said Iwasaki. “Here’s the Japanese person carrying cameras.”
When the war finally ended, Iwasaki was the first WRA photographer to head back to California to document the return of the evacuees.

He recalls that some cities were hostile to the returning Japanese Americans with some towns experiencing shooting incidents. He notes that San Jose was the most welcoming city to the returning evacuees.

“I think the WRA did a fabulous job,” said Iwasaki. “Like I said, there were just a couple of incidents, but as a whole, the evacuees were brought back and were very, very happy to be back.”
It was after working for WRAPS for a few years that Iwasaki would have another chance encounter that would further his career. In Denver he happened to accidentally meet a Time Magazine bureau chief. Since no other photographers were available, he was asked to shoot a political campaign in Wyoming for the notable magazine.

The political campaign was Iwasaki’s big break.

“By luck it ran four pages and a half in Life Magazine,” he said. “It was very exciting.”
Soon he was sitting down with Presidents Eisenhower and Nixon for photo shoots. One of his photography subjects was also Emperor Akihito while he was still a prince and touring North America.

 Although now retired and no longer taking photos, Iwasaki’s legacy will continue on in the various works and galleries that continue to show his iconic work and expansive career.

“It’s definitely ironic, given his background,” said Monroe “He was able to succeed not only despite a lack of training and a lack of experience, but also just sort of overcoming that emotional obstacle of being interned.”

VIEW VIVIAN MAIER: DISCOVERED BEFORE EXHIBIT CLOSES APRIL 22

Vivian Maier: September 28, 1959, East 108th St, New York

© Maloof Collection

After sweeping the International press, the Vivian Maier story has captivated the Southwest with numerous reviews and articles. Most recently, AARP has featured Maier's stunning photography.

Please join us to view this exceptional exhibition through April 22, 2012.

Mick Rock Featured on NPR "The Picture Show"

Michael Loccisano/Getty Images

Photographer Mick Rock in New York City, 2011
Via NPR The Picture Show

Mick Rock is really his name — though he's Michael to his mother — and he is exactly what you might imagine a rock photographer to be: tall and hip with shaggy hair. Shaded Ray-Bans, jean jacket, scarf. Oh, and an English accent to boot — so he can drop words like "bloody" and "shag" with allure (though he doesn't shy from the American equivalents, either).

"In any other era, dogs wouldn't have pissed on me," he says. "Thank God for Mick and Keith," who helped make lanky, messy Englishmen cool. He's referring to the Rolling Stones, of course.
Now in his 60s, Rock remembers the '70s well. Or, parts of them. And it goes without saying that the times have changed.

"The world is swamped with media today," he says. "I go to an event and I get photographed. Shoot the bloody photographer? What the hell is that about?"

On a recent night in Washington, D.C., for example, the cameras click incessantly (guilty) as Rock gives a few words at the opening of his aptly titled traveling photo show, Rocked. It originated in New York City, and it's hosted and produced by the W Hotel chain where, these days, Rock can be found shooting live concerts.

.

Claire O'Neill/NPR

Mick Rock gives a tour of his photographs at the opening of his traveling show, Rocked, at the W Hotel in Washington, D.C.

After his remarks, some high-heeled women and suited men (remember this is D.C.) trickle into a ballroom where they sip on cocktails and politely wait for a band to start playing. Meanwhile, Rock's prints of Iggy Pop, David Bowie and the likes adorn the surrounding walls, watching down, it seems, on what has become of rock. (Bowie would have worn the heels AND the suit, for heaven's sake.)
"Back then," Rock says wistfully in an interview the next day, "well, it was the age of sex, drugs and rock and roll, of course."

 

Full post here with slideshow and audio.

 

Related: Mick Rock, The Man Who Shot The Seventies

New York Photography Auction Sales Total $17.9m

Via Art Market News
April 6, 2012 By Marion Maneker


Sotheby's NY

Christies NY

Phillips de Pury
$6.1m ; 193 out of 267 lots sold for 72% sell-through

SWANN Galleries
PRELIMINARY RESULTS OF SALE 2274, April 4 2012:
Sale total: $1,202,122 with Buyer’s Premium
Hammer total: $1,001,230
Estimates for sale as a whole: $1,245,350 – $1,834,950
We offered 435 lots; 304 sold (30% buy-in rate by lot)
Top lots, Prices with buyer’s premium:

6 William Eggleston, Untitled (from the series Los Alamos), dye-transfer print, 1970. $60,000 C
347* Ansel Adams, Portfolio #4: What Majestic Word, In Memory of Russell Varian, with15 silver prints, 1963. $54,000 C
183* Camera Work Number 36, illustrated with 16 photogravures, signed & inscribed by Stieglitz, New York, 1911. $26,400 C
168** Portfolio with 90 photographs of a German dignitary’s travels to Asia and the Americas, silver prints, 1930s. $24,000 C
18 Weegee, Love Story & Ice Cream…Aspirin…Soda Pop…Vitamin Pills…Etc, maquette including two silver prints, with Weegee’s notations, circa 1940s. $20,400 D
292* Margaret Bourke-White, DC-4 Flying over New York City, silver print, 1939, printed circa 2000. $20,400 D
470* Sebastiäo Salgado, Kuwait (oil fields), oversize silver print, 1991, printed 2000s. $19,200 C
187 Edward S. Curtis, Chief of the Desert, Navajo, orotone, 1904. $15,600 D
210 Ralph Steiner, Ten Photographs from the Twenties and Thirties & One From the Seventies portfolio, silver prints, 1920s-30s, 1970s, printed 1977. $15,600 C
419 Adams, Holy Cross Church, Santa Cruz, mural-sized silver print, 1960s. $14,400 C
417 Adams, triptych with three color studies: Rusted Metal, Leaves & Red Rock, offered with four color studies, all unique Polaroid SX-70 prints, 1972. $12,000 C
240 Imogen Cunningham, The Bath & Agave, two silver prints, 1925 & 1920, printed 1952-60s. $10,800 C
14 Helen Levitt, New York (boys playing over doorway), silver print, 1942, printed circa 1980. $10,800 C
385 Brett Weston, Guatemala Hills, silver print, 1968, printed 1970s. $10,200 C
4 Bruce Davidson, East 100th Street Facade, oversize silver print, 1966-68, printed 1980s-90s. $10,200 D
467 Salgado, Dinka Cattle Camp, Southern Sudan, oversize silver print, 2006, printed 2011. $10,200 C
39 Ellsworth Kelly, Grape Leaves II, lithograph, 1973-74. $10,200 C
174 Alfred Stieglitz, Picturesque Bits of New York and Other Studies, containing 9 of 12 photogravures, 1894-97, printed 1897. $9,600 D
345 Adams, Lichens and Rock, silver print from a Polaroid Type 55 negative, 1962, printed 1962-63. $9,600 C
3 Henri Cartier-Bresson, Swan Lake, Bolshoi Theatre, Moscow, silver print, 1954, printed 1980s. $9,000 D

AIPAD: Bill Eppridge and Steve Schapiro Selects

Via PHOTO/arts Magazine

AIPAD 2012 (part 2)

"Susan May Tell is a career fine art photographer and photojournalist, with a very impressive background. She is currently the Fine Arts Chair for ASMP/NY. As one might expect, her magnet draws her towards classic black & white photography, photojournalism and documentary work.

One of the highlights of the afternoon for Susan was meeting, photographing, and being photographed by Bill Eppridge, surely among the greats of modern photojournalism. Eppridge is most well known for his iconic image of the busboy supporting the head of Robert Kennedy as he lay dying from a gunshot wound in 1968. His work was being shown by Monroe Gallery (419). Another image Susan noticed and loved at Monroe Gallery was Steve Schapiro's Freedom Rider Jerome Smith, Mississippi (1965)."

Related: Long Road to Freedom, Steve Schpairo and Jerome Smith

             Santa Fe, Rétrospective Bill Eppridge

            Raw File:  “Hard-Boiled Photog Blends the Old With the New"

67 Years after Liberation, Bourke-White Print of Buchenwald Sells for Over $115,000

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"Sotheby's Photographs sale brought $3.8 million and achieved strong prices
for the masters of 20th-century photography, including Ansel Adams,
Margaret Bourke-White, Edward Steichen and Robert Mapplethorpe."

Sotheby's Photographs Sale
April 3, 2012
LOT 74: MARGARET BOURKE-WHITE, 1904-1971


THE LIVING DEAD AT BUCHENWALD
large-format, ferrotyped, mounted, annotations in ink on the reverse, framed, 1945 (Portrait
of  Myself, pp. 268-9; Callahan, pp. 152-153; Goldberg, pl. 45; Retrospective, p. 93; Best of
Life, p. 20)
15 5/8 by 19 3/8 in. (39.7 by 49.3 cm.)

ESTIMATE 30,000-50,000 USD
Sold: 116,500 USD

Related: April in History: The Liberation of Buchenwald
             
              Modern print information available here

AN AIPAD THANK YOU!

Thank you to all of the extraordinary photographers who we are so privileged to represent - you made us look good at the 2012 AIPAD Photography Show! And thank you to all of our clients, collectors, friends, and new acquaintances for making this show so very memorable. We hope you may have an opportunity to visit us in Santa Fe before next year's AIPAD Show!

AIPAD: Day Three

The Park Avenue Armory was packed with photography enthusiasts today! We were so honored to welcome Nina Berman, Bill Eppridge, Lynn Goldsmith,  Stephen Wilkes, among many other renowned photographers to our booth.

Sunday, April 1 is the final day of the 2012 AIPAD Photography Show, 11 - 6. Please visit us in booth #419 and say hello!

AIPAD 2012: DAY TWO

Today we were very honored to welcome in our booth Deena Schutzer, daughter of the late Paul Schutzer, Grey Villet's widow Barbara Villet (selections of  Grey's photo essay of Richard and Mildred Loving are on exhibit); Ida Wyman, and Stephen Wilkes.

The AIPAD Photography Show was featured in numerous reviews and articles today, including the New York Times, MSNBC Photo Blog, The DLK Collection ("A startling Nina Berman of a veiled woman with her diploma is on the outside wall" at Monroe Gallery).

The Show continues tomorrow 11 - 7 (Bill Eppridge,   Stephen Wilkes, and many other photographers will be in our booth), and Sunday 11 - 6. We look forward to welcoming you at Booth #419!

AIPAD in The New York Times

Via The New York Times:


"In the post-everything era, whose advent coincided with the rise of digitization in photography, it has often seemed, paradoxically, as if nothing new can be done. The negative consequence of this is that contemporary photographs can look a lot like vintage ones; the positive outcome is that new and intriguing connections are often made between past and present. Luckily, there are many examples of the latter at the AIPAD Photography Show New York."

Full artice here.

AIPAD DAY 1

From this

to this and more

 Please visit us in Booth #419, at the AIPAD Photography Show through Sunday.

Related: Elizabeth Avedon: AIPAD 2012, New York City