JULIE WILLIAMS-KRISHNAN: Kalacharam at The Griffin Museum of Photography

The Third Eye 
Photograph © Julie Williams-Krishnan

The Bindi Collection  
Photograph © Julie Williams-Krishnan

Morning Poetry 
Photograph © Julie Williams-Krishnan

Kalacharam means “culture” in the south Indian language Tamil. Julie Williams-Krishnan has been traveling regularly to Chennai in south India since 2007. These nearly annual trips are made to visit her husband’s family, who is based in Chennai. Williams-Krishnan, a caucasian originally from a small town in Pennsylvania, uses her photography as a way to observe, process, and celebrate her growing familiarity with her south Indian family and the region. The three bodies of work on display here are all shot in the family home, where Tamil is spoken, Brahmin traditions are strictly observed, cooking is elaborate, and prayer is plentiful.  Photography is her way of translating her understanding of a place that is her home, but even after all these years, remains fascinating.  

The Griffin Museum of Photography
October 6 - November 27, 2016
Reception Oct 6, 7 - 8:30
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The Griffin Museum of Photography
 October 6th – November 27th, 2016
Reception: Oct 6, 7:00 – 8:30

Zindagi will feature solo exhibits and 3 videos by five photographers; Manjari Sharma, Priya Kambli, Dan Eckstein, Quintavius Oliver and Raj Mayukh Dam.

Manjari Sharma will be exhibiting 9 large pieces from her “Darshan” series. “Darshan is a series consisting of photographically recreated, classical images of Hindu Gods and Goddesses that are pivotal to mythological stories in Hinduism.”

Priya Kampli will be exhibiting from her “Color Falls Down” series. Missouri artist, Kambli said, “My photographs, which are rooted in my fascination with my parents, visually express the notion of transience and split cultural identity caused by the act of migration.

Dan Eckstein’s “Horn Please” exhibit features the brightly decorated trucks that ply India’s country’s roads and the men who drive them.  

Quintavius Oliver is exhibiting pieces from his “Love Made Me Do It” series; what it meant for him to throw himself head first from home and into the unknown of India.

Raj Mayukh Dam will be exhibiting 3 videos on daily life in India. The three videos feature the people of Sundarban, the last ritual of “Antyesti “and the Festival of Color of Life called “Holi.”


'DAY OF THE DEAD': PhotoWorkshop with Magdalena Sole and Elizabeth Avedon

 Photograph © Magdalena Solé

Our workshop is surrounded by the excitement of Mexico’s most revered festival, the Day of the Dead. The Day of the Dead is an indigenous tradition, celebrated every year from October 31st to November 2nd. The “Día de Muertos” is an original and photogenic cult known in the world for its grandiosity and mystery but at the same time, for its warmth and intimacy.

It is a life enriching experience to participate in the greatest of all Mexican rituals among a sea of candles, the smell of “Cempazuchil” (Marigold, the flower of the dead) and the stunning street dancers of the Etla valley. Graveyards, where people commune with the dead as well as altar’s in people’s houses will serve as exquisite backdrops to create amazing photographs.

The 2016 Day of the Dead Photo Workshop in Oaxaca is a 9-day intensive for committed photographers of various levels. Oct. 26th – Nov. 3rd. Celebrations, and processions will be present through the entire length of our workshop, however they will reach their peak during the days of October 31 and November 1st, at which times we planned activities that will immerse us in the experience of commemorating the dead.

Please join us for a unique Photographic Workshop, which will cover major topics • Work on an individual Project with daily one-on-one sessions with Magdalena and Elizabeth • Learn the art of editing and sequencing through lectures and demonstrations • Learn how to create a photobook and prepare for an exhibit • Photographing the mystical Day-of-the-Dead rituals with access to the most significant events

Last few days to sign-up!
Day of the Dead Photography Workshop
Oaxaca, Mexico

Photograph © Selma Fernández Richter


KAMOINGE: "Breaking Point" at Photoville

'R.I.P. Mike Brown'
Photo by Radcliffe Roye

'American Seen'
Photo by Ming Murray Smith

'Negroes Unite'
Photo by Albert Fennar

Kamoinge at Photoville
Join the photographers of KAMOINGE Wednesday, September 21st from 4-10pm for the opening of their exhibit "Breaking Point" at Photoville in Brooklyn. The work showcasing will be forty-four photographs bringing into focus our pride, love and the state of emergency America has been in for almost sixty years.  
Presented by Kamoinge / United Photo Industries
Curated by Russell Frederick

Featuring KAMOINGE Photographers: Eli Reed, Russell K. Frederick, Adger Cowans, Shawn Walker, Ming Murray Smith, Albert Fennar, Daniel Dawson, Radcilffe Roye, Salimah Ali, John Pinderhughes, A.D. Minter, Frank Stewart, Gerald Cyrus, Ray Francis, Lou Draper, Herb Randall, and June DeLairre Truesdale

"On November 4, 2008, a nation divided for centuries came together to make history by electing America’s first black president. This achievement has proven to be more symbolic than substantive. The United States is at a breaking point as people of good conscience and clearer consciousness demand real change, while others mobilize to maintain a power structure that continues to produce inequality, injustice, separation and xenophobia. The African diaspora has often not been represented fairly in media, with diversity on the rise in our infrastructures, mobile technology and social media platforms expanding, opportunities to author our stories are slowly starting to increase. As the world sees more unfiltered imagery change is being demanded. While committed to the image, Kamoinge has been inspired visually by jazz, soul, rhythm & blues, reggae and rap musicians to document or create fine art that reflects the African diaspora in a dignified manner. The work exhibited in ‘Breaking Point’ brings into focus our love and the state of emergency we are living in America for almost sixty years." KAMOINGE, Inc. was founded as a collective of African-American photographers seeking artistic equality and empowerment. It works as a forum in which members view, nurture, critique and challenge each other’s work in an honest and understanding atmosphere. 



NICK BRANDT: "Inherit The Dust" Short Films

A few months ago, I made, wrote and narrated two new short films about the concept and production of INHERIT THE DUST. The films were produced by the wonderful Fotografiska Museum in Stockholm, who through May-September 2016, held a major exhibition of Inherit The Dust, now sadly ended. The next major museum exhibition of Inherit the Dust will be at the Multimedia Art Museum in Moscow, May-July 2017. Buy the large format book of the series, "Inherit The Dust". – Nick Brandt

RUDDY ROYE: When Living Is A Protest

  Colours (Marlon Jones) (Immigrant Series)
New York, NY, July 4, 2014

Black Today (When Living is a Protest Series)
Union Square, New York, NY, May 1, 2015

Facing the Darkness, Bedford-Stuyvesant
Brooklyn, NY, January 18, 2016

Ruddy Roye: When Living Is A Protest
Exhibition: September 16th – October 29th, 2016
Steven Kasher Gallery 515 W. 26 St., New York, NY

The world’s first solo exhibition of photographer Radcliffe “Ruddy” Roye opens at Steven Kasher Gallery September 16th. The exhibition features 20 large scale photographs, many taken in Roye’s neighborhood of Bedford-Stuyvesant, Brooklyn. Roye’s images give visibility to the usually invisible members of his community. His portraits are infused with dignity and integrity. Each photograph is accompanied by a text written by the artist, often quoting the subjects. Roye spends significant time with each person he approaches, listening to their stories. For Roye, narrating the stories of his “collaborators” is as important as the images they produce together.  Roye’s is a unique voice in street photography, one full of anger, resistance and compassion.

Roye spends his days walking the streets and photographing the people he encounters. He is no stranger to walking. In 2000, Roye walked 121 miles in his native Jamaica, from Montego Bay to Kingston, photographing squatters alongside an abandoned train line. He pays close attention to the way people move through the environment, acutely aware of those that we usually ignore. He is closer to his subjects than is typical in street photography, both emotionally and physically. This intimacy is augmented by his complex compositions of colors, lights, lines, signage and symbols.

Ruddy Roye has amassed over 250,000 Instagram followers, and uploaded over 4,000 posts. He is a leading figure on Instagram among documentary photographer showcasing an interest in their communities. He began his social media work with a series of haunting posts of the devastation that followed Hurricane Sandy. For Roye, social media is a powerful outlet to get his message to a mass audience. “The media has a way of deleting the stories of people who society does not want to deal with. This is my humble way of putting these stories back in people’s faces — forming a real and active dialogue about these issues.” Online, Roye adds to each posted image an incisive retelling of the stories he has heard from his subjects. These captions will be reproduced in full for the exhibition.
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Radcliffe Roye (b. 1969) is a Jamaican photographer living and working Brooklyn. He has photographed dancehall musicians and fans, sapeurs of the Congo, the Caribbean Carnival J’ouvert and recent political protests in Ferguson, New York and Dallas. After moving to New York in 2001, Roye worked as a freelance photographer for the Associated Press. His photography has appeared in the New York Times, The New Yorker, Vogue, Ebony, Fast Company, BET and ESPN. His work has been included in exhibitions at the Museum of Contemporary Photography, Chicago; the Museum of Contemporary African Diasporan Arts; Silver Eye Center for Photography; Chastain Arts Center; the Vermont Feick Fine Arts Center; Alice Austen House and Photoville. He has held teaching positions at New York University and the School of Visual Arts and is an adjunct lecturer at Columbia University. Roye is one of the youngest members of the Kamoinge Workshop, the seminal and enduring black photography collective founded in 1963. Text above Courtesy Steven Kasher Gallery

Ruddy Roye: When Living Is A Protest
Exhibition: September 16th – October 29th, 2016
Steven Kasher Gallery 515 W. 26 St., New York, NY


OAXACA MEXICO: Photography Workshop With Magdalena Solé and Elizabeth Avedon

Day of The Dead, Oaxaca, Mexico
Photograph © Magdalena Solé

Charro from Tlalixtac, Oaxaca 2014
Photograph © Andy Richter

"Day of the Dead"
Photography Workshop
With Magdalena Solé and Elizabeth Avedon
October  26th – November 3rd, 2016

A few spots left! Sign-up today!

Join us for a unique photographic experience. Discover the art of social documentary and editing at the iconic Manuel Alvarez Bravo Photography Center in Oaxaca, Mexico. Oct. 26–Nov 3, 2016.

•  Work on an individual Project with daily one-on-one sessions with Magdalena and Elizabeth
•  Learn the art of editing and sequencing through lectures and demonstrations
•  Learn how to create a photobook and prepare for an exhibit
•  Photographing the mystical Day of the Dead rituals with access to the most significant events

Our workshop is surrounded by the excitement of Mexico´s most revered festival, the Day of the Dead. The Day of the Dead is an indigenous tradition, celebrated every year from October 31st to November 2nd. The "Día de los Muertos" is an original and photogenic cult known in the world for its grandiosity and mystery but at the same time, for its warmth and intimacy.

CALL FOR ENTRIES: "Southern Landscapes"

from the book "New Delta Rising" © Magdalena Sole
from the book "New Delta Rising" © Magdalena Sole

"Southern Stories" © Jessica Hines

"Southern Stories" © Jessica Hines

"Southern Landscapes" 
Juror: Elizabeth Avedon
Exhibition: March 1-31, 2017
at Brickworks Gallery, Atlanta

"Southern Landscapes" Images can depict the physical elements of the American South (hills, water, architecture, light …) as well as the cultural aspects (D.C. to Key West, West Texas to the Ohio border)...read more here

Entry Deadline: November 1, 2016.  
Notification of Acceptance: December 15th, 2016. 
Exhibition March 1-31, 2017. 

More details and entry here: 

LEN SPEIER: Nearly Everybody at Daniel Cooney

Paisley Couple, Riverside Drive

Belushi Band, 1985

The first solo exhibition of 89 year old photographer Len Speier opens at Daniel Cooney Fine Art September 15th – October 29th, 2016. Check out Len Speier in conversation with Miss Sara Rosen from Crave Online on October 1st 3PM.

Daniel Cooney Fine Art
508 ­ – 526 West 26 Street, #9C



HWY series © Nicholas Syracuse

TRAVELER series © Nicholas Syracuse

TRAVELER series © Nicholas Syracuse

TRAVELER series © Nicholas Syracuse

"Nicholas Syracuse’s beautiful portraits of drifters, train hoppers, runaways and hobos are all self-portraits in a way. There is a deep sense of camaraderie between Syracuse and his subjects, both sharing the itch to remain in constant motion.” – Director’s Sam Roden and Nick Hartanto

Nicholas Syracuse, born in Arizona and raised in the DC area, studied photography at the Corcoran School of Art in DC. and The Northwest Photographic Center in Seattle. His largest series of photographs is his ongoing "Highway" project, with photographs from Seattle, San Francisco, Phoenix, Texas, South Carolina, Indiana, and many points in between. Director’s Sam Roden and Nick Hartanto made a feature documentary film "TRAVELER" about his work, that premiered to a sold-out crowd at the Ashland Independent Film Festival in Ashland Oregon last April. I came across his work recently and wanted to share some of it.

TRAVELER series © Nicholas Syracuse



DAVID REINFELD : The Reality of Illusion at Piermont Fine Arts Gallery

 from Reality of Illusion © David Reinfeld

from Reality of Illusion © David Reinfeld

 from Reality of Illusion © David Reinfeld

 from Reality of Illusion © David Reinfeld

David Reinfeld : The Reality of Illusion
August 04, 2016 - August 21, 2016

"In the early ’70-s, as a graduate student at the Rhode Island School of Design, I had the great privilege of studying with Aaron Siskind, Harry Callahan, Lisette Model, and Minor White. Their classes were my introduction to the world of art, and their teachings remain a fundamental part of the way I see. Before RISD, as a young street photographer from New York, I never thought about what made photographs good or bad . . . I just took pictures."

"Spending time with my teachers outside of school was an equally important part on my education. I drove Lisette from New York to Providence every week. Those were sacred hours for me, filled with discussions of everything from photography to philosophy. On a trip with Aaron to Goblin Valley, I remember his great excitement as he set up his camera in front of a rock. Not seeing the rock as anything other than ordinary, I looked through his old Rollie, and there it was— the picture was right there, hidden in plain sight. Through the lens of Aaron’s camera, the rock was brought to life."

"What makes a picture come alive? Why do some photographs remain in our consciousness, while others fall away? These are the questions I ask, as a photographer, in a world where the boundaries of well-crafted commercialism and fine art have blurred. I tell myself the seeing should be clear but not too obvious. Spending countless hours at my computer, I have to remind myself not to remain at the surface. Beautiful prints are very seductive and can have considerable visual impact. I pause to remember art is not only an arrangement of form and content, but of responsibility and awareness, of visual impact and contemplation. Art is our affirmation that life is worth living, like Siskind’s ordinary rock that is full of life and charm, frozen in time, kept alive by human connection." – David Reinfeld 

from Reality of Illusion © David Reinfeld

 from Reality of Illusion © David Reinfeld

 from Reality of Illusion © David Reinfeld

David Reinfeld : The Reality of Illusion
August 04, 2016 - August 21, 2016

Visit David's Website

*The above photographic composited images from Reality of Illusion, were selected from an ongoing series in Oaxaca, and various locations.


THE GRIFFIN MUSEUM OF PHOTOGRAPHY: 22nd Peter Urban Legacy Exhibition

Opening night reception was well documented 
by the many photographers who attended. 

The 22nd Peter Urban Legacy Exhibition 
Juried by Elizabeth Avedon 
Open through August 28, 2016

67 Shore Road, Winchester, MA

Thanks to Griffin Director, Paula Tognarelli, and her incredible team - Mike Bodall, Meg Birnbaum, Iariza Menjivar,  Julie Williams-Krishnan and volunteers - who work tirelessly to promote photography! 

Steven McCarthy sponsored this Exhibition in honor of photographer Peter Urban's Legacy. Many thanks to Steven, The Peter Urban family and the Arts and Business Council of Greater Boston.


DIANE ARBUS : In The Beginning

The Backwards Man in his hotel room, N.Y.C. 1961
© The Estate of Diane Arbus, LLC. All Rights Reserved

For Best Viewing Click on Images to Enlarge

Female impersonator holding long gloves, Hempstead, L.I. 1959
© The Estate of Diane Arbus, LLC. All Rights Reserved

Man in hat trunks socks and shoes, Coney Island, N.Y. 1960
© The Estate of Diane Arbus, LLC. All Rights Reserved

The exhibition is accompanied by a fully illustrated catalogue which includes two essays: "in the beginning" by Jeff L. Rosenheim and "notes from the archive" by Karan Rinaldo, Senior Research Assistant. The book is published by The Metropolitan Museum of Art and distributed by Yale University Press.

My favorite photograph in the Catalogue
Clown in a fedora, Palisades Park, N.J. 1957

Taxicab driver at the wheel with two passengers, N.Y.C. 1956 
© The Estate of Diane Arbus, LLC. All Rights Reserved

diane arbus: in the beginning
July 12-November 27, 2016
The Met Breuer, 75 x Madison, NYC

As part of the inaugural season at The Met Breuer, diane arbus: in the beginning will open on July 12, featuring more than 100 photographs that together will redefine one of the most influential and provocative artists of the 20th century. This landmark exhibition will highlight never-before-seen early work of Diane Arbus (1923–71), focusing on the first seven years of her career, from 1956 to 1962—the period in which she developed the idiosyncratic style and approach for which she has been recognized, praised, criticized, and copied the world over.

"Nothing is ever the same as they said it was. It’s what I’ve never seen before that I recognize." –Diane Arbus

diane arbus: in the beginning focuses on seven key years that represent a crucial period of the artist's genesis, showing Arbus as she developed her style and honed her practice. Arbus was fascinated by photography even before she received a camera in 1941 at the age of 18 as a present from her husband, Allan, and made photographs intermittently for the next 15 years while working with him as a stylist in their fashion photography business. But in 1956 she numbered a roll of 35mm film #1, as if to claim to herself that this moment would be her definitive beginning. Through the course of the next seven years (the period in which she primarily used a 35mm camera), an evolution took place—from pictures of individuals that sprang out of fortuitous chance encounters to portraits in which the chosen subjects became engaged participants, with as much stake in the outcome as the photographer. This greatly distinguishes Arbus's practice from that of her peers, from Walker Evans and Helen Levitt to Garry Winogrand and Lee Friedlander, who believed that the only legitimate record was one in which they, themselves, appear to play little or no role. In almost complete opposition, Arbus sought the poignancy of a direct personal encounter. 

Arbus made most of her photographs in New York City, where she was born and died, and where she worked in locations such as Times Square, the Lower East Side, Coney Island, and other areas. Her photographs of children and eccentrics, couples and circus performers, female impersonators and Fifth Avenue pedestrians are among the most intimate and surprising images of the era. From the beginning, Arbus believed fully that she had something special to offer the world, a glimpse of its many secrets: "I do feel I have some slight corner on something about the quality of things. I mean it's very subtle and a little embarrassing to me but I really believe there are things which nobody would see unless I photographed them."

Nearly half of the photographs that Arbus printed during her lifetime were made between 1956 and 1962, the period covered by this exhibition. At the time of her death in 1971, much of this work was stored in boxes in an inaccessible corner of her basement darkroom at 29 Charles Street in Greenwich Village. These prints remained undiscovered for several years thereafter and were not even inventoried until a decade after her death. The majority of the photographs included in the exhibition are part of the Museum's vast Diane Arbus Archive, acquired in 2007 by gift and promised gift from the artist's daughters, Doon Arbus and Amy Arbus. It was only when the archive—a treasury of photographs, negatives, notebooks, appointment books, correspondence, and collections—came to The Metropolitan Museum of Art in 2007 that this seminal early work began to be fully explored.

Among the highlights in the exhibition are lesser-known published works such as Lady on a bus, N.Y.C. 1957, Boy stepping off the curb, N.Y.C. 1957–58, The Backwards Man in his hotel room, N.Y.C. 1961, and Jack Dracula at a bar, New London, Conn. 1961, as well as completely unknown additions to her oeuvre, such as Taxicab driver at the wheel with two passengers, N.Y.C. 1956, Woman with white gloves and a pocket book, N.Y.C. 1956, Female impersonator holding long gloves, Hempstead, L.I. 1959, and Man in hat, trunks, socks and shoes, Coney Island, N.Y. 1960. Included among the selection of six square-format photographs from 1962 is the iconic Child with a toy hand grenade in Central Park, N.Y.C. 1962, a photograph that signals the moment when Arbus turned away from the 35mm camera and started working with the 2¼ inch square format Rolleiflex camera, a format that remained a distinctive attribute of her work for the rest of her life. The photographs from her early career reveal that the salient characteristics of her work—its centrality, boldness, intimacy, and apparent artlessness—were present in her pictures since the very beginning. Arbus's creative life in photography after 1962 is well documented and already the stuff of legend; now, for the first time, we can properly examine its origins.

Jeff Rosenheim, Curator in Charge of the Department of Photographs, added, "Arbus's early photographs are wonderfully rich in achievement and perhaps as quietly riveting and ultimately controversial as the iconic images for which she is so widely known. She brings us face-to-face with what she had first glimpsed at the age of 16—'the divineness in ordinary things'—and through her photographs we begin to see it too."
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diane arbus: in the beginning is curated by Jeff L. Rosenheim, Curator in Charge of the Department of Photographs at The Met. Exhibition design is by Brian Butterfield, Senior Exhibition Designer; graphics are by Anna Rieger, Graphic Designer; and lighting design is by Laura Mroczkowski, Lighting Designer, all of The Met's Design Department. The exhibition is made possible by the Alfred Stieglitz Society. Additional support is provided by The Horace W. Goldsmith Foundation and the Art Mentor Foundation Lucerne.

Text : Courtesy of  The Met Museum
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Read More :  Neal Selkirk is the only person ever authorized to make posthumous prints of the work of Diane Arbus.  Read my Interview with Neal Selkirk