Thursday, January 5, 2012

Eve Arnold: Born 21 April 1912; Died 4 January 2012



Eve Arnold: Marilyn Monroe rehearsing lines on the set of "The Misfits", 1960

"Her intimate, sensitive and compassionate ten year collaboration with Marilyn Monroe has cemented her as one of the most iconic portrait photographers of our time, but it is the long term reportage stories that drove Arnold's curiosity and passion."--Magnum Photos agency



The Guardian: The big picture: Bar Girl in a Brothel in the Red Light District, Havana, 1954



The Independant:  All about Eve: photographer blazed a bold, beautiful trail with pictures


La Lettre de la Photographie: The death of Eve Arnold, by former Director of Magnum, Jimmy Fox



Financial Times: American photographer Eve Arnold dies aged 99

BBC: Photojournalist Eve Arnold dies aged 99

BBC Slideshow: In pictures: The work of photographer Eve Arnold


Los Angeles Times: Eve Arnold dies at 99; pioneering photojournalist

NPR The Picture Show: Photojournalist Eve Arnold Dies At 99

TIME Light Box: Eve Arnold: April 12, 1912—January 4, 2012


New York Times: Photojournalist Eve Arnold Dies at 99


NY Times Lens Blog: Parting Glance: Eve Arnold


The Guardian: Eve Arnold Celebrated Magnum photographer who documented the stars, 'the poor, the old and the underdog'


The Telegraph: American photographer Eve Arnold dies aged 99

Associated Press: Photojournalist Eve Arnold dies at 99 (with video interview)


British Journal of Photography: Magnum photographer Eve Arnold dies

                                                   Magnum photographer Eve Arnold dies [update]

Photo District News: Photographer Eve Arnold Dies


Magnum: selection of UK press clippings, obits and  tributes to Eve Arnold

Magnum Slideshow


Bookmark this page for updates and more tributes.


Tuesday, January 3, 2012

"You got that credential you’re wearing from us, and we can take it away from you.”



This is not a good story to start 2012 with: "The Rules on News Coverage Are Clear, but the Police Keep Pushing". See related with new update at end of scroll.

Via The New York Times:
January 2, 2012

In late November, the police commissioner, Raymond W. Kelly, ordered every precinct in his domain to read a statement. Officers, the commissioner said, must “respect the public’s right to know about these events and the media’s right of access to report.”

Any officer who “unreasonably interferes” with reporters or blocks photographers will be subject to disciplinary actions.

These are fine words. Of course, his words followed on the heels of a few days in mid-November when the police arrested, punched, kicked and used metal barriers to ram reporters and photographers covering the Occupy Wall Street protests.

And recent events suggest that the commissioner should speak more loudly. Ryan Devereaux, a reporter, serves as Exhibit 1A that all is not well.

On Dec. 17, Mr. Devereaux covered a demonstration at Duarte Square on Canal Street for “Democracy Now!,” a news program carried on 1,000 stations. Ragamuffin demonstrators surged and the police pushed back. A linebacker-size officer grabbed the collar of Mr. Devereaux, who wore an ID identifying him as a reporter. The cop jammed a fist into his throat, turning Mr. Devereaux into a de facto battering ram to push back protesters.

“I yelled, ‘I’m a journalist!’ and he kept shoving his fist and yelling to his men, ‘Push, boys!’ ”

Eventually, with curses and threats to arrest Mr. Devereaux, the officer relaxed his grip.

You don’t have to take his word. An Associated Press photograph shows this uniformed fellow grinding a meat-hook fist into the larynx of Mr. Devereaux, who is about 5 feet 5 inches. A video, easily found online, shows an officer blocking a photographer for The New York Times at the World Financial Center, jumping to put his face in front of the camera as demonstrators are arrested in the background.

And three nights ago, at a New Year’s Eve demonstration at Zuccotti Park, a captain began pushing Colin Moynihan, a reporter covering the protest for The Times. After the reporter asked the captain to stop, another officer threatened to yank away his police press pass. “That’s a boss; you do what a boss tells you,” the officer said, adding a little later, “You got that credential you’re wearing from us, and we can take it away from you.”

Reporting and policing can be high-adrenaline jobs. . But the decade-long trajectory in New York is toward expanded police power. Officers routinely infiltrate groups engaged in lawful dissent, spy on churches and mosques, and often toss demonstrators and reporters around with impunity.

When this is challenged, the police commissioner and the mayor often shrug it off and fight court orders. The mayor even argued that to let the press watch the police retake Zuccotti Park would be to violate the privacy of protesters. “It wouldn’t be fair,” he said.

As arguments go, this is perversely counterintuitive. But the mayor’s words reflect, as State Senator Eric Adams, the civil liberties lawyer Norman Siegel and two others wrote in a recent letter to the commissioner, a misunderstanding of long-established patrol guide procedures. The regulations are clear:

“The media will be given access as close to the activity as possible, with a clear line of sight and within hearing range of the incident.”

Precisely the opposite occurred on Nov. 15, when police officers herded reporters into a pen out of sight and sound of Zuccotti Park.

The next day, the protesters moved north and briefly occupied a lot owned by Trinity Church. As the police closed in on demonstrators, they also handcuffed and arrested Associated Press and Daily News reporters. Mayoral press representatives stoutly insisted that the police acted properly. “It is impossible to say the reporters were not breaking the law,” a spokesman wrote to me.
Let me venture into the world of the impossible then. The police patrolmen’s guide is explicit. “Members of the media,” it states, “will not be arrested for criminal trespass unless an owner expressly indicates ... that the press is not to be permitted.”

I checked with the landlord, Trinity Church. They’d made no such call. Paul J. Browne, a deputy police commissioner, agreed. That is why, he noted in an e-mail, “The reporter arrests at Duarte were voided.”

Senator Adams retired as a police captain. He loved the blue and all it implied, and acknowledges he was not above cursing the laws that restrained him.

“Who wouldn’t like unlimited power?” he said.

That is precisely why the past decade worries him so. “If the police and the mayor won’t follow their own rules, whose rules will they follow?” he says. “And very few people ask any questions.”
New York, Mr. Adams says, “is leading the way in not wanting to know where it’s going.”

JEFF WIDENER: Tiananmen Square Tank Man


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


Monroe Gallery of Photography is pleased to be representing photojournalist Jeff Widener.

 
Jeff Widener (born August 11, 1956 in Long Beach, California) is an American photographer, best known for his image of the "Tank Man" confronting a column of tanks in Tiananmen Square during the 1989 Beijing riots which made him a nominated finalist for the 1990 Pulitzer. Prior to the picture, Widener was injured during the night event of June 3rd, 1989 after a stray rock hit him in the head during a mob scene on the Chang-An Boulevard. His Nikon F3 titanium camera absorbed the blow, sparing his life. The "Tank Picture," repeatedly circulated around the globe, (except in China where it is banned) and is now widely held to be one of the most recognized photos ever taken. America On Line selected it as one of the top ten most famous images of all time.

Jeff grew up in Southern California where he attended Los Angeles Pierce College and Moorpark College majoring in photojournalism. In 1974 he received the Kodak Scholastic National Photography Scholarship beating out 8,000 students from across the United States. The prize included a study tour of East Africa.

 In 1978, Widener started as a newspaper photographer in California and later in Nevada and Indiana. At age 25, he accepted a position in Brussels, Belgium as a staff photographer with United Press International. His first foreign assignment was the Solidarity riots in Poland.

Through the years, he has covered assignments in over 100 countries involving civil unrest and wars to social issues. He was the first photojournalist to file digital images from the South Pole. In 1987, he was hired as Associated Press Picture Editor for Southeast Asia where he covered major stories in the region from the Gulf War to the Olympics. Other beats included East Timor, Afghanistan, Cambodia, Burma, Syria, Jordan, India, Laos, Vietnam, Pakistan and many more.

Widener is now based in Hamburg, Germany. The iconic Tiananmen Square photograph will be on exhibit in Booth B-500 during Photo LA, January 13 - 16, 2012.

More
Read: Eyewitness at Tiananmen Square, 1989
Interview with Jeff Widener, "Tank Man" Photographer


Monday, January 2, 2012



Great read by John Edwin Mason: Grey Villet, Interracial Love, and Drag Racing, 1965

Grey Villet Richard and Mildred Loving watching drag races from the pit area Sumerduck dragway Sumerduck Va 1965
Grey Villet: Richard and Mildred Loving watching drag races from the pit area, Sumerduck dragway, Sumerduck, Va., 1965



More about the story of Richard and Mildred Loving.

NEW MEXICO AT 100





New Mexico Centennial

On January 6, 1912, New Mexico became the 47th State in the U.S.

Continuing throughout 2012, communities statewide will commemorate one hundred years of New Mexico statehood: telling stories of the past, while envisioning the state’s next hundred years.

At 11:35 on Friday, January 6, 2012, New Mexicans are being encouraged to honk their car horns for 30 seconds to wish the state Happy Birthday. That's the approximate time President William Howard Taft signed New Mexico into statehood a century earlier.


The history of photography in New Mexico is as old as the history of photography itself. Itinerant daguerreotypists were active here as early as the 1840’s. Later, well-equipped photographic expeditions led by men like Alexander Gardner and Timothy O’Sullivan came through New Mexico making documentary surveys for the railroads and government, and helping to feed the appetites of Easterners, eager for pictorial information about the newly opened continent. Read the full article in the Collector's Guide.

More: New Mexico: Photographer's Eden

Saturday, December 31, 2011

2012



As we say good-bye to 2011 and hello to 2012, a few thanks are in order.

Thank you to all the extraordinary photographers we have been so fortunate to know, with special heartfelt gratitude to all photojournalists across the world.

Thank you to our friends, clients, and collectors for your support and encouragement.

Thank you to our blog readers, followers, and "social connections". May 2012 bring us all that we need.


"All of us live in history, whether we are aware of it or not, and die in drama. The sense of history and of drama comes to a man not because of who he is or what he does, but flickeringly, as he is caught up in events, as his personality reacts, as he sees for a moment his place in the great flowing river of time and humanity.

I cannot tell you where our history is leading us, or through what suffering, or into what era of war or peace. But wherever it is, I know men of good heart will be passing there."


 --Carl Mydans

Friday, December 30, 2011

The Case of Loving v. Bigotry


Hands of Mildred and Richard Loving on their kitchen table, King and Queen County, Va
Photograph by Grey Villet

January 1, 2012


In 1958, Richard and Mildred Loving were arrested in a nighttime raid in their bedroom by the sheriff of Caroline County, Va. Their crime: being married to each other. The Lovings — Mildred, who was of African-American and Native American descent, and Richard, a bricklayer with a blond buzz cut — were ordered by a judge to leave Virginia for 25 years. In January, the International Center of Photography is mounting a show of Grey Villet’s photographs of the couple in 1965. That exhibit is complemented by an HBO documentary, ‘‘The Loving Story,’’ directed by Nancy Buirski, which will be shown on HBO on Feb. 14. The film tells of the Lovings’ struggle to return home after living in exile in Washington, where Mildred, gentle in person but persistent on paper, wrote pleading letters to Robert F. Kennedy and the A.C.L.U. Two lawyers took their case to the Supreme Court, which struck down miscegenation laws in more than a dozen states. The Lovings’ belief in the simple rightness of their plea never wavered. Asked by one of his lawyers if he had a message for the Supreme Court, Richard said he did: ‘‘Tell the court I love my wife.’’
Julie Bosman








Special screening in Los Angeles January 10, 2012 with HBO at the Museum of Tolerance.

Additionally, on January 17th, The Loving Story will screen at the National Museum of African American History and Culture (NMAAHC) in Washington, DC.



Grey Villet's photographs are available from Monroe Gallery of Photography. View selected photographs of the Lovings during photo la at Monroe Gallery of Photography, Booth B-500.

Monday, December 26, 2011

THE 21st ANNUAL INTERNATIONAL LOS ANGELES PHOTOGRAPHIC ART EXPOSITION






Monroe Gallery of Photography is pleased to be exhibiting at the
2012 edition of photo l.a. We will be located in Booth B500, the
first booth at the right entrance to the fair. Our booth will feature
some of the finest examples of humanist and photojournalist
imagery from the 20th and 21st Century.


photo l.a. returns to the historic Santa Monica Civic Auditorium
for its 21st edition on January 12 - 16, 2012. Continuing the
discourse on photography’s place in the fine arts, photo l.a.
provides dealers from around the globe a platform for the
exhibition of vintage masterworks, contemporary photography,
as well as video and multimedia installations. This exciting
juxtaposition creates the character that is photo l.a.

In addition to our compelling program of lectures, panels,
book signings, and special installations, we are pleased to
announce Salon de Tableaux, an area of tabletop
presentations showcasing vintage, vernacular and unique
photography. Also we proudly introduce photoBOOK - a forum
with guest reviewers offering feedback to photographers on their
book proposals.

During the Martin Luther King holiday weekend, January 12-16,
2012, photo l.a. returns to the landmark Santa Monica
Civic Auditorium for the 13th time. As the Getty’s
Pacific Standard Time: Art in L.A. 1945-1980 initiative continues
into January, photo l.a. will include installations focusing on
post-WWII art created in Southern California. January is also
L.A. Arts Month, a collective marketing effort by the city and its
arts organizations to attract enthusiasts and collectors to Los
Angeles.

Please join us in January for a memorable four days of art,
education, and excitement. Check our website reguarly for
updates, and join our mailing list for news on ordering tickets,
special projects, and events.

photo l.a. website with details here.

Related: One of the world's most important annual photography events to be held at the Park Avenue Armory in March

LocationSanta Monica Civic Auditorium
1855 Main Street
Santa Monica, CA 90401-3209
www.santamonicacivic.org

Opening Night Gala
Thursday, January 12, 2012 6pm - 9pm
Benefiting the Los Angeles County Museum of Art‘s
Wallis Annenberg Department of Photography


Special host Moby

General Admission Fair Hours
Friday: January 13, 11am - 7pm
Saturday: January 14, 11am - 7pm
Sunday: January 15, 11am - 7pm
Monday: January 16, 11am - 6pm


Tickets
Visit photola21.eventbrite.com/ to purchase tickets

Contact
General Information: info@photola.com

www.photola.com
Tel: 323.965.1000
Fax: 323.937.5523