The fourth lecture in the 2015 series "Contemporary Conversations" will feature Stephen Wilkes

Via CNW

OTTAWA, Nov. 5, 2015 /CNW/ - The Embassy of the United States in Ottawa and the U.S. Department of State's Office of Art in Embassies, in partnership with the National Gallery of Canada (NGC), will welcome renowned American artist Stephen Wilkes for the fourth lecture in the Contemporary Conversations series on November 19.

Contemporary Conversations (#artconvoAIE) brings internationally recognized American artists to Canada for a series of public lectures at the NGC intended to stimulate conversation around issues that transcend borders, and topics that inspire, teach, and create connections. Works by the first four artists in the series are also included in the Art in Embassies exhibition at the residence of U.S. Ambassador to Canada Bruce Heyman and Mrs. Vicki Heyman. Wilkes' photograph Corridor # 9, Island 3, Ellis Island (1998) is currently featured at the residence, while another of his works, Presidential Inauguration, Day to Night (2013), can be found on display at the Embassy.

Wilkes, an internationally acclaimed fine art and commercial photographer, is well-known for capturing iconic images of American spaces and places – from Ellis Island to a Presidential inauguration in Washington, D.C. This latest edition of the speaker series will be moderated by U.S. Ambassador to Canada Bruce Heyman.

"Stephen is on the cutting edge of technique in digital fine art photography, and he uses his camera and talent to preserve memories and to conserve treasures. His photographs strike me first with their sheer beauty, and then I am drawn in deeper by the subtext of the work. Bruce and I have been fans of his work for years - we continue to feel inspired by the impact of his images and how they provoke conversations that can serve as an impetus for change." said Vicki Heyman.

"We are delighted to have Stephen Wilkes at the National Gallery of Canada as part of the Contemporary Conversations series, which has been so successful.  The conversation between this accomplished American artist and the U.S. Ambassador to Canada, Mr. Bruce Heyman, promises to be engaging," said National Gallery of Canada Director and CEO Marc Mayer.

In February 2015, Marie Watt was the first artist featured in the Contemporary Conversations series at the NGC in Ottawa. Nick Cave participated in second installment in May and Eric Fischl spoke in September.  

Registration for the Stephen Wilkes lecture opened October 19. Free admission: RSVP before 12 November at rsvp@gallery.ca to reserve your spot. Please note that guests will be seated in order of arrival. Empty seats will be filled 10 minutes prior to the start of the event. There will also be a live broadcast of the event in the adjacent Lecture Hall.

More information about the series can be found at www.gallery.ca/conversations/en.

About Stephen Wilkes

For more than two decades Stephen Wilkes has been widely recognized for his fine art and commercial photography. In 1999 he completed a personal project photographing the unrestored areas of Ellis Island: the ruined

landscape of the infectious disease and psychiatric hospital wings, where children and adults alike were detained before they could enter the United States. Through his photographs and video work, Wilkes has inspired and helped secure six million dollars toward the restoration for the south side of the island.

Wilkes' latest body of work entitled Day to Night embodies epic cityscapes with fleeting moments captured throughout the transition from day to the night.  His photographic process entails continuously shooting from one camera angle for approximately fifteen hours. A select group of images are then electronically blended into one photograph. Each photograph takes approximately four months to create.

 

Stephen Wilkes "Remnants" continues at Monroe Gallery of Photography through November 22.

Stephen Wilkes in National Geographic: Laos to National Parks

Stephen Wilkes: Bomb Craters, Laos, 2015

Stephen Wilkes' photographs in National Geographic: Laos Finds New Life After the Bombs

Slideshow

The January 2016 issue of National Geographic will feature Stephen Wilkes' photographs as part of a special tribute to the 100th Anniversary of the National Park Service.

Stephen Wilkes: "Remnants" continues through November 22 at Monroe Gallery of Photography.

Book Signing: Bliss: Tranformational Festivals and the neo Hippie

Bliss

Images from Bliss: Transformational Festivals & the Neo Hippie; courtesy powerHouse Books

Via PASATIEMPO
The Santa Fe New Mexican
Friday, October 30, 2015           

Paul Weideman

The famous counterculture of the 1960s always had two lifestyles, one urban and the other more oriented to quiet, country living — including in pioneering communes in New Mexico and elsewhere. Half a century later, a contemporary hippie movement flourishes in hundreds of eco-villages, and its members come together for the annual Rainbow Gathering and other summer festivals.

Photographer Steve Schapiro offers a revelation of modern hippie humanity in his new book, Bliss: Transformational Festivals & the Neo Hippie (powerHouse Books, 2015). At gatherings in California, Oregon, Nevada, Michigan, Minnesota, and Hawaii, he captured people dancing, meditating, chanting, hugging, and blissing out on the sky and earth and one another.                                                                                               

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The journalistic photographer’s portfolio includes covers for Vanity Fair, Time, Sports Illustrated, Life, Look, Paris Match, and People. His books include American Edge, Taxi Driver, and Then and Now. Over the years, Schapiro has documented cultural milestones, such as the civil rights movement, Chuck Berry playing on the Hullabaloo TV show, and outtakes of actors on the set of The Godfather. He photographed Martin Luther King Jr., the Kennedys, ballplayer Satchel Paige, and Andy Warhol.

He also took pictures of the original hippies in San Francisco’s Haight-Ashbury neighborhood and throughout America. The new photos are strikingly similar. Some commonalities are lots of hair and clothes — either multicolored or absent. There is a focus in the new series on the “bliss ninnies” subculture, whose participants chase ecstasy with meditation and dancing. Rather than experimentation with psychedelic drugs, the emphasis is on yoga, prayer, movement, and a vegan diet. “There are more communes in America now than there ever were in the ’60s,” Wavy Gravy declares in the book’s afterword. “Check out Communities magazine for a listing near you! Just follow your bliss and kiss the ground.”

Monroe Gallery (112 Don Gaspar Ave., 505-992-0800) hangs a selection of the Bliss prints, opening on Friday, Oct. 30. Schapiro will be at the gallery for a book signing that day from 5 to 7 p.m. 

"Sinatra: The Photographs"

 

Sid Avery: Frank Sinatra at a Capitol Records recording session in 1958

There is a great article today in The Guardian about the forthcoming book "Sinatra: The Photographs":

"An impromptu gig with Nat King Cole, goofing around with the Rat Pack, chatting with George Harrison … the new book Sinatra: The Photographs captures the Chairman’s heydey as an entertainer, with rarely seen shots from the 1940s to the early 70s on set and in the studio."

Several photographs from the new book will be featured in the exhibition "The Broke The Mold: Photographs of ground-breaking entertainers" at Monroe Gallery November 27 - January 30, 2016. Copies of the new book are also available.

Oblique Views: Archaeology, Photography and Time

Via the Museum of Indian Arts and Culture

Oblique Views Exhibition OPENING!

Lecture, Dancers, Booksigning, and Hands-on Activities

October 25, 2015 1:00 pm through 5:00 pm

Sunday, October 25 -- it’s the day to be on Museum Hill for the long-anticipated opening of Oblique Views: Archaeology, Photography and Time.

You’ll see historic images by Charles and Anne Lindbergh side by side with those of contemporary aerial photographer Adriel Heisey -- some of the changes in the landscape (Canyon de Chelly, Chaco Canyon, Galisteo) are profound, others are more subtle.

Photographer Adriel Heisey speaks at 1pm and again at 3pm. The Red Turtle Dancers of Pojoaque and Santa Clara Pueblos will display a butterfly dance, buffalo dance, and rain dance. Dance times are scheduled for 2pm and 4pm.

Of course we’ll have the beautiful hardcover Oblique Views catalog available for purchase, with the contributers all present to sign.

A hands-on photography activity will be offered from 1 - 4pm.

Admission is free on Sundays for New Mexico residents.

See the full color postcard here!

Steve Schapiro will be signing copies of his new book "BLISS" October 30 in Santa Fe

 



Santa Fe--Monroe Gallery of Photography, 112 Don Gaspar, will host a book signing by Steve Schapiro of his newest book, BLISS. The book signing will take place on Friday, October 30, from 5 – 7 PM. One of the most respected American documentary photographers, Steve Schapiro has photographed American history over the last six decades.

In “BLISS: An Exploration of the Current Hippie Counterculture & Transformational Festivals”, Steve Schapiro, famous for his photographs of the 60s–including Haight-Ashbury and the hippies of that era–documents the hippies of today and their lives in and out of transformational festivals. With a specific focus on a subculture of the current hippie counterculture known as “Bliss Ninnies,” these individuals are focused on meditation and dancing as a way to reach ecstatic states of joy. The book features images from festivals across the country and provides an overview of a new contemporary hippie life within America. The 60s are still here. You just have to find where. Published by powerHouse Books, October, 2015, 256 pages.

Steve Schapiro is a distinguished journalistic photographer whose pictures have graced the covers of Vanity Fair, Time, Sports Illustrated, Life, Look, Paris Match, and People, and are found in many museum collections. He has published five books of his work, American Edge, Schapiro’s Heroes, The Godfather Family Album, Taxi Driver, and Then and Now In Hollywood. Steve Schapiro has photographed major stories for most of the world’s most prominent magazines, including Life, Look, Time, Newsweek, Sports Illustrated, Rolling Stone, People, and Paris Match.

 

OCTOBER NEWS

 

Dear Friends:

The New Yorker featured the new Stephen Wilkes “Remnants” exhibit this past Friday, you can see the feature here.

"I’ve often found that there is great power in telling difficult stories in a beautiful way. Interest in any given story wanes so quickly, yet it’s only through taking the time to go deeper that we get to a place of real understanding. There are moments in journalism when the media captures the visual details of a disaster, yet sometimes misses the true scale of devastation. It’s my hope that these images serve as a wakeup call — whether that call is about global warming, infrastructure, or just the recognition that the world is changing, it’s a reminder that we need to take special care of our fragile world."  -- Stephen Wilkes

Also included in the exhibit is Stephen’s newest Day To Night image, taken in the Serengeti, Tanzania, earlier this year.

Stephen Wilkes: Serengeti, Day To Night, 2015

 

 

 

 Stephen Wilkes: Recycled Aluminum Can Study #1

The “Remnants” exhibit will continue through November 22.

Later this month, Steve Schapiro will be signing copies of his new book BLISS in the gallery on Friday, October 30, from 5 – 7 pm. In Bliss: An Exploration of the Current Hippie Counterculture & Transformational Festivals, Steve Schapiro, famous for his photographs of the 60s--including Haight-Ashbury and the hippies of that era--documents the hippies of today and their lives in and out of transformational festivals. With a specific focus on a subculture of the current hippie counterculture known as "Bliss Ninnies," these individuals are focused on meditation and dancing as a way to reach ecstatic states of joy. The book features images from festivals across the country and provides an overview of a new contemporary hippie life within America. “The 60s are still here. You just have to find where.”

Recently, “BLISS” was featured on the TIME LightBox, and several of Steve Schapiro’s iconic civil rights photographs were in this summer’s acclaimed  “The Long Road: From Selma to Ferguson” exhibition.

 

Steve Schapiro: Fairy in the woods, Rainbow Gathering, Michigan, 2001

 

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MONROE GALLERY OF PHOTOGRAPHY
112 Don Gaspar
Santa Fe, NM 87501 USA
505.992.0800

www.monroegallery.com

STEPHEN WILKES: "REMNANTS" OPENS TONIGHT

Recycled Aluminum Can Study #1

The New Yorker:

"The photographer Stephen Wilkes has been documenting some of the side effects of the crisis for years, including in the aftermath of natural disasters such as Hurricane Katrina and Superstorm Sandy. “Remnants,” an exhibition of his work, will be on view at Monroe Gallery, in Santa Fe, New Mexico, through November 22nd." Slide show here.

 

The Santa Fe Reporter:

"His latest collection, Remnants, unveiling this Friday at Monroe Gallery, explores the phrase further with a series of images that shine an eerie and at times ethereal spotlight on environmental remnants often left behind by man."

Please join us for the opening reception with Stephen Wilkes this evening, October 2, from 5 - 7 pm.

Announcing Stephen Wilkes: Remnants

Recycled Aluminum Can Study #1

 

Santa Fe--Monroe Gallery of Photography, 112 Don Gaspar, is pleased to present "Remnants", an exhibition of large-scale color photographs of the environment and the environmental remnants left behind either by nature or man.

The exhibition opens with a public reception with photographer Stephen Wilkes from 5 - 7 PM on Friday, October 2. The exhibition continues through November 22.

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.

In the face of increasing global attention on climate change and rebuilding; and as society grapples with the byproducts of global human achievements such as urban development and mass production that have caused problems of scarcity and waste simultaneously, "Remnants" is a timely examination of the environmental issues facing society.
 

"I’ve often found that there is great power in telling difficult stories in a beautiful way. Interest in any given story wanes so quickly, yet it’s only through taking the time to go deeper that we get to a place of real understanding.

There are moments in journalism when the media captures the visual details of a disaster, yet sometimes misses the true scale of devastation. It’s my hope that these images serve as a wakeup call — whether that call is about global warming, infrastructure, or just the recognition that the world is changing, it’s a reminder that we need to take special care of our fragile world." --Stephen Wilkes

 
Recycled Wire Study

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. Selected photographs in the "Remnants" exhibition were featured in the Annenberg Center for Photography exhibit "Sink or Swim: Designing For A Sea Change", Dec 13, 2014 - May 3, 2015.

Panel Discussion: Photojournalism and Civil Rights

© Steve Schapiro: "Stop Police Killings, Selma March, 1965"

Santa Fe--Monroe Gallery of Photography, 112 Don Gaspar, is honored to present a special panel discussion on the role of photojournalism in the civil rights movement up to the present day. Freelance photojournalist Whitney Curtis, veteran LIFE magazine reporter Richard Stolley and interim director of the UNM Art Museum and Dean of the College of Fine Arts Kymberly Pindar will share their experiences and views on Friday, September 18, starting promptly at 5:30. Seating is  very limited and will be on a first come basis. The discussion will take place in the gallery during the final week of the exhibition "The Long Road: From Selma to Ferguson", which closes on September 27.

Many of the now iconic photographs of the Civil Rights Movement in the United States were once front-page news. The year 2015 brought renewed attention to many of these historic images not only from the 50th anniversary of Martin Luther King's march and the acclaimed film "Selma" but also as Baltimore, Charleston, and Ferguson, Missouri, and other American cities grapple with conflicts across the racial divide and produce new images that have confronted American society anew with questions of equality.

Richard Stolley already had a distinguished career in journalism when he joined TIME magazine in 1953. As a reporter for Time and LIFE he covered numerous civil rights stories during the 1960's, of which he has said "There would not have been a civil rights movement without journalism. I think LIFE magazine was the most influential publication in changing American attitudes toward race because other news magazines would tell you what was happening and LIFE magazine would show you. LIFE photographers captured images of people spitting on black kids. Those people landed in a great big photo in the magazine, their faces distorted with hate, and spit coming out of their mouths. That image is going to change peoples' attitude in a way that words never could. That is exactly what LIFE magazine did week after week after week."

After graduating with a degree in photojournalism from the University of Missouri-Columbia, Whitney Curtis worked as a staff photojournalist at The Kansas City Star, northern Utah’s Standard-Examiner, and the Daily Herald in suburban Chicago. As an editorial photojournalist, Whitney’s work has been honored by The Associated Press, NPPA’s Best of Photojournalism, CPoY, and Women in Photojournalism. A resident of St. Louis, Whitney was not surprised by the outpouring of anger and emotion after a police officer killed Michael Brown in Ferguson, Mo. What she did not expect, however, was to be caught in the middle of it. She covered the 2014 protests extensively, often on assignment for The New York Times. Her image of image of Rashaad Davis from the Ferguson, Missouri protests was awarded 1st place Domestic News 2014 in NPPA's Best of Photojournalism Contest.

Kymberly Pindar is the interim director of the UNM Art Museum and dean of the UNM College of Fine Arts. Pindar is co-curator of the exhibition "Necessary Force: Art of the Police State which" will run from September 11 through December 12, 2015 at the UNM art museum. This exhibition interrogates law enforcement’s longstanding history of violence, and the systemic forces that continue to sanction and promote the violation of civil rights in this country. Dr. Pinder holds two master’s degree and a Ph.D. in art history from Yale University.

Monroe Gallery of Photography was founded by Sidney S. Monroe and Michelle A. Monroe. Building on more than five decades of collective experience, the gallery specializes in 20th and 21st photojournalist imagery. The gallery also represents a select group of contemporary and emerging photographers. Monroe Gallery was the recipient of the 2010 Alfred Eisenstaedt Award for Excellence in Photojournalism.

Gallery hours are 10 to 5 daily. Admission is free. For further information, please call: 505.992.0800; E-mail: info@monroegallery.com.
 

Follow  @Monroegallery on Twitter for a Periscope livestream of the panel on Friday, September 18. 

Exhibit explores history of police use of force

Via The Albuquerque Journal
September 11, 201
 By Adrian Gomez / Asst. Arts Editor, Reel NM

Karen Fiss is one of the two curators of “Necessary Force: Art in the Police State.” She is standing in front of “Amelia Falling 2014” by Hank Willis Thomas. The exhibit is in the University of New Mexico Art Museum and will be on display until Dec. 12. (Roberto E. Rosales/Albuquerque Journal)

An art exhibit opens tonight in Albuquerque that’s sure to generate discussion, and possibly controversy.

“Necessary Force: Art in the Police State” includes work from 31 artists, and covers such historical themes as the civil rights movement to more current events such as the James Boyd shooting here and the Ferguson, Mo., riots that started after Michael Brown was fatally shot by a police officer.

“This exhibit is getting the dialog started about the problems our society is facing,” said co-curator Kymberly Pinder. “These are problems that have existed for a long time. The show balances what today’s society is dealing with in conjunction to what has happened in the past.”

Pinder, who also is dean of the UNM College of Fine Arts, and Karen Fiss, a professor at the California College of Arts, worked on pulling together the exhibit for the past year.

If you go
WHAT: “Necessary Force: Art in the Police State”
WHEN: Opening at 6 tonight. 10 a.m.-4 p.m. Tuesday-Friday, 10 a.m.-8 p.m. Saturday through Dec. 12
WHERE: Main Gallery, UNM Art Museum, UNM campus
HOW MUCH: Free

 

It is in the University of New Mexico Art Museum, and will be on display until Dec. 12.

“Art is not just to entertain; it can also be challenging and thought provoking,” the curators said in their exhibition statement. “The term ‘necessary force’ is the art created by artists who feel an urgent need to respond to contemporary events that reflect a society that is increasingly policed on many levels and how that affects us all. The words ‘police state’ are used because these artists address this increased policing and the many social conditions that contribute to the complex history of police violence in the United States.”

The majority of the works are responding to actual events. Documentary photographs from the 1960s and ’70s from the museum’s renowned collection stand alongside work by contemporary artists, which includes an installation of an overturned police car to a piece that points out items that were mistaken for guns.

“The juxtaposition of historic and recent imagery helps us assess the evolution of these pressing social issues over the 50 years since the Civil Rights movement,” Pinder said.

The exhibit comes after a Department of Justice investigation found that Albuquerque police used excessive force for years, and as the department tries to comply with a court order to overhaul its practices.

Pinder said the curators and artists hope to encourage critical thinking and dialogue around the complex history of law enforcement and violence in the United States.

The contemporary works in the exhibition address a range of issues, including surveillance, incarceration, drug abuse, inadequate mental health care, gun violence and racial profiling, as well as the power of collective protest and collective healing.

It also examines the role of photography in shaping public opinion, as well as the longer-term matter of how we come to know and remember history.

The goal for the exhibit falls in line with UNM’s mission to encourage critical thinking, dialogue and problem-solving around issues that are relevant today, Pinder said.

“The caliber of artists that are in the exhibit is profound,” Fiss said. “These were artists that showed interest in the show.”

Pinder always wanted to work with Fiss on a show. The pair have known each other since their graduate studies at Yale University.

A thematically related exhibition, “The Long Road: From Selma to Ferguson,” is currently on display at The Monroe Gallery in Santa Fe until Sept. 27.

 



 

 

 

 

 

 

 

 

 

 

 

 

"For decades, Steve Schapiro’s iconic photographs have been witty visual documents of American cultural and social movements"

Via Time LightBox

For decades, Steve Schapiro’s iconic photographs have been witty visual documents of American cultural and social movements. He’s captured significant moments like Robert Kennedy’s presidential campaign and Martin Luther King, Jr.’s march to Selma as well as intimate portraits of Hollywood celebrities such as Marlon Brando in The Godfather and Robert De Niro in Taxi Driver.

To this day, the American photojournalist and documentarian still gives his audience compelling testimonies of the social and cultural flaws that society has survived, capturing an intriguing side of a multifaceted complexity. And his latest body of work is no different. In Bliss: Transformational Festivals & the Neo Hippie,  slated for release in October by powerHouse Books, Schapiro chronicles today’s hippie counterculture movement throughout the U.S. and in parts of Europe.

Continue to full article here.


Steve Schapiro's iconic photographs are included in the exhibition "The Long Road: From Selma to Ferguson" at Monroe Gallery of Photography, Santa Fe, through September 27.

HELP THE EDDIE ADAMS WORKSHOP

Via RocketHub

The Eddie Adams Workshop is an intense, tuition-free photography workshop open annually to 100 students from around the world, led by the industry's top professionals who volunteer their time for the 4-day experience. Eddie Adams, the founder and namesake, created this first and only tuition-free photo workshop in 1988. Since then, through the help of corporate sponsorship and private donations, Eddie, his wife, Alyssa, and their friends have created a space for mentorship, motivation, and an irreplaceable family of photographers. We would like to thank our community for its assistance through donations and spreading the word to others for their support of our workshop.  We would also like to thank our partners who continue to sponsor the workshop, including our main sponsor Nikon, to help keep Eddie’s vision alive and strong.

Why keep this workshop alive and kicking? Well, just ask a few recent students:

"The Eddie Adams Workshop is the kind of place where, among other things, a senior photo editor at National Geographic gives you a lift to your assignment, influential photographers go from heroes to peers through the course of a conversation, an industry professional moonlights as your photo assistant, an award winning photographer serves you mashed potatoes for lunch, and you meet people who will become friends for life. The Eddie Adams Workshop was a lightning bolt of inspiration and I give it credit for triggering a metamorphosis that led me to where I am now." - Tamir Kalifa, Workshop 24

"Besides taking pictures, the Eddie Adams Workshop was the best thing I have done as a photographer." - Egill Bjarnason, Workshop 27

At the workshop, each student is part of a 10-person team that is sent out on assignment. In addition to working on and completing their assignment in four days' time, students attend portfolio reviews and discussions with world renowned photographers and editors such as James Damon Winter, Preston Gannaway, John Moore, Vincent Laforet, Andrees Latif, Rodrigo And, Nancy Andrews, James Balog, Al Bello, Jodi Cobb, Erika Larsen, Elizabeth Krist, Ami Vitale, Carolyn Cole, David Guttenfelder, Todd Heisler, Tyler Hicks, Lynn Johnson, David Hume Kennerly, Santiago Lyon, James Nachtwey, Eugene Richards, Stephanie Sinclair, John H White, Dan Winters, MaryAnne Golon, Jamie Wellford, Michele McNally, Gordon Parks, Alfred Eisenstaedt, Joe Rosenthal, Cornell Capa, Mary Ellen Mark, Chris Hondros, Platon, Bill Eppridge, Maggie Steber, Nick Ut and many more.

WORKSHOP RECOGNITION:

• 2014 PMDA Visionary Award Recipient, Eddie Adams Workshop (PhotoImaging Manufacturers and Distributors Association)
• 2010 Lucie Awards Visionary Award Recipient, Eddie Adams Workshop

RECENT PRESS:
TIME
The NY Times 
The Chicago Tribune
National Geographic

Contribute HERE.

STEPHEN WILKES: HURRICANE KATRINA

Stephen Wilkes: TV in Sand, Bay St. Louis, Mississippi, June 12, 2006

Several of Stephen Wilkes' photographs from the aftermath of Hurricane Katrina will be featured in the forthcoming exhibition "Remnants". The exhibition of large-scale color photographs (up to 50 x 80 inches) of the environment and the environmental remnants left behind either by nature or man will be at Monroe Gallery of Photography October 2 - November 22, 2015.

Stephen Wilkes: Bridge Through Window

"In February of 2006, six months after Hurricane Katrina, I traveled to New Orleans to document the devastation, instead I found hope. At town meetings, I met survivors determined to rebuild their homes and communities in the face of insurmountable odds. I was in awe of their inner strength.
I wanted to give voice to those that had been all but forgotten; I wanted their stories to be told. Of varied backgrounds, professions, and ethnicities, a thread ran through everyone I met—a deep sense of faith and an enduring sense of hope.



I am at a loss to describe them as anything short of heroic. I hoped their stories would inspire others to return to the Gulf Coast, and help maintain focus on an area whose story, ten years ago, was only just beginning."

See more of Stephen Wilkes's photographs from the aftermath of Hurricane Katrina on his Instagram feed this week.

Related: Before his Iris Nights lecture at the Annenberg Space for Photography, Stephen Wilkes discussed photographing New Orleans after Hurricane Katrina

Don’t Stop the Presses: An evening to celebrate free speech

Via New Mexico Foundation for Open Goverment

Monday, August 24 at 7 p.m. at the Jean Cocteau Cinema in Santa Fe!

From Charlie Hebdo in Paris to the Rio Grande Sun here in Northern New Mexico, the press and free speech are under attack. Join with the New Mexico Foundation for Open Government, the New Mexico Press Association and The Santa Fe New Mexican by sponsoring a screening of The Sun Never Sets.

This critically acclaimed documentary showcases Espanola’s Rio Grande Sun newspaper and its fearless, honest investigative reporting. Watch the trailer about the film here. The film was written, directed and produced three years ago by Benson Daitz, who will be present for the screening and participate in a panel discussion to be held after the film. Also on the panel will be Greg Williams, FOG president; Bob Trapp, editor and owner of The Sun; and Ray Rivera, editor of The New Mexican.

The Sun was recently the victim of an arson attack, and The New Mexican, the NMPA and FOG stand in solidarity with The Sun. We are proud to present the film and host an interactive panel of First Amendment experts discussing how to protect and celebrate free speech!

Register to attend the event here. Individual tickets are $20 each. Or for $50, you’ll receive your ticket for the screening and a one-year FOG membership. Sponsorship opportunities are also available!

Journalists charged months after being arrested in Ferguson

Via The Committe To Protect Journalists


New York, August 11, 2015--Two U.S. journalists have been charged in Missouri with trespassing and interfering with a police officer nearly a year after they were detained by police in the city of Ferguson, according to news reports. Wesley Lowery, a reporter for The Washington Post, and Ryan J. Reilly, a reporter for the Huffington Post, were briefly detained in August 2014 while working out of a McDonald's restaurant in Ferguson to cover protests following the fatal shooting by police of unarmed teenager Michael Brown, according to news reports. If convicted, the two face a possible fine of $1,000 and up to a year in jail, according to the county's municipal code.

"U.S. authorities have no business hauling reporters into court for doing their jobs, especially on a world story like Ferguson," said CPJ Deputy Director Robert Mahoney. "We are appalled by this judicial intimidation of Wesley Lowery and Ryan Reilly and call on St. Louis authorities to drop all charges immediately."

 

Lowery said that he received a summons to appear in a St. Louis County court on August 24, according to The Washington Post. The summons said he would be arrested if he did not appear. Cordell Whitlock, a spokesman for the county executive, said that Reilly had been issued a summons on the same charges, the report said. CPJ and other groups in 2014 documented the widespread harassment and detention of journalists who covered the unrest in Ferguson. At least 11 reporters were detained between August 13 and 19, and journalists reported being threatened by police, hit with rubber bullets, and affected by tear gas. Other reporters said they were threatened by crowds who were protesting and, in some cases, looting during the unrest, according to news reports.

• For data and analysis on the U.S., visit CPJ's U.S. page.

Sign the petition: Tell St. Louis County: Journalism Is Not a Crime

Rember When?   HERE WE GO AGAIN: OCCUPY WALL STREET ARRESTS JOURNALISTS

August 11, 1965: Watts

Caption from LIFE "Children in Watts grow up with the signs of fear, desperation and hatred all around. The words painted last August on this little grocery store, telling rioters that it is owned by a Negro and urging them to burn something else, were left on the walls for months afterwards -- just in case." Photography by Bill Ray.

The Watts Riot, which raged for six days and resulted in more than forty million dollars worth of property damage, was both the largest and costliest urban rebellion of the Civil Rights era. The riot spurred from an incident on August 11, 1965 when Marquette Frye, a young African American motorist, was pulled over and arrested by Lee W. Minikus, a white California Highway Patrolman, for suspicion of driving while intoxicated. As a crowd on onlookers gathered at the scene of Frye's arrest, strained tensions between police officers and the crowd erupted in a violent exchange. The outbreak of violence that followed Frye's arrest immediately touched off a large-scale riot centered in the commercial section of Watts, a deeply impoverished African American neighborhood in South Central Los Angeles. For several days, rioters overturned and burned automobiles and looted and damaged grocery stores, liquor stores, department stores, and pawnshops. Over the course of the six-day riot, over 14,000 California National Guard troops were mobilized in South Los Angeles and a curfew zone encompassing over forty-five miles was established in an attempt to restore public order. All told, the rioting claimed the lives of thirty-four people, resulted in more than one thousand reported injuries, and almost four thousand arrests before order was restored on August 17.

Throughout the crisis, public officials advanced the argument that the riot was the work outside agitators; however, an official investigation, prompted by Governor Pat Brown, found that the riot was a result of the Watts community's longstanding grievances and growing discontentment with high unemployment rates, substandard housing, and inadequate schools. Despite the reported findings of the gubernatorial commission, following the riot, city leaders and state officials failed to implement measures to improve the social and economic conditions of African Americans living in the Watts neighborhood. The Civil Rights Digital Library

Bill Ray's photographs from Watts are included in the exhibition "The Long Road: From Selma to Ferguson" through September 27, 2015.

A year after the Watts Riots in 1965, LIFE magazine revisited the neighborhood through a series of color pictures by photographer Bill Ray. (Via Time.com)

Photojournalist Whitney Curtis featured on Lens Blog; to appear on Civil Rights panel discussion

Photojournalist Whitney Curtis is featured in today's New York Times LENS:

"Whitney Curtis has covered Ferguson, Mo., for The New York Times since the day Michael Brown was shot and killed by a local police officer a year ago. Her photos of the protests that followed were published on the front page of The Times, and in many other publications around the world. And they were featured on Lens. For the last few weeks she has been photographing in Ferguson, looking for what has changed, and what has not, over the last year. She spoke with James Estrin earlier this week about her recent experiences there. The conversation has been edited."--   Full article here.

 Monore Gallery of Photography  is  honored to present a special panel discussion on the role of photojournalism in the civil rights movement up to the present day.  Freelance photojournalist Whitney Curtis, veteran LIFE magazine reporter Richard Stolley and interim director of the UNM Art Museum and dean of the College of Fine Arts Kymberly Pindar will share their experiences on Friday, September 18, starting promptly at 5:30. Seating is limited and will be on a first come basis. The discussion at Monroe Gallery will take place in the gallery during the final week of the exhibition "The Long Road: From Selma to Ferguson", which closes on September 27.

Many of the now iconic photographs of the Civil Rights Movement in the United States were once front-page news. The year 2015 brought renewed attention to many of these historic images not only from the 50th anniversary of Martin Luther King's march and the acclaimed film "Selma" but also as Baltimore, Charleston, and Ferguson, Missouri, and other American cities grapple with conflicts across the racial divide and produce new images that have confronted American society anew with questions of equality.

Richard Stolley already had a distinguished career in journalism when he joined Time magazine in 1953. As a reporter for Time and LIFE he covered numerous civil rights stories during the 1960's, of which he has said "There would not have been a civil rights movement without journalism. I think LIFE magazine was the most influential publication in changing American attitudes toward race because other news magazines would tell you what was happening and LIFE magazine would show you. LIFE photographers captured images of people spitting on black kids. Those people landed in a great big photo in the magazine, their faces distorted with hate, and spit coming out of their mouths. That image is going to change peoples' attitude in a way that words never could. That is exactly what LIFE magazine did week after week after week."

After graduating with a degree in photojournalism from the University of Missouri-Columbia, Whitney worked as a staff photojournalist at The Kansas City Star, northern Utah’s Standard-Examiner, and the Daily Herald in suburban Chicago. As an editorial photojournalist, Whitney’s work has been honored by The Associated Press, NPPA’s Best of Photojournalism, CPoY, and Women in Photojournalism. A resident of St. Louis, Whitney was not surprised by the outpouring of anger and emotion after a police officer killed Michael Brown in Ferguson, Mo. What she did not expect, however, was to be caught in the middle of it. She covered the 2014 protests extensively, often on assignment for The New York Times. Her image of image of Rashaad Davis from the Ferguson, Missouri protests was awarded 1st place Domestic News 2014 in NPPA's Best of Photojournalism Contest.

Kymberly Pindar is the interim director of the UNM Art Museum and dean of the UNM College of Fine Arts. Pindar is co-curator of the exhibition "Necessary Force: Art of the Police State" which will run from September 11 through December 12, 2015 at the UNM art museum. This exhibition interrogates law enforcement’s longstanding history of violence, and the systemic forces that continue to sanction and promote the violation of civil rights in this country. Dr. Pinder holds two master’s degree and a Ph.D. in art history from Yale University.

Related:

Review: The Long Road: From Selma To Ferguson

The Santa Fe New Mexican Pasatiempo: "The Long Road: From Selma to Ferguson couldn’t be more timely"

Review: The Long Road: From Selma To Ferguson

THE Magazine
August, 2015

“There is no scientific or anthropological basis for race.”
  –Maya Angelou

                           

Steve Schapiro: "Stop Police Killings", Selma March, 1965

 

The is only one race: human. Being a bigot based on any other concept of so-called “race” is similar to being a climate change denier. Both are premised on what could be called belief-desires on the part of the willfully ignorant, rather than on any sort of scientifically, empirically, or reality based truth.

The Long Road: From Selma to Ferguson—an elegant exhibition of fifty-five photographs documenting the faces and places of America’s Civil Rights era alongside today’s rising BLACK LIVES MATTER movement is a timely contribution to the local cultural scene by the Monroe Gallery. The curation of the prints is thoughtful, and rich in response to the face-to­face with the ethnically biased police brutality that is confronting the nation. Whitney Curtis’ image of a twenty-three-year-old African-American activist backing away from three heavily armored St. Louis County cops with large weapons drawn, makes an iconic, Leon Golub­like, presentation of the point. A 1961 LIFE magazine image by Paul Schutzer of Freedom Riders on an interstate bus escorted by National Guardsmen with rifles and bayonets carries the tension of violent possibility held at bay, and echoes of the future found in the sign of one protester on the 1965 Selma March preserved by legendary LIFE photographer Steve Schapiro, that reads simply “Stop Police Killings.”

Relevant today, because the domestic terrorism of African-Americans hasn’t ceased since they were forcibly enslaved and brought in chains to this continent by Euro-American colonizers. A uniquely American ethnic hate and systematized terrorism campaign has been carried out ever since. For centuries now, law enforcement, judges, the Klu Klux Klan, skinheads, and Nazi-wannabes have conducted a long brutal pogrom of slavery, lynchings, scape-goating, church burnings, and institutionalized hatred against African-Americans. This was tragically capped most recently by the nine murders of Reverend Clementa C. Pinckney and eight parishioners at the African Methodist Episcopal Church in Charleston, South Carolina by a twenty-one-year-old white supremacist espousing the belief-desires of a “black and white races” ideology of “racial hierarchy” woven into a hate and anger fueled action based on nothing but differences in skin tones. Children, when your ideology drives you to kill, the first thing to kill is your ideology.

The point of color in painting or people is visual pleasure and UV protection. The late, satirical Klan paintings of Phillip Guston are more relevant than ever today. Women of the Klan Bow Their Heads in Prayer, taken in South Carolina by Charles Moore and Segregationists, (again by Steve Schapiro) from a 1964 gathering in St. Augustine, Florida have a similar sense of the bleak stupidity of bigots on the wrong side of history. The exhibition does a great job of branching out to include images connecting the Selma March with anti-war, gay rights, labor, and feminist actions, making it clear that the crux of the matter is not the distraction of an erroneous race concept, but rather the still unattained dream of a reality based upon the self-evident and scientific truth that all people are created equally and are endowed with certain inalienable human rights and liberties that they must not be denied. Images of Reverend Martin Luther King Jr. and his courageous entourage figure prominently. Pinckney joins him, now. Photographer Bill Eppridge’s moving image of activist James Chaney’s mother and younger brother at Chaney’s funeral is a study of dignity in grief that hits a universal human note far beyond any individual ancestry.

As King knew, no people holds a monopoly on evil or good. There are no fine hierarchical lines to be drawn between races because there is no place to draw them. Our homeland is the planet. We are all relatives in one species, and our major differences across ethnicities are simply cultural. Ancient tribalism is real, for sure, in fanatics’ belief-desire systems, but is based on nothing actual. Worldwide, it is supported most evilly by cultural ideologues and used in contemporary times, along with poverty and terrorism by a multi-ethnic cabal of nationalists and other politicians in collusion with banksters and financiers to divide and conquer various populations, and to enforce strict differences in access to wealth, resources, and territory. Economic differences (and growing disparity) are what they’re trying to hide.

It’s as ugly a situation as the eight shots to the back at short range that an unarmed Walter Scott took as he fled a now-indicted police officer, or the scenes of the crazed cracker cop in McKinney, Texas tackling an unarmed fourteen-year-old African-American girl to the ground at a pool party, and pointing his gun at her unarmed friends. Or Mike Brown’s body lying dead on the ground in the middle of the street for hours, or Freddie Gray’s severed spine. Nina Berman’s chilling Will I Be Next glimpses a black-haired boy looking out of the doorway next to the title text on a placard placed at the site of the Eric Garner strangulation in 2014. It’s a good question, unfortunately. —Jon Carver