JOE McNALLY: NEW YORK - SANTA FE

One of the most rewarding aspects of our role as gallerists is the time we spend with photographers learning about their careers and experiences. After completing a hectic week of instruction at the Santa Fe Workshops, last night Joe McNally joined us for dinner and conversation. Joe's impressive biography spans more than 30 years, from his early days as a stringer for the New York Daily News to cover stories for Life, TIME, Newsweek, Fortune, New York, Entertainment Weekly, The New York Times Sunday Magazine, and Men's Journal; as well as being a contribution photographer to National Geographic for over 20 years.

Joe was one of the last staff photographer's at Life, and we share many fond (and humorous) memories of the giants that came before him such as Alfred Eisenstaedt, Carl Mydans, Ralph Morse, and many others.

As New Yorkers who experienced September 11, 2001, we have been passionate admirers of one of McNally's most notable large-scale projects, "Faces of Ground Zero". This collection has become known as one of the most significant artistic responses to the September 11, 2001, tragedy at New York's World Trade Center, and in 2003 we exhibited four of the Giant Polaroids in the exhibition "Icons" following a Six city tour.

The entire Faces of Ground Zero project consists of 150 photographs taken with a one-of-a-kind camera, a 12-foot by 12-foot high Polaroid which takes pictures 40 inches wide by 80 inches tall - larger than life-size. Joe has stayed in touch with many of his subjects over the last ten years, and has recently been photographing updated profiles.

 Joe shared with us an advance copy of the new book, LIFE One Nation: America Remembers September 11, 2001, 10 Years Later.

The book’s description says it all:

"This expanded edition includes a new foreword by Tom Brokaw, reflections on how the nation has changed in the decade since 9/11, updates on the people involved that day, and new and exclusive portraits by award-winning photographer Joe McNally, who made indelible pictures at Ground Zero in the immediate aftermath of the tragic event.

For decades, Americans have turned to LIFE to see, understand, and remember the most important events of history. In addition to a powerful array of photographs taken by many of the world's greatest photographers, ONE NATION includes original essays by some of our finest writers. Contributors include David McCullough, Maya Angelou, James Bradley, Melissa Fay Greene, Margaret Carlson, Bob Greene and many others. To re-read these pieces today is to revisit an astonishing moment. There is an immediacy and passion to the writing that speaks, just as the photographs do, to what 9/11 was-and meant to us all."

Joe has organized a very special exhibition of his original Face of Ground Zero Polaroids alongside some of his recent portraits. The exhibit will take place at the Time Inc building during the 10^th anniversary of 9/11, be certain to see it if you are in New York.

Thank you for a great evening, Joe.

A Man and His Camera: A Night with Bill Eppridge

 

 John Lennon on the train from New York to Washington for the Beatles' concert at Washington Coliseum, Feb. 11, 1964

Back by Popular Demand

 

A Man and His Camera: A Night with Bill Eppridge

Thursday, July 28 7-9:00pm
$8; Members and Students, $5
To register in advance, call 203-259-1598

or register online.

Bill Eppridge will return to share even more stories about his experiences as a Life magazine photographer and his illustrious career spanning more than five decades. Eppridge’s iconic images are a testament to the importance of photojournalism in documenting history and range from the Civil Rights movement to the powerful image of a dying Robert F. Kennedy cradled in the arms of a busboy.

On View Through August 28, 2011: IMAGES 2011

Bill Eppridge Retrospective

Fairfield Museum and History Center

Lecture: My Faraway One: The Letters of Georgia O'Keeffe and Alfred Stieglitz

New Mexico Museum of Art


WEDNESDAY, AUGUST 3
 1915 - 1933
6:00 pm

In her long-awaited book, My Faraway One: Selected Letters of Georgia O’Keeffe and Alfred Stieglitz, Volume 1, 1915-1933 (Yale University Press, 2011), Sarah Greenough applies her formidable scholarship and insights to the engaging epistolary tale of one of the twentieth-century art world’s most famous couples. In more than 650 letters, selected and annotated by Greenough from thousands of pages, the two artists write candidly about topics including art, music, travels, friendships, and their powerful attraction to one another. This volume begins with the letters O’Keeffe and Stieglitz exchanged before they met, details through their passionate affair and marriage, and closes in the wee hours of New Year’s Day 1934, when Stieglitz was seventy years of age. In her lecture, Greenough will talk about tackling the voluminous correspondence of these two creative powerhouses and how their writings illuminate their works of art. Copies of the book are available for purchase in the museum shop. Sarah Greenough is the Senior Curator of Photographs at the National Gallery of Art. For a short biography about her career: http://www.nga.gov/press/bios/greenough.shtm For publishing information about the book: Yale Univeristy Press - http://yalepress.yale.edu/yupbooks/book.asp?isbn=9780300166309

Contact info here.

SAVE THE DATE - PHOTOJOURNALISM: A CONVERSATION

Robert Jackson: Jack Ruby Shoots Lee Harvey Oswald,  Nov. 24, 1963

Time, Life, and People Editors Richard Stolley and Hal Wingo discuss Photojournalism and "History's Big Picture" on August 5

Santa Fe--Monroe Gallery of Photography, 112 Don Gaspar, is pleased to present a very special evening of conversation between two of the preeminent names in American journalism, Richard Stolley and Hal Wingo. They will be discussing photojournalism – its

past, its present, and its future on Friday, August 5, 5 - 7 PM in conjunction with the exhibition "History's Big Picture". Seating is limited and on a first-come basis. The exhibition continues through September 25.

Over his 56-year career at Time Inc., Stolley spent 19 years at Life, capturing the events and people of our time, and placing them in perspective for our history. "Life," he once said, "wasn't simply about taking great pictures that knocked your socks off, but taking pictures of human contrast and emotion. We saw violence beyond human comprehension and outstanding incidents of human compassion, and we recorded it all for the readers with such skill that pictures we've seen a hundred times still evoke exactly the same emotions as they did when they were first published." After Life suspended publication in December of 1972, Stolley became the founding editor of People.

In a 33 year career with Time Incorporated, and as a journalist and editor at LIFE and PEOPLE WEEKLY magazines, Hal Wingo encountered some of the world's best known personalities, ranging from Charles Lindbergh to Lyndon Johnson to a wide range of film and television actors. His recollection of those people, from the silly to the inspirational, is a fascinating journey through the lives of those who have shaped our world. Wingo's career began with LIFE Magazine, where he was national correspondent and then far eastern regional editor in Hong Kong. He covered the Vietnam War for three years before returning to New York as senior editor of the magazine. In 1974 Hal Wingo was one of the founding editors of PEOPLE WEEKLY and its original news editor.

Photographers in "History's Big Picture" have captured dramatic moments in time and illustrate the power of photography to inform, persuade, enlighten and enrich the viewer's life.  Universally relevant, they reflect the past, the present, and the changing times. These unforgettable images are imbedded in our collective consciousness; they form a sort of shared visual heritage for the human race, a treasury of significant memories. Many of the photographs featured in this exhibition not only moved the public at the time of their publication, and continue to have an impact today, but set social and political changes in motion, transforming the way we live and think.

New Yorker Photo Booth: Recounting the Freedom Riders and Attacts on the Press

Maryland National Guard units patrolling the streets outside a laundry establishment after an outbreak of racially motivated violence

The view from The New Yorker’s photo department

Via The New Yorker
Photo Booth

July 21, 2011

Calvin Trillin Remembers Donald Uhrbrock

Posted by Elissa Curtis

 

In this week’s issue of the magazine, Calvin Trillin writes about his experience as a young reporter for the Atlanta bureau of Time, in 1960 and 1961. In the piece, Trillin describes a scene in which the photographer Donald Uhrbrock, who was covering the Freedom Rides for Life, was assaulted at the Trailways bus station in Montgomery, Alabama. Trillin, Uhrbrock, and Norman Ritter, the Life correspondent based in Atlanta, had followed the Freedom Ride bus from Birmingham in a car. When they arrived, the police caravan that had escorted the bus from Birmingham “melted away at the city limits,” Trillin writes.

“A man in a short-sleeved white shirt and a necktie—he looked like, say, a bus dispatcher—approached a TV cameraman, pulled out some sort of club, and took a swing,” Trillin told me. “The man in the white shirt seemed to be the leader of a small group of men who were there to attack first the press and then the Freedom Riders. Don was photographing this, and, of course was attacked himself. When they tried to get his cameras, he said he’d give them the film, and he handed it over. All this time, we were slowly moving down the parking lot toward the street, with violence breaking out sporadically. Suddenly, a man appeared and said something like ‘Let’s get them out of here.’ He said it with such authority that the attackers, presumably not knowing whether he was police or some high-ranking thug, let him push us toward a cab that was at the curb. He turned out to be a former Montgomery Advertiser reporter who’d arrived on another bus for a visit and had simply taken charge. I’m ashamed to say that I don’t know his name. As we got near the cab, I felt Don handing me a roll of film. ‘Put this in your pocket,’ he said. The roll he’d handed his attackers was blank. This roll had on it the picture that appeared in Life,” of one of the attackers kicking the TV cameraman.

Uhrbrock was a Pulitzer Prize-nominated photographer whose work for Life in the fifties and sixties covered the first astronauts, the civil-rights movement, and the Cuban missile crisis. A selection of his civil-rights-era photographs follows.

Photographs by Donald Uhrbrock/Time & Life Pictures/Getty

Calvin Trillin, working for Time, interviewing John Lewis in Birmingham, Alabama, in 1961

A cameraman being kicked by an unidentified man during a Freedom Rider demonstration

A lunch-counter scene. Many sit-in movements succeeded in desegregating lunch counters and other public facilities in the South

 A proponent of continued segregation

An African-American man is arrested in an encounter with white high-school students who were chasing other African-Americans

Martin Luther King, Jr., is escorted by police officers to a hearing on charges of probation violation following his arrest for assisting a student sit-in

A nonviolent protester is taken away by police at a civil-rights demonstration

Maryland National Guard units patrolling the streets outside a laundry establishment after an outbreak of racially motivated violence

Read more http://www.newyorker.com/online/blogs/photobooth/2011/07/calvin-trillin-donald-uhrbrock-civil-rights.html#ixzz1Sl0pibBz

BILL EPPRIDGE: IN A CLASS BY HIMSELF

Joe DiMaggio: In This Corner

July 19, 2011
 In my career I have been blessed with a few fortunate lucky right place, right time relationships. The first and foremost was attending the University of Missouri school of Journalism Workshop. It really doesn’t get better than that. The second would be assisting W. Eugene Smith who taught me more about communications then anyone. Actually, he taught me more about many things but for the purpose of this we won’t go there. When asked to deliver a keynote speech at the NPPA, one of the people I thanked was Bill Eppridge. I would love to tell you that I know Bill well but as the truth be known, that’s just is not so. But here’s what I do know. Bill Eppridge has very few peers. He stands alone with his great talent. He also has another quality that generally photographers don’t have. He’s an extremely humble about what he’s accomplished over the last few decades and he’s still a viable force to be dealt with. Bill invited me to his retrospective at the Fairfield Museum. Unfortunately, I was unable to attend. This past Sunday I had a little time off and decided to go to Fairfield, Connecticut to see the show. I thought I knew exactly what I was going to see. Boy, was I wrong. I had no idea the depth and scope of his work. Like many other photographers, we know about the positive RFK Photos, but the retrospective truly showed what an amazingly great talent he is. This is one of the few times I wish I was a great writer because there aren’t enough adjectives to express what an important body of work he has. Photographer Alfred Eisenstaedt, once told me, he had maybe only a dozen fine photographs. When I had the audacity to tell him, “no you have thousands of great photographs,” he smiled, clicked his heels and said, “one day you will understand.”


Thanks Bill for continuing to teach me the importance and power of a great still image.

 

 

Via Joe DiMaggio's In This Corner

"This is unnerving news for those of us who work in the photojournalism industry"

 

 Vano Shlamov / AFP - Getty Images

Protesting photojournalists accused of spying in Tbilisi, Georgia
Phaedra Singelis writes:

This is unnerving news for those of us who work in the photojournalism industry.

Full Story

War games: Photographer chronicles evolution of kids' play in Baghdad

Iraq "War Games", Baghdad, Iraq, July 2, 2007 - by Hadi Mizban

Copyright AP

History's Big Picture

"They did not have the spirit of childhood in them... They acted like men."

That's an observation by AP photographer Hadi Mizban as he narrates an interactive presentation of his photographs and video chronicling the evolution of children's play in one of Baghdad's most violent neighborhoods.

For years, Mizban has covered clashes there between militants and soldiers — and along the way, he has gathered powerful images of children living at the doorstep of war.

"They played with weapons because whenever they opened their front gate they found people with weapons," he says, speaking in Arabic.

In his chilling images, kids act out roles they have witnessed. Young boys with toy guns take a cowering hostage. Others threaten a girl and snatch her doll. They move through narrow alleys with miniature walkie-talkies and rocket launchers that look all too real.

But lately Mizban has noticed changes in the kids: "They've gone from aggressive children to peaceful children."

As his video shows, they play soccer on the dusty streets now. They wear jerseys of international teams like Real Madrid and pretend to be famous players — instead of insurgents, soldiers or criminals.

In these images, the Baghdad kids could be happy kids anywhere.

Mizban reflects on his reporting about the youngest in society: "You have to document the situation without blinking. But when you shoot pictures of children playing, children laughing, there is hope."

'This is one of the most powerful photographic shows I have ever seen and, certainly, in my opinion, the best Santa Fe has ever had the privilege of hosting.'

Alfred Eisenstaedt: VJ-Day, Times Square, August 14, 1945

Via SantaFe.com
By Tom McQuire

16 July, 2011
Culture vulture

History’s Big Picture

I have always been amazed with, not only the scope of the collection housed at Monroe Gallery of Photography – both in gallery shows and those items that rotate in and out of storage, but also the myriad ways in which owners Sidney and Michelle Monroe have placed these images in relevant shows throughout the ten years that the gallery has graced Don Gaspar, just off the Plaza. Their latest show, History's Big Picture, is by far the most compelling show they have ever mounted. Its appearance in this tenth year after Sid and Michelle moved their gallery to Santa Fe from Manhattan following the  Sept 11^th attacks, takes us on a journey through the history of our country and the world, before and after the events of that fateful September day. Having seen the show on July 4^th, I will be forever changed by the images on those walls.

With History's Big Picture Sid and Michelle mine the depth and breadth of Monroe Gallery's archives; combined with new, never-before exhibited photojournalism masterpieces, from the early 1920's to the present day.

From Ed Clark’s poignant image of a Navy CPO Graham Jackson playing in tribute to FDR’s coffin passing on a train, through the somber reality of Carl Mydans photograph of commuters on the 6:25 25 from Grand Central to Stamford, CT, November 22, 1963 reading of John Kennedy’s assassination and the euphoria of the events of Woodstock, 1969 by Amalie R. Rothschild; we arrive at Eric Smith’s haunting and thought-provoking image of an empty auditorium just prior to the funeral for a soldier who died in Iraq in 2006. In this show we see the great arc of our country’s history. This is one of the most powerful photographic shows I have ever seen and, certainly, in my opinion, the best Santa Fe has ever had the privilege of hosting. Bravo Sid and Michelle!

The show remains up at Monroe through September 25^th.

"The Soiling of Old Glory”: The Power of a Photograph




“The Soiling of Old Glory”: The Power of a Photograph Lecture by Louis Masur

Thursday, July 14 7-9pm
Fairfield Museum and History Center, Fairfield, CT
$8; Members and Students, $3
To register in advance, call 203-259-1598.

Join us for Trinity College Professor Louis Masur’s engaging discussion of The Soiling of Old Glory, a 1976 Pulitzer Prize winning photograph by Stanley Forman. Learn how an harrowing image of an angry white teenager brandishing an American flag at an African-American man crystallized complex issues about forced busing.

Taken in April of 1976, the photograph is of Theodore Landsmark, an African American lawyer heading to Boston's city hall for a case. Here he encountered over one hundred and fifty anti-busing youths from South Boston and Charleston protesting the decision to bus in students from Roxbury, an African American suburb. Entering into this, Landsmark was attacked, ironically, with an American flag, in Boston, home of the Revolution, on the 200th anniversary of the United States. The photo won freelance photographer Stanley J. Forman of the Boston Herald American a Pulitzer Prize.


On April 5, 1976, Stanley Forman, age 30, reported to work early, as he always did. A photographer for the Boston Herald American, Forman had a nose for the news. A year before he had raced to a fire in Boston and captured a horrifying moment as a fire escape gave way and a woman and girl plunged to the ground. The photograph was reprinted around the world and led to changes in fire safety codes.

Sitting at the city desk that April morning, Forman asked what was going on and his editor dispatched him to City Hall Plaza where an anti-busing protest was under way. As Forman arrived at the scene, he saw the group coming towards him. He also saw a black man walking across the plaza and sensed there might be trouble. Forman was too close to get a picture with the lenses on his two cameras, so he quickly changed to a 20mm lens. He started shooting, but heard the motor drive failing and he began taking single frames manually. The entire incident lasted ten or fifteen seconds; Forman took some twenty-odd shots, though a few of the negatives ran together. As he returned to the office, he had no idea what he had.

It did not take long to discover that the image of a protester wielding the American flag as a weapon to attack the man identified as Theodore Landsmark, an attorney, was a powerful one. Some editors feared that publishing it might inflame the already volatile racial situation in Boston. But it had happened, it was news, and, in the year of the bicentennial, it captured something profound about patriotism, race, and violence in America. The Boston Herald American ran it on the front page on April 6. The photograph appeared as well in the New York Times, Washington Post, and many other papers around the country.

A week or so after taking the photograph, Forman learned that he had won the Pulitzer Prize for his fire escape picture the year before. As he prepared to submit the flag photograph for Pulitzer consideration a colleague suggested the title “The Soiling of Old Glory.” It is an ideal title for a stunning spot news photograph. In April 1977, Forman learned that he had again won the Pulitzer Prize for his work on that April day. Two years later, he was part of the staff that won the Prize for coverage of the blizzard of 1978. The most accomplished spot news photographer of his era, Forman is now an equally accomplished, award-winning television news photographer.

Louis P. Masur
Trinity College