NEW YORK TIMES: Showcase: The Sport of Photography

THE NEW YORK TIMES
November 16, 2009
Nicholas Lewis

As Walter Iooss and Neil Leifer will tell you, sports photographers have good games and bad games. Like athletes, they get better through intense competition.


Having one another as competitors, these two have risen to the top of their game. For that, they are being honored with a joint exhibit, called “Sport: Iooss and Leifer,” at the Annenberg Space for Photography in Los Angeles.

The show opened Saturday, but the collaboration behind it goes back almost 50 years.
Iooss and Leifer really tell it best.

It started at a New York Titans football game at the Polo Grounds that a 16-year-old Walter Iooss (pronounced “Yose”) was watching with his father and a 17-year-old Neil Leifer was photographing on the field for Sports Illustrated. Impressed with the young Leifer’s access, Walter Iooss Sr. went down to arrange a meeting and a portfolio review on behalf of his son.


As a result of that meeting, Iooss started shooting for Sports Illustrated as well. The competition began.

“There was always a rivalry,” Iooss said. “It’s only normal because if you go the same event, whether it was the World Series or a big football game, everyone wanted the same thing, which were the pictures in the magazine.”

The rivalry lasted through the ’60s and ’70s, when the two friends battled each other — and every other shooter — for the coveted S.I. cover and also the inside space. After all, they both had families to feed.

“The space rate was considerably better than the day rate,” Leifer said. “Walter just didn’t miss. He came back with something terrific every week. Therefore, I had to be every bit as good or better if I wanted to hold my own.”

He added, “I like to think that things worked out pretty evenly, but I’ve never kept score.”

If it were a boxing match, it would be difficult to call. Each is regarded as one of the great sports photographers. Each has taken iconic pictures of the world’s best athletes, on and off the field. And each documented, with unprecedented access, a captivating figure of sports history: Leifer followed Muhammad Ali and Iooss, Michael Jordan.

“So at least we each got one,” Iooss said.

Iooss and Leifer were given access to these athletes because of their previous success and proven abilities, but their own careers and renown rose with that of their subjects.

And here’s the dirty secret: it was easy.

“Muhammad Ali made a hero out of every single journalist,” Leifer said. “Whether you were a writer, a photographer, a television commentator, you got to cover Ali and your boss thought you were a genius. The genius was really Ali.”

Jordan was an equally photogenic subject for Iooss. “It was like traveling with a Biblical character with Michael because everyone in the world, at his peak, wanted to be with Michael and meet him in shake his hand,” Iooss said. “And he had everything, you know, for a photographer. It was like photographing a male model. I always compared him to Elle MacPherson” (whom Iooss has also photographed for the S.I. swimsuit issue).

If you didn’t know their names before, you would certainly recognize the work of Leifer and Iooss through their images of these two athletes. Maybe you have an inkjet printout on your wall of Ali gloating vertically over the more horizontal Sonny Liston, or perhaps an actual print — if you could justify spending more than $10,000 for it. On your coffee table, you might have a copy of “Rare Air,” the comprehensive book Iooss put together from his time on the court, on the road and at home with Michael Jordan. Or maybe you own a television set and have turned it on in the last 40 years.

Wherever you have seen their work, you haven’t seen it as immersively as you will at the Annenberg Space for Photography. This is the third exhibit for the new museum and will consist of 80 prints (40 from each photographer) in addition to 1,000 digital images that will be shown, with commentary from the photographers, on nine-foot-tall screens.

“The Annenberg Space is not to be believed,” Leifer said. “I was blown away the first time I saw it and I am ecstatic about the show.” He added, “From everything I’ve seen in dealing with the Annenberg people, they have very good judgment and taste.”

The Annenberg Foundation, parent organization of the museum, wanted to curate an exhibit of sports photography that would stimulate conversation about society’s collective fascination with sport. The foundation chose Iooss and Leifer not only for their iconic photos, but also because they epitomized sport through their photography.

“We recognized that the two of them were really fierce competitors,” said Leonard Aube, executive director of the foundation.

But the two competitors left the field a long time ago. Leifer left S.I. for a staff position at Time magazine in 1978 and shot over 40 cover stories there. He left Time in 1990 to pursue a career in filmmaking — his current full-time occupation. He will be discussing his most recent film, “Dark Light: The Art of Blind Photographers,” at the Annenberg Space in early February.

Iooss is still a sports photographer but has, since the early ’90s, moved away from action to portraiture — his streak of shooting all 43 Super Bowls notwithstanding. He currently divides his time between Sports Illustrated, Golf Digest (where his son, Christian, is the director of photography and his immediate supervisor), and playing golf — his latest athletic love affair.

The two haven’t vied for the same cover or double truck since the late ’70s. The competition is over and, today, only the friendship remains.

“The idea of Walter and I doing this together at this time in our careers and lives is so nice,” Leifer said. “It’s a real thrill. I have so much respect for Walter and to be partnered with him in something like this is wonderful.”

Let’s call it a draw
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Please join us at Monroe Gallery of Photography for a Special Holiday Book signing by Neil Leifer. Leifer will be signing copies of his latest book,  "Guts and Glory: The Golden Age of American Football”. There is a special exhibition with a reception for the photographer on Friday, December 4, 5 - 7 PM, and Neil Leifer will sign books that evening and again on Saturday, December 5 from 1 to 3.


"Guts and Glory" contains the best of sports photographer Neil Leifer's 10,000 rolls of football pictures, including hundreds of previously unpublished images. It is a glorious oversize-volume format that weighs 7 pounds, with red-and-white silk cloth overboards and is a limited edition of 1500 numbered and signed copies.

FINAL WEEK FOR STEPHEN WILKES' RETROSPECTIVE

Glacier with climber, Alaska

We wanted to remind everyone this is the final week to view the impressive Stephen Wilkes' Retrospective, which includes several new photographs. Here is the original announcement post.

Watch here for details about the new exhibit, "On The Town".

Celebrating Georgia O'Keeffe's 122nd Birthday!

John Loengard: Georgia O'Keeffe on roof, Abiqui, 1967

The Georgia O'Keeffe Museum will celebrate the 122nd birthday of its namesake artist with a special promotion for visitors on Sunday,  Nov. 15, 2009, from 10 - 5.


Visitors to the museum on that day will receive a free "Hitching a Ride" poster with paid admission, as well as chance to enter a drawing to win a free supporter-level museum membership. More details here.

After a visit to the museum, stop by Monroe Gallery of Photography to view John Loengard's photographhs of O'Keeffe.

REMINDER: NEIL LEIFER AT ANNENBERG CENTER IN LA; MONROE GALLERY DEC, 4 & 5

Muhammad Ali Knocks Out Sonny Liston, Lewiston, Maine, May 25, 1965 copyright Neil Leifer

The Annenberg Foundation is pleased to announce the third exhibit in the Annenberg Space for Photography, an innovative cultural destination in Los Angeles dedicated to presenting print photography and digital images. Entitled "SPORT: IOOSS & LEIFER," the exhibit will feature the work of Walter Iooss and Neil Leifer, two of the world's most preeminent sports photographers. This is the first time both photographers will be featured together in a two-person show. This exhibit is also a rare peek at the artistry of Sports Photography. "SPORT: IOOSS & LEIFER" will open to the public on November 12, 2009 and run through March 7, 2010.


Additionally, Monroe Gallery of Photography is excited to welcome Neil Leifer for a very special holiday book signing on December 4 and 5. Leifer will be signing copies of newest book, "Guts and Glory: The Golden Age of American Football". A selection of Leifer's iconic sports photographs will be on exhibit, and there is a public reception with Neil Leifer on Friday, December 4, from 5 - 7. Leifer will also be signing books on Saturday, December 5, from 1 - 3. Please contact Monroe Gallery for further information, or to reserve a copy of Leifer's books.

More info is here.

http://www.monroegallery.com/

VETERAN'S DAY, 2009

All photographs from Eric Smith's "In America: The War and Patriotism"

Funeral for Iraq War Soldier, Morley, Michigan,2006

Veteran with Patriot Guard Captian, Lake Orion, Michigan,2006

Funeral for Iraq War Soldier, Lake Orion, Michigan,2006

 

Patriot Guard Woman with Flag, Hudsonville, Michigan, 2006

Photojournalist Eric Smith has gone in search of Middle America, which he defines as the people living in the nation’s small towns and the less-than-glamorous cities far from the coasts. “Middle America drives our economy, defines popular culture, and fights our wars,” Smith said during a recent phone interview from his home in Auburn Hills, Mich.

He insists that without the interest of people who live far from major urban centers, Britney Spears would have been quickly forgotten.

Smith isn’t an economist, and he admits that perhaps he’s wrong about the cultural impact of the spending power of small towns. But an Associated Press study has confirmed his belief about their importance to the Iraq war: half of U.S. troops killed in Iraq came from communities with fewer than 25,000 people. And one in five soldiers hails from a town with fewer than 5,000 residents, according to AP.

In Michigan’s towns Smith witnessed the funerals of U. S. soldiers killed in Iraq; the Rev. Fred Phelps and his congregation from the Westboro Baptist Church in Topeka, Kan., who picket the funerals of dead soldiers and hold signs with crude messages expressing their belief that U. S. troops die because an avenging God is angry with America’s tolerance of homosexuality; and thousands of men and women who roar into those towns on Harley-Davidson motorcycles to pay respect to their fallen heroes. The clash of beliefs Smith witnessed at those funerals spurred the photo project In America — The War & Patriotism.


“I started following an organization called the Patriot Guard Riders,” Smith said. “ They are all bikers; most are Vietnam veterans.” About three years ago members of the Patriot Guard Riders started showing up at military funerals to create a barrier between the families and friends of troops killed in Iraq and Afghanistan and members of the Westboro Baptist Church, who were picketing those funerals with signs that read “America is doomed” and “God hates fags.” Most American Christians might believe that God loves everyone, but Westboro’s Web site posts a 94- page manifesto that calls that belief “ the greatest lie ever told.”


At military funerals, members of the church have greeted mourners with sneers and hateful rhetoric, and that, Smith said, has touched a raw nerve in many Vietnam veterans.

For members of the Patriot Guard Riders, creating a barrier out of flags and their own bodies is cathartic, Smith said. “They do not want these kids treated as they were treated — spit on and harassed. For a lot of these guys, this is a response to the treatment they received more than 30 years ago.” In his photographs, Smith has captured moments when the spit and polish of military honor guards has found common ground with white-haired, bearded, leather-clad bikers.

Westboro Baptist Church members haven’t shown up at the recent military funerals Smith attended, but the Patriot Guard Riders keep coming. “They now claim 100,000 members nationally,” he said of the bikers. “They’ll do whatever the family wants them to do. They’ll form a flag line; they’ll join the procession to the grave. Sometimes they lead that procession.”

Many talk about parallels between the Iraq war and Vietnam: official lies led the nation into both wars, which quickly became quagmires, Smith said, but perhaps the deepest connection is visible during these funerals, as one generation offers another the respect it longed for but never received. “Almost all the funerals I have attended are in small¬town America,” Smith said. “Quite often, not just the Patriot Guard but half the town shows up.”

Smith took a picture at a funeral in a high- school gymnasium in Morley, Mich. “ The town’s so small that two towns had to come together to build a high school, but it was standing room only with 500 bikers lined up outside,” he said. “A lot of these kids were football players and popular. They are 18, 19, 20, or 21 — fresh out of high school — so the whole school shows up.”

Pasatiempo, August 3, 2007
Elizabeth Cook-Romero / The New Mexican

Patriot Guard, Waterford, Michigan, 2007

Flint, Michigan, 2007

Vietnam Wall, Washington, DC, Memorial Day, 2007

MONROE GALLERY INTERVIEW: GUIDING PRINCIPLES IN PHOTOGRAPHY

Shelly Liebovitz is a photographer/writer in Los Angeles. She began writing a blog (www.photoreception.com/blog) concerning "guiding principles" and contemporary photography. Over the last month, she has been interviewing various members of the art community about the presence and role of guiding principles in creating enduring photography, with the intention to publish a book on the subject. Her interview with Monroe Gallery follows.





Monroe Gallery is one of over 250 galleries in Santa Fe. Sidney and Michelle Monroe specialize in classic black and white photography. Their gallery includes a significant number of select defining moment photojournalist images.


You might think that the viewpoint of representative owner differs markedly from that of artist
photographer. Sometimes it does, but in the case of Monroe Gallery, the opinions expressed by Sidney Monroe go to the very heart of the photographers with whom he deals.

In discussing his background in photography, Sid Monroe referenced how his relationships with photojournalists developed:

"…at the beginning of my career in the gallery world — to meet Alfred Eisenstaedt and work with him — set a spark, because I discovered I had this great admiration for the field of journalism and the pioneers who made picture journalism what it was, and what it became over the ensuing years. It was like joining a fraternity because almost all of these photographers were familiar with each other… [A]s we became known as specializing in photojournalistic works, one by one, more and more, came on board. So that’s really been our core focus, and particularly in the seven or eight years since we moved to Santa Fe."

In reflecting upon what particular photographers spoke about in the context of aesthetics, Monroe offered:

"It is a very interesting topic that you are exploring and it is very germane, particularly in the context of contemporary photography, and it got me to think that I have been very fortunate to know many of the photographers personally that we represent. They didn’t articulate it as guiding principles, but it was almost their own personal view on what their job was or what they were doing as a photographer…"

To Monroe, whether viewing classic images or contemporary journalistic works, it is important for photographers to “have a sense of what’s inside them” and to fully understand what is “driving them to make their images.” A body of work is not likely to succeed “if it requires a lot of explanation.” Strong images stand on their own merits. Continuing, Monroe said:

"…[T]he photographers I know were crafters of images. They knew if they could tell a story with their photographs, they would get published in Life or Look magazine, or whatever the vehicle might be… you could say that photographers competed against one another… [but] they were in the driver’s seat. It’s the reverse today… by the nature of luck or skill, certain photographers [then] got shots that got published and those have become the defining images of the events."

"…[I]t was just their own decision-making process that got them in the position to get the photograph."

Famous journalistic images have helped to crystalize our collective interpretation of the meaning of important events. But, they may even more clearly define the character of the photographer. Monroe said of certain legendary photojournalists:

"..the photographers that come to mind, like Bill Eppridge who took the defining moment of Robert Kennedy after he was assassinated, …the Villagers Fleeing a Napalm Strike, that’s Nick Ut, or Eddie Adams, who took the execution picture in Viet Nam—the character of those three men was such that they had the determination to tell the story and get there.

Eddie Adams… became legendary because unlike other photographers [in Viet Nam], he was an ex-Marine. When he would go on assignment he would go up to the commander, identify himself and say that he wanted to go with the first wave of men… So, he put himself out on the front line as opposed to holding back and trying to capture the story after an area had been secured.

But, they had these guiding principles… they didn’t necessarily come in with a point-of-view. They surely had their own political views and their own opinions, but they really went in with determination to get to a story and to get a picture."

In the field of photography generally, understanding the aesthetics, that is, the set of guiding principles that may be reflected in images, has been a slippery, and sometimes elusive, slope for me. In talking to Sid Monroe, what surfaced was a clarifying point: In trying to capture an image, photographers in the field are faced with so many variables, simply getting the image may be the single-most important driving principle in play.

I mentioned writer, Malcolm Gladwell, recently. In another one of his books, Blink, Gladwell suggests that emergency room doctors seemed to arrive at more accurate diagnoses when armed with less patient data than if they have more statistics at hand. It could be that when it comes to blended scenarios where cognitive and intuitive are allowed to flow openly, less is more. That is, our brains may operate at peak when we are more or less flying by the seat of our pants. I wonder then if photojournalists who find themselves in tremendously stressful situations are forced by necessity to function at much higher levels?

In a field where preparation is such a critical component to succeeding, the notion of flying at all cuts against the cultural grain. Context is everything. Preparation obviously takes on vastly different meaning in the field, as in battlefield, than in a studio setting. In the past year, I have read a number of times that very accomplished photographers on a well-prepared, lengthy shoots, found that the strongest and most successful images were taken as complete afterthoughts. Or, I should say, the strongest image resulted after the shoot had ended and when the photographer finally felt free to photograph.

The repeated sentiment by those professionals speaks loudly to how important our creative instincts are, and, importantly, how they are seemingly relegated to an inferior role in our formal professional processes. In fact, those professionals who took the extra last shot, which succeeded, may have intuitively recognized after their rational minds shut off that something was missing from the day’s work product.

We all need to find ways to allow ourselves to fly a little bit more. If you need moral support, review some of the images exhibited at Monroe Gallery. You might, as I did, take a renewed example from those courageous photojournalists, who when confronted with less time, means and opportunity, managed somehow to capture extraordinary images, which ultimately have served to define generations.


©Shelly Liebovitz

http://www.photoreception.com/blog/

SPORTS PHOTOGRAPHER NEIL LEIFER ON EXHIBIT AT ANNENBERG CENTER, COMING TO MONROE GALLERY FOR BOOK SIGNING DECEMBER 4 AND 5

Neil Leifer: vince Lombardi being carried off the field, NFL Championship Game, Packers Defeat Giants, Green Bay, December 31, 1961

The Annenberg Foundation is pleased to announce the third exhibit in the Annenberg Space for Photography, an innovative cultural destination in Los Angeles dedicated to presenting print photography and digital images. Entitled "SPORT: IOOSS & LEIFER," the exhibit will feature the work of Walter Iooss and Neil Leifer, two of the world's most preeminent sports photographers. This is the first time both photographers will be featured together in a two-person show. This exhibit is also a rare peek at the artistry of Sports Photography. "SPORT: IOOSS & LEIFER" will open to the public on November 12, 2009 and run through March 7, 2010.

Additionally, Monroe Gallery of Photography is excited to welcome Neil Leifer for a very special holiday book signing on Decvember 4 and 5. Leifer will be signing copies of his books, "Guts and Glory: The Golden Age of American Football"; "Baseball: Ballet in The Dirt", and "The Best of Leifer". A slection of Leifer's iconic sports photographs will be on exhibit, and there is a public reception with Neil Leifer on Friday, December 4, from 5 - 7. Please contact Monroe Gallery for further information, or to reserve a copy of  Leifer's books.

Spanning the careers of both men, over 80 photographic prints will be seen in the Annenberg exhibit which includes iconic images such as Muhammed Ali's victory over Sonny Liston and Michael Jordan in full glory. "SPORT: IOOSS & LEIFER" will take visitors on a journey through some of the most memorable and inspiring moments in sports history. These images will shine a light on the tremendous power, grace and strength it takes to be a top athlete, as well as present the biggest personalities from the field. A digital feature presentation will expand the visitor experience by presenting several hundred more of their photographs and will include interviews and commentary from athletes and artists. Among the concepts explored in the exhibit will be the athlete as a hero and role model in our society, as well as how sports are used to improve the public well-being.

During the four-month exhibit, the free IRIS Nights lecture series will continue to be held inside the space on Thursday evenings. Expected speakers include Iooss, Leifer, notable athletes, sports commentators and others. Additional programs related to the exhibit will include a children's photography contest, a themed group slideshow evening, photography workshops and a family event to be held the Saturday prior to Super Bowl Sunday, 2010. Details and final schedules will be announced later this Fall.

NEIL LEIFER

Neil Leifer's photography career has spanned almost 50 years. Specializing in sports photography, Leifer's photos have regularly appeared in every major national magazine, including the Saturday Evening Post, Look, LIFE, Newsweek, People and, most often, Sports Illustrated. Leifer's pictures have graced over 200 covers of Time Inc. publications -- 170 at Sports Illustrated, and 40 at TIME Magazine. Out of his 15 published books, his 1978 Abrams book, Sports, has been hailed by many as the best of its kind. His newest book Guts and Glory: The Golden Age of American Football 1958-1978 was published by Taschen in November 2008. Leifer admits his favorite subject to shoot was Muhammad Ali, whom he has photographed on more than 80 separate occasions. Leifer now devotes 100% of his time to producing and directing films.

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/

MONROE GALLERY NOW REPRESENTING RICHARD C. MILLER

Richard C. Miller: Marilyn Monroe, "Some Like It Hot"

Monroe Gallery of Photography is pleased to add representation of Richard C. Miller.

Richard Crump Miller was born on Aug 6, 1912. By 9 or 10, he had his own camera and started casting about for subjects. By 16, he'd built himself a darkroom off the garage at the family home in 1929, Dick was introduced to the Leica and Graflex cameras. He went on to study cinematography while attending, successively, Stanford University, Pomona College, and USC.

In 1939 Dick began his career as a photographer. Dick learned the tri-color carbro printing process out of a book. By using mirrors and filters, a one-shot camera creates three separate negatives in the camera with one shot. These separation negatives are then used to print the bromides for making a tri-color pigment print, or “carbro.” Dick used the one-shot for a long time before switching to transparencies. Dick worked mainly in advertising and commercial photography. In 1941 the Saturday Evening Post purchased one of his photographs as a cover, one of only two photographic Post covers that year and the first that Dick had ever sold.


The photograph got Dick the attention of some NY agents and enabled him to sign up with the Freelance Photographer's Guild. Then came the war. At that point "you could either go into the service or get a war job," he remembers. So in 1941, looking for employment, Dick attended a group sales pitch presented by North American Aviation and Lockheed for the purpose of hiring wartime employees. Dick got a job in the photo department at North American and began at last to earn a steady income from his photography. At North American, he also met the photographer Brett Weston, with whom he formed a lifelong friendship. “It was a great friendship,” Dick says now. “It lasted the rest of my life.”

Later,  Robert Coburn offered him an opportunity to join IATSE #659, the entertainment industry photographer's union, so that he could print color at Columbia. Dick declined, choosing to remain independent and to pursue his freelance work. "All during those years I worked weekends, selling to magazines. I sent them the Kodachromes."

In March and April 1946, Dick photographed a model provided through the Blue Book Models agency, run by Emmeline Snively from an office in the Ambassador Hotel. The model's name was Norma Jeane Dougherty. "She was a cutie, and they had sold some covers of her already," Dick says. He hesitated because the magazines did not like to use multiple covers using the same model. But he finally decided to hire her, and on March 2, Dick and Norma Jeane took a trip. He posed her leaning against a tree, then on the beach, and finally on a fence. They left the beach abruptly. "I remember the crowd was collecting very fast. A lot of men."

"I did not shoot her for very long. The market was already saturated," he recalls. But Dick did sell a cover of Norma Jeane to True Romance. "She was nice when she was Norma Jeane, very sweet. She came to dinner at the house. A nice, friendly girl." Then she went to work for the studios, eventually becoming Marilyn Monroe. Dick photographed her after she became a celebrity. "I met Marilyn Monroe again on Some Like It Hot. I was the still photographer." She smiled and said, "Hi, Dick

Dick continued to work for This Week, Liberty, Family Circle, Parents, American Weekly, Colliers, Life, and Time; as well as during the  '40s well into the late '50s documenting Hollywood. For seven decades, he made a living working for North American Aviation and later as stringer for Globe Photos, which kept him circulating in the universe of stars -- Elizabeth Taylor, James Stewart, Gary Cooper, Jayne Mansfield, Kirk Douglas, Tony Curtis, Jack Lemmon, Shirley MacLaine, Billy Wilder, Rock Hudson and Dennis Hopper among them. In time, he covered more than seventy films.

His first on-location assignment was for Giant (1955), where his job was to shadow James Dean. When Dean died, many pictures of him were sold, becoming iconic images since he and Dean had developed a close relationship based on a mutual interest in Porsches and photography.

In 2003 Dick was confined to a wheelchair due to degenerating bone in the cervical area of his spine. Although he retains the use of his hands to some degree, his ability to make prints and even operate his camera has been seriously curtailed.

Richard C. Miller's photographs were recently exhibited at The J. Paul Getty Museum; March 31, 2009 through 5 August 2009 in 2007. Watch our website for more of Dick's wonderful photography.

Richard C. Miller: James Dean and Elizabeth Taylor take a break during the filming of "Giant"

EDDIE ADAMS DOCUMENTARY "AN UNLIKELY WEAPON" TO SCREEN AT DOLPH BRISCOE CENTER FOR AMERICAN HISTORY

Eddie Adams: Street Execution of a Viet Cong Prisoner, Saigon, 1968

We have previously posted that the photographic archive of renowned photojournalist Eddie Adams has been donated by his widow, Alyssa Adams, to the Dolph Briscoe Center for American History at The University of Texas at Austin. If you happen to be in the Austin area this Wednesday, October 28, the Dolph Briscoe Center for American History will host a screening of the documentary An Unlikely Weapon: The Eddie Adams Story on Oct. 28, 2009, from 6:30 p.m. - 8:30 p.m. at the Blanton Museum of Art Auditorium. The documentary will be followed by remarks from David Hume Kennerly, Alyssa Adams and Cindy Adkins.


An Unlikely Weapon is an award-winning documentary about the life of acclaimed photojournalist Eddie Adams, whose photographic archive was recently donated to the Briscoe Center by his widow, Alyssa Adams. The film explores Adams's career, notably the complex legacy of his most famous image: "Saigon Execution," which won the Pulitzer Prize. Narrated by Keifer Sutherland, the film features extensive interviews with Eddie Adams, his family and friends, and his colleagues, including Tom Brokaw, Peter Jennings, David Hume Kennerly, Morley Safer, Nick Ut, Bob Schieffer, Hal Buell, Kerry Kennedy, and Gordon Parks.


The event is free and open to the public. Seating is available on a first-come, first-served basis. We sincerely hope you can join us. An exhibit of Adams' photographs is on view through January 16, 2010.

The Blanton Museum of Art Auditorium is located in the Edgar A. Smith Building, 200 E. MLK Blvd. (MLK Blvd. at Congress, see map & directions). Paid parking is available in the Brazos Parking Garage, 210 E. MLK Blvd. If you park in Brazos Garage, bring your parking ticket to the Blanton Museum of Art gift shop for validation for a reduced parking fee of $3.00. Validation only available PRIOR to the event.

For more information, visit the Briscoe Center, call (512) 495-4609, or e-mail cah@austin.utexas.edu.

Monroe Gallery of Photography represents Eddie Adams' photographs, click here to view a selection.


MONROE GALLERY OF PHOTOGRAPHY

112 Don Gaspar
Santa Fe, NM 87501
505.992.0800
info@monroegallery.com

http://www.monroegallery.com/

Follow Us: http://twitter.com/Monroegallery

MUSEUM OF MODERN ART TO HOST "PHOTOJOURNALISM TODAY"

On December 15 at 6:30 PM, Kathy Ryan will moderate a discussion of the state of the art of photojournalism featuring Lynsey Addario and Damon Winters.

Beginning in the 1930s, major picture magazines like LOOK and Life popularized photojournalism. Although they are no longer in publication, the art form that these signature magazines helped to establish is still thriving in new and exciting ways. Join leading photojournalists of today, including MacArthur "genius" award winner Lynsey Addario and Pulitzer-Prize winner Damon Winters, for a discussion of the state of the art of photojournalism. Moderated by Kathy Ryan, photo editor of the New York Times Magazine. Presented in conjunction with the exhibition Only in New York: Photographs from LOOK Magazine.

Tickets available here.