PHOTO LA Thursday - Sunday, January 14 - 17

Monroe Gallery of Photography is pleased to exhibit at the 2010 edition of this venerable Photography Fair January 14 - 17, 2010. We will be exhibiting specially selected work from the gallery's collection: several new acquisitions, new photographs from Stephen Wilkes, important civil rights and photoournalism prins, and introducing the work of the acclaimed photojournalists Guy Gillette, Irving Haberman, and Richard C. Miller. Visit our extra-large booth  #A-1 located in the front-left of the exhibit.

Returning to the Santa Monica Civic Auditorium, photo l.a. 2010, the 19th Annual International Los Angeles Photographic Art Exposition moves back to it's former home at 1855 Main Street, Santa Monica, California. Conveniently located, just off of the 10 Freeway and two blocks from the beach.

More details here. Look for updates from the exhibit on the Monroe Gallery Facebook page. We look forward to seeing you this weekend!

DENNIS STOCK 1928 - 2010

Andeas Feininger: The Photojournalist (Dennis Stock), 1955

As reported in the New York Times
 by David W. Dunlap

Dennis Stock, whose photographs may have done almost as much to create James Dean’s public persona as the actor’s own performances, died Monday in Florida. He was 81.

The announcement was made Wednesday in New York by the Magnum Photos co-operative, where Mr. Stock was a member and a mainstay for six decades. Yes. Six decades.


“Dennis Stock seems impeccably contemporary in his perceptions, whether they be of splendid nature or ‘peccable’ humanity,” the critic and essayist Ralph Pomeroy wrote in “Contemporary Photographers” (1982). “He has managed to evoke jazz without the assistance of sound — its places, its atmosphere, its times, its makers.”

Stock’s choice of subject, his attitude of observance, the ‘color’ of his interests, reveal him as truly of his time, not in the sense of being ‘with it,’ which has to do with the ephemeral and fashion, but in the sense of attunement to the temper of American modern experience.

As a 23-year-old, Mr. Stock came to national attention in 1951 when he won the first prize in the story division of Life magazine’s young photographers’ contest for his essay on the arrival in New York of displaced persons from Europe who had been homeless since the end of World War II.

In “Get the Picture: A Personal History of Journalism” (1998), John G. Morris recalled that Gjon Mili, for whom Mr. Stock was then working, believed at that moment that the young man was ready to go out on his own. Robert Capa agreed and brought him aboard Magnum. Mr. Morris continued:

Dennis is probably best known today for his 1955 essay on James Dean — and specifically for a single image of Dean, in Times Square, walking the ‘Street of Broken Dreams,’ his shoulders hunched, his head pulled low inside an overcoat. The essay appeared in Life and did much to help make the short-lived actor a cult figure.

Mr. Stock avidly kept track of new developments in photography and regularly submitted comments to the Lens blog — on the work of Christopher Anderson, John Trotter, Bill Eppridge, Emilio Morenatti and the depiction of suffering in art.

“The goal for the photographer is be be visually articulate,” Mr. Stock wrote. “If the subject is in a suffering circumstance, it is all the more preferable to apply craft to the utmost. Call it art or not, we photographers should always try to pass on our observations with the utmost clarity.”

Mark Lubell, Magnum’s New York bureau chief, said he had been in discussions with Mr. Stock as recently as two weeks ago about future distribution plans. “Dennis’s dedication to his craft and his desire to ensure Magnum’s future have been extremely important to the organization,” he said.

MONROE GALLERY AT PHOTO LA: The 19th Annual International Los Angeles Photographic Art Exposition; January 14-17, 2010

Monroe Gallery of Photography is pleased to exhibit at the 2010 edition of this venerable Photography Fair. We will be exhibiting specially selected work from the gallery's collection:  several new acquisitions, new photographs from Stephen Wilkes, and introducing the work of the acclaimed photojournalists Guy Gillette, Irving Haberman, and Richard C. Miller. (As always, please contact Monroe Gallery if you would like to arrange for us to bring any particular photograph from  the gallery to the show.)

Returning to the Santa Monica Civic Auditorium, photo l.a. 2010, the 19th Annual International Los Angeles Photographic Art Exposition moves back to it's former home at 1855 Main Street, Santa Monica, California. Conveniently located, just off of the 10 Freeway and two blocks from the beach.

The opening night reception will benefit the Wallis Annenberg Photography Department at LACMA and is hosted by noted photographer David LaChapelle and actor /photographer Chris Lowell. To order tickets visit: www.lacma.org/art/photola.aspx or email photola@lacma.org Please check their website for LACMA’s curated lecture program programming schedule.

Over the past eighteen years photo l.a. has earned a reputation as one of the foremost art fairs and the leading photo-based events in the country. Presenting the finest galleries from around the globe, this 19th edition of photo l.a. promises to be the best ever. We are very proud to be presenting a preview installation of the upcoming Museum of Latin American Art (MoLAA) exhibition: Changing the Focus: Latin American Photography (1990-2005), the first survey exhibition to be presented in the Los Angeles area of Latin American photography and photo-based art generated between 1990 and 2005. The curator, Idurre Alonso, will give a talk about the exhibition and will lead an on-site collecting seminar. Gordon Baldwin, former Curator of Photography at the Getty Institute, will also conduct an on-site collecting seminar.
Los Angeles continues to be home for more and more artists and it has become a major creative center for the production of photography and photo-based art," says Stephen Cohen, producer of Photo L.A., owner of the Stephen Cohen Gallery in Los Angeles. "Photo L.A. 2010 presents an international array of galleries and artists giving to curators, collectors, critics and art enthusiasts the opportunity to enjoy the best photography that our city and the world have to offer. Now in its 19th year, it is the longest running art fair in Los Angeles, and it will be a major cultural event in the Los Angeles fine art landscape."


Photo L.A. will feature the photographic art from the earliest 19th-century photographic experiments to the most contemporary photography and photo-based art. Many of the world's leading galleries and private dealers representing international and U.S. artists will display work at photo l.a. 2010. International galleries, including Galeria Sicart (Spain), Queensland Centre (Australia), Gallery Suite 59 (Netherlands), Czech Center for Photography (Czech Republic) and MR Gallery (Beijing), will participate in the fair. Contemporary Works/Vintage Works will also return once again to the fair, along with such major dealers as Halsted Gallery, Monroe Gallery, Susan Spiritus Gallery, Stephen White Gallery, Scott Nichols Gallery and DNJ Gallery--among many others.

Phase One of the La Brea Matrix project will debut at photo l.a. 2010. The project is produced by The Lapis Press and Schaden.com with the support of the Goethe Institut and MAK Center for Art and Architecture.
 
Opening Night Reception

Benefitting the Wallis Annenberg Photography
Department at the Los Angeles County Museum of Art

January, 14th 6 - 9 pm

Hosted by
David La Chapelle & Chris Lowell
Santa Monica Civic Center
1855 Main Street
Santa Monica, CA 90401

Buy Tickets Online

Photo L.A. will be open to the general public on Friday, January 15th, and Saturday, January 16th, from 11 am to 7 pm, and Sunday, January 17th, from 11 to 6 pm. Tickets are $20 for a one-day pass, $30 for a three-day pass and $10 for lectures. All exhibition, lecture and opening night benefit reception tickets are available for purchase in advance or at the door. For additional information on Photo L.A. 2010, including the opening benefit reception and advance ticket sales, visit http://www.photola.com/ .


Buy tickets for regular admission.

Portions Copyright © 2010 I Photo Central, LLC


MONROE GALLERY OF PHOTOGRAPHY
112 Don Gaspar
Santa Fe, NM 87501
505.992.0800
505.992.0810 (fax)
info@monroegallery.com
http://www.monroegallery.com/
Blog: http://monroegallery.blogspot.com/

HAPPY 2010!

John Phillips/Time Inc: New Year's Eve Celebration, Times Square, New York, 1941

On the one hand, the year 2000 seems like eons ago, and on the other, it is hard to believe ten years - a decade - have passed. We wish everyone a wonderful start to a new year and a new decade.

Sidney and Michelle Monroe

http://www.monroegallery.com/

http://monroegallery.blogspot.com/

http://twitter.com/Monroegallery

http://www.facebook.com/monroegallery

PEACE

Eddie Adams: Shepard, Bethlehem, 1970

'TIS THE SEASON

Sidney and Michelle Monroe wish you a joyous Holiday Season and a New Year full of happiness. We graciously thank you for your kind support and encouragement.

As the Holidays are upon us, we are pleased to share with you a selection of our favorite seasonal photographs. Enjoy! (Update: Thank you for your feedback! It has inspired us to install a special exhibit in the gallery, on view now through January 3.)

Bill Ray: Three Santa Clauses leaving Downtown IRT Subway, New York, 1958

Martha Holmes: Dean of Santas giving a lecture at the Waldorf Astoria Santa Convention, New York, 1948

Mick Rock: Truman Capote and Andy Warhol, New York, 1979

Alfred Eisenstaedt: Truman Capote, Rockefeller Center, New York, 1959

Alfred Eisenstaedt: Ice Skating Waiter, St. Moritz, 1932

Jacques Henri-Lartigue: Doudy de Cazalet,  Megeve, 1933

John Dominis: Robert Redford,  Sundance, Utah, 1969

Eddie Adams: Hill and Gully Riders New Kensington, PA, 1958

Ralph Morse: Tug-of-war during snowstorm at Timberline Lodge Ski Club, 1942

John Dominis: Southern Pacific Engine Donner Pass, California 1949

 Alfred Eisenstaedt:  Trees in snow, St. Moritz, 1947

Verner Reed: Trees in Snow, Stowe, Vermont, 1971

Verner Reed: Maine Morning, Pemaquid, ME, 1978

Alfred Eisenstaedt: Central Park after a Snowstorm, New York, 1969

Ida Wyman: Wrought Iron in Snow, New York, 1947

Ruth Orkin: White Stoops, New York, 1951

John Loengard: Henry Moore's Sheep Piece, Hertfordshire, England, 1983

Shepard Sherbell: Nentsy Family, Siberian Arctic, 1992

Kendall Nelson: Tired and Weary, Spanish Ranch, Tuscarrora, Nevada, 1999

Eddie Adams: Shepherd, Bethlehem, 1970

John Phillips: New Year's Eve Celebration at Midnight Welcoming 1942, Times Square, New York

Also, in time for the holidays, see our current exhibit On The Town, featuring classic photographs of celebrations and merriment.

© All Photographs Copyright by Respective Copyright Holders.

MONROE GALLERY OF PHOTOGRAPHY

112 Don Gaspar

Santa Fe, NM 87501

505.992.0800

505.992.0810 (fax)

info@monroegallery.com

http://www.monroegallery.com/

NEW YORK: DAY INTO NIGHT, WASHINGTON SQUARE PARK. Photograph by Stephen Wilkes

This photograph is in the current issue of New York magazine (although somewhat obscured by "10 Reasons To Love New York" text!). It continues Wilkes' experimentation of changing time withing a photograph.

In a recent interview with F-Stop, Wilkes explained:

"Changing time in a single photograph is a very interesting concept. The genesis of this idea really happened many years ago when I was working for Life magazine on “a big picture”. They hired me to photograph Claire Danes and Leonardo Dicaprio as Romeo and Juliet, and I had an opportunity to photograph them along with the entire cast and crew in Mexico City where they were filming. We spent about four days waiting to actually get the entire cast and crew into this one photograph and Life had asked me to create a panoramic gatefold. When we got to the set, I realized that the set was actually a huge square. So I decided to take the square and break it apart, ala David Hockney, using individual images. I ended up shooting over 250 images that I pasted together by hand. The interesting time aspect came into play when in the centre of the photograph is where the stars are, Leonardo Dicaprio and Claire Danes, they

literally in a moment of embrace when everybody else, cast and crew, is surrounding them. To the right side of the photograph is a huge mirror, probably 20 feet in height. I asked them to kiss for the reflection image. So the reflection does not match the centre embrace, they are kissing in the reflection. When you look at the photograph quickly you think the image in the mirror is a reflection. But then you realize that the reflection is a time change and a completely different moment. That idea stayed with me for a while. "

Here are the photographs:

detail

Wilkes' recently photographed The Highline using the same technique:

As Wilkes explained in the F-Stop interview:

"The shot appealed to Wilkes because of the “intimacy” it offered with the buildings. But shooting from rooftops didn’t satisfy him. “Everything was a little too high,” he said. “I was losing the intimacy.” So he shot from a cherry picker at points throughout the day, then worked with a retoucher to electronically blend the images together. He wanted to capture the floating, expansive feeling that had drawn him to the Highline to begin with, and settled on a 17th Street location. This ended up being key, as the other challenge of the shoot was finding an effective transition point between day and night shots. Wilkes picked a good spot.

Wilkes shot this image using a 39 megapixel digital back on a 4 x 5 camera. He embraces large-format photography because it gives his all-important details greater depth. “So much of my work is about levels of story,” he says. He rotated the camera manually on a tripod throughout the day as he shot tons of images of the Highline while different street scenes unfolded within his frame (“The last thing you want to do is come back to the studio and have this great picture but realize you’re missing something”). He varied his exposure throughout, keeping a constant f-stop but varying the shutter speed to allow for proper exposure as the sun set. Periodically he and his retoucher, who was in the cherry picker with him, would load images onto a laptop and start creating rough comps to make sure he was getting what he needed."

To see more of Stephen Wilkes' work, please click here. The full collection of  "New York, Day To Night" will be exhibited at Monroe Gallery of Photography April 27 - June 30, 2012