Tag Archives: Documentary Photographers

London Art Fair 2 for 1 ticket offer

London Art Fair is one of the UK’s premier destinations for modern British and contemporary art, bringing together 129 leading galleries from the UK and overseas.

Alongside the main fair, two curated sections focus on younger galleries, new work and contemporary photography; Art Projects and Photo50. Photo50 is an exhibition of contemporary photography featuring fifty works, curated this year by Nick Hackworth, Director of the excellent Paradise Row gallery. Entitled, A Cyclical Poem, it will bring together the work of a number of British photojournalists and documentary photographers from the 1970s to the present day including Brian Griffin, Paul Hill, Sirrka-Lisa Kontinen, Dorothy Bohm, Marketa Luscakova and Chris Steele-Perkins. The exhibition is an elliptical meditation on the idea of historical change, instances separated by eras, of congruence and difference; it considers what has changed and what has stayed the same.

The fair keeps its doors open late on Thursday 17 January, providing you with the opportunity to look at the work by over 1,000 artists whilst enjoying complimentary drinks, talks and performances.

1000 Words readers can purchase 2 for 1 advanced tickets for this evening; just enter code LAF467 when booking to activate your discount. Offer valid until midnight 31 December 2012. Book here!

Arantxa Cedillo

Arantxa Cedillo is one of those unique documentary photographers who has the ability to reinterpret difficult situations into work that is artistic, poignant and meaningful. Her sensitivity to her subjects and her ability to tell stories in unique ways make her a gifted seer.  I am featuring her project, Cambodian Children at Risk, where she manages to obscure the identity of her subjects, yet create compelling diptych portraits.

Arantxa was born in Madrid  and studied the Photojournalism and Documentary Photography Program at the International Center of Photography.
Her work has received several international awards such as the Ian Parry Award (2005, UK), the Kiyosato’s Young Portfolio Acquisitions (2005, 2006, Japan), the Magenta Foundation’s Emerging Photographers Award (2008, 2011, Canada), the Alexandra Boulat Scholarship TPW (2008, Italy), and numerous others. Arantxa has been widely published with clients such as Human Rights Watch, Amnesty International, Time Magazine, The New York Times, CNN, New York Magazine, the Sunday Times Magazine, the Christian Science Monitor, GEO, Colors, Le Monde, Marie Claire, El Pais Semanal, Io Dona, The Australian and DU among others.
Her work has been widely published in galleries around the world including the Canon Japan Gallery (Tokyo), Getty Images Gallery (London), International Center of Photography (New York), New Orleans Photo Alliance (New Orleans), Center for Photography at Woodstock (Woodstock), Toronto Image Works Gallery (Toronto), Mogliano Veneto (Treviso) and the Royal University of Fine Arts (Phnom Penh).
She is currently based in Kathmandhu, Nepal, and her work is represented by Getty Images Global Assignment.

Cambodian Children at Risk it is a project produced, within the IOM “Human Rights Protection for Trafficking Victims through Legal Support” Project and funded by the Italian Cooperation.The primary concern was to present children at risk without showing their faces or any other feature that could lead to their identification, which was a very significant and creative challenge. It was done working with households and local communities in Cambodia to show the lives and livelihoods of children at risk. This project was produced in collaboration with Damnok Toek, Krousar Thmey and Mith Samlanh, and with the support of the Royal Government of Cambodia.

Malis was alone and lost in a foreign country, not knowing which path would take her home.

Malis’s family were very poor, with no rice, no land to grow food, no tools for farming. When she was in Grade 2, she dropped out of school and the whole family went to Vietnam to beg. When Malis was about ten, she decided to go back with her aunt to earn money for her parents by washing dishes. At the border, the police let her through, even though she had no papers, because she was very small.

Her friends introduced her to a family where she washed dishes and mopped floors for a month, but then they asked her to go back to her family in Cambodia. Malis went home, but later returned to Vietnam with a broker from her village to work as a beggar. Shortly after she arrived, Malis got lost in Ho Chi Minh City for a year.

A “black lady’ (who had darker skin than Malis) took her to a household in southern Vietnam, which used to be Cambodian territory. She did housework for a Khmer-speaking family, earning 20,000 Vietnamese Dong (US1) a day. Although the family did not mistreat her, Malis was afraid that they would keep her forever. The broker did not help her to go home. In fact, when her parents went to court in Cambodia to try to trace her, the broker ran away from the village.

Eventually, a social worker found her, and the family she was working for took her to the border, but Malis did not know the way home. By chance, she met someone who knew her father, and he came to collect her. Her father felt very happy when he saw her. Her mother was overjoyed and sorrowful at the same time. She says: “I felt strange when I came back home as I was away for one year. I never went back to Vietnam after that.”

Champa was passed around from family to family, trapped and mistreated, until she finally found a place to call home. 

When she was three years old, her mother gave her to another family to take care of her. When she was eight, she was passed on to a second family, and when she was 11, to a third. It is believed that all the families beat her. One day when she was washing the dishes, the mother beat her, so she ran away. She slept outside and people recognized her, so she ran away again. An NGO found her and contacted the third family, but when the mother arrived Champa ran away again. She went to a pagoda and was cared for by the nuns for a few weeks, but girls are not allowed to live in pagodas, so the monks were not comfortable with having her. The NGO contacted Damnok Toek, who took her to the Day Care Centre.

Champa did not know how to read or write. Even though she was a big kid, she was still in Grade 1. She did not speak and fought a lot. She was very angry and used to cry at night. Two years later, she still gets angry sometimes, but she can speak, read and write. Now she smiles, and likes to play with children and do sewing. She says: “I like living at the school because I learn things. I would like to become a teacher and sew clothes.”

Chan became an addict when a gangster stole his money, bought drugs, and forced him to try them.

His father died after falling from a palm tree. When he was eight, his mother and sister forced him and his two brothers to go to Phnom Penh. There he earned about 6,000 riel (US 1.50) a day begging, while his brothers earned 10,000 Riel (US 2.50) washing dishes. They all slept together on the street.

Chan started working in front of the Royal Palace, but gangsters beat him up and took his money. One night, they put tissues between his toes and lit them. He got scared, and started walking around all night to stay awake. The gangsters forced him to sniff glue and use yama. He began to want to use it because it made it possible for him to work at night, and made him feel happy. A foreigner took him and one of his friends to a hotel, but the police arrived before anything happened. He decided to stop using yama. 

Chan fell sick, and his sister-in-law, who sold toys in front of the Royal Palace, took him to Mith Samlanh. Eventually, his sister-in-law asked if he could live there. Now he studies part-time at Mith Samlanh and part-time at public school, where he is in Grade 4.

Chan likes living alone. He says, “I would like to study mechanics and repair cars.”

Kdeb was preyed upon by a foreigner in public places, because he was living in the open, with no privacy and nowhere to find refuge. 

He came to Phnom Penh with his grandmother when he was ten because his father beat him. He collecting recyclables and helped his grandmother to sell flowers in front of the Royal Palace, where they lived on the street. 

An American man met him while he was taking a bath outside the Palace. The man took him for walks, bought him food and new clothes, took him to study English, and abused him. About eight months later, the man was arrested and Kdeb was asked to testify against him. The man was sent to prison and ordered to pay compensation, but it is unclear if this was ever paid.

His grandmother rented a place near the market, and Kdeb lived there with her. But the situation was not safe because the police “cleaned the streets”, so Mith Samlanh moved him to the centre, where he lived for about six months. He now lives with his grandmother again and continues studying at Mith Samlanh.

Kdeb likes football, especially Christian Ronaldo, and likes drawing nature pictures, such as landscapes and flowers. He says, “I would like to study more, but I don’t know what. In future, I would like to be a policeman.”

Dong spent many years confined to bed, but now he is well-known for performing the peacock dancer
He has been deaf since birth. He is one of seven children. One of his elder sisters is also deaf, and studied at Krousar Thmey, so she taught Dong sign language. As a child, he was never discriminated against. In fact, people liked him a lot. His parents believe that education is very important, because their children it enables their children to live like other people and be included in society. 
Dong was seriously ill as a small child. He had an operation and needed to stay home for a long time. Five years ago, when he was ten, he started studying at Krousar Thmey Since starting school, he has become more polite but he does not play as much as before. He is a normal child and a good student. He has many friends and likes playing games, like bowling and badminton. 
Dong has learned how to be a ‘peacock dancer’ and usually train two hours a week. Now many people in the provinces have seen him and know him. He likes drawing a lot, and when he comes back home from school he either watches TV or dances. 

Klok spent four years in Bangkok, begging on bridges, to support his parents and six siblings, under close watch by the broker who took him there.
He is one of seven children in a very poor family, has a deformity of his upper limbs. When he was seven, a broker told his parents that a disabled child could earn a lot of money begging in Thailand. His parents agreed, and paid the broker 3,000 Baht to take him to Thailand, which they promised to pay off from his earnings. 
In Bangkok, Klok got up at 5am every day and worked until 10am, then worked again from 2pm to 6pm. He used to sit down on the street, usually on a bridge, hold an empty bowl and thank people when they gave him money. Every hour or two, the broker came around and collected the money from the child beggars. Klok usually earned about 1000 Baht (US$30). The broker gave him 100-150 Baht (US$3 – US$4.50) and kept the rest. 
Klok rapidly became the main breadwinner in the family, often coming and going to Thailand. He had enough to eat, and had friends and learned to speak Thai, but he did not like begging. His parents did not like it either, but they had no choice.

When he was 11 years old, Klok was caught by the police. He was put in a detention centre with about 30 other children. Some tried to escape or fought with each other, but Klok did not do that, because he wanted to go back to Cambodia. 

Klok now stays at Damnok Toek in Phnom Penh. He cannot be reintegrated into his family, as they are even poorer now that his father has died. He likes Damnok Toek, as he can go to school to learn English and computer. He says, “In the future, I would like to be a translator.”

Trop and his siblings never had a home of their own. Without the kindness of friends, they would have been living on the street. 

Trop is the youngest of three children, whose parents died when the children were small. They went to live with their grandmother, who worked as a cake seller, but she had no house so they used to live with the neighbours. Trop was happy to help his grandmother sell cakes, and to clean the house. 
The two older children went to study at Mith Samlanh. Then their grandmother became very sick, so she and Trop also moved to Phnom Penh to live with their mother’s friend, their “godmother”. At first his grandmother could not sell anything and she was very sick with a muscular disease, so he gave her massages and did everything he could to help. 
Trop started studying at Mith Samlanh two years ago. His brother studies laundry and his sister studies hairdressing. Trop has now been reintegrated into public school, where he is studying in Grade 5. He is very honest and gets top grades every month. His friends like him because he is very clever, and the other students often ask him for help. 
 He says, “I like Phnom Penh because it is a happy place and easy to live in. The thing I like most is studying.”

Kolap grew up working amid garbage, but education is now giving her a chance to grow in healthier soil. 
Her father was an alcoholic who beat his wife and never shared the little money he earned. When she was four, her parents separated and her mother took Kolap and her younger brother to live with their grandmother, then went to look for her husband. Neither of the parents has been seen since. 
Kolap’s grandmother worked as a street hawker around the ferry terminal area in Neak Loeung. The household now had ten mouths to feed. Kolap helped around the house, but when she was seven, her grandparents decided they needed her to earn an income too. Kolap got up at 4am every day to go out scavenging with her aunt, and went back to the house twice a day to cook rice for the family. She usually earned about 2,500 Riel (US 80 cents) a day, but if she did not earn anything she was afraid to go home. 
A social worker from Damnok Toek met Kolap and gradually persuaded her grandparents to let her do classes at the Drop-In Centre for two hours a day. Late last year, she began attending full time. Damnok Toek supported her with her school materials, meals, clothes, healthcare and counseling. She goes to school very early so that she can still go scavenging, and earns about 2000 Riel (US 50 cents) a day. 
Now Kolap is in Grade 1 and can read, write and do arithmetic. She has started talking a lot more, but if the teachers ask about her problems, sometimes she just shakes her head and cries. She dreams of becoming a traditional dancer. She says: “I am very happy when I dance.”

Bopha felt closely tied to her father, and always tried to care for him, even though he did not treat her well. 

Bopha’s mother abandoned the family when the children were small. Their father brought them to Phnom Penh to live with her aunt, but her father, who is mentally ill, was rough and abusive, so her aunt kicked them out. 
They lived on the street, working as beggars and scavengers, and sometimes took care of people’s shoes at the pagoda. Their father would talk loudly to himself about politics and his children, and get into fights. Bopha was scared of him, because he would beat them and swear at them, but she still wanted to take care of him. 
The Mith Samlanh staff asked her aunt if the children could go to study at the centre. Bopha’s father claimed the children had been taken away from him by force, and one day he beat the security guard. He complained to Court, but when the Court asked them where they wanted to live, the children chose Mith Samlanh. 
When Bopha was 11, her father had a job and a rented house. Bopha lived with him for two years, until it became impossible. She went back to Mith Samlanh, but asked for permission to visit her father once a week to help him with his job. After he assaulted her, they refused to allow her to go anymore. 
Now Bopha lives at Mith Samlanh and is studying in Grade 5. She studies arts, such as drawing, dancing and singing, and likes reading books, watching TV and helping with the cooking. She says, “In future, I would like to work as a teacher for Mith Samlanh and work for a company, perhaps as an accountant.”

Champey probably lost her sight when she was left under a tree as a baby.

Champey was abandoned as a baby by her mother under a tree near a lake. People say that insects ate her left eye while she was lying there, and she can only see a little through her right eye. Champey is also deaf. When she was four years old, an orphanage found her and brought her to Krousar Thmey. 
A Korean NGO took her to Korea to have a cochlear implant installed. This is an amplifier that is surgically inserted into her ear.

Champey has been studying at Krousar Thmey for five years. She is slow at learning because she cannot see much and is still in Grade 1, but she is a very good student. She always sits in the front row of the class, does everything at school and participates in all the activities. 

Champey likes reading books and drawing pictures, and playing as if she was cooking. 
The teacher says that she cannot control her sometimes when she doesn’t concentrate. When she needs something she just goes and gets it. For example, when she is hungry, she goes to the street and begs. Now she is changing that attitude a bit and has started asking for things when she needs them. 
Champey does not know why she cannot see. She is a happy child, and never asks questions about what happened to her.

Photo Prize Round-Up — 04.26.12

Aperture offers a round-up of the latest, greatest, and most rapidly-approaching deadlines in the ever-expanding world of photo prizes.

Moving Walls Exhibition (deadline: April 30, 2012, 5PM EST)

History When the New York headquarters of the Open Society Foundations moved to their 400 West 59th Street location in 1997, a photography exhibition was not part of the plan, but the many large, empty walls of the space presented an opportunity to feature imagery that would amplify the foundation’s missions.

Concept Supporting documentary photographers whose work addresses social justice and human rights issues that coincide with the OSF‘s mission of promoting and expanding open society. Priority is given to work whose subject has not been recently addressed in Moving Walls, and special consideration is given to long-term work produced over years of commitment to an issue or community.

This Year Celebrating its 20th exhibition cycle, Moving Walls 20 will be the inaugural exhibition in the Open Society Foundations’ new headquarters on West 57th Street in New York.

How To ApplyAll entries must be submitted online by 5PM EST on Monday, April 30, 2012

Santa Fe Photographic Workshops (deadline: April 30, 2012, 11:59pm MST)

HistoryAfter many, many requests from Santa Fe Photographic Workshop participants and students, the organization offered its first-ever photography competition during the summer of 2010.

Concept Since conception, the Santa Fe Photographic Workshop‘s semi-annual competitions have focused on broad conceptual themes (Family, Light, Summer). The current cycle is a call for participants’ best examples of The Portrait: “Environmental, studio, candid, or posed. Self or pet, color, black-and-white, alternative process or iPhone.”

This YearSpring 2012′s esteemed panel of judges includes: Kathy Ryan, Director of Photography, The New York Times Magazine; Scott Thode, Editor-in-Chief, VII magazine; Katherine Ware, Curator of Photography, New Mexico Museum of Art; Sean Kernan, Photographer; and Reid Callanan, Director, Santa Fe Photographic Workshops

The winning images will be featured on Aline Smithson’s Lenscratch blogzine, and Grand Prize alone is worth over $5,000.

How To Apply Submit electronically through the competition website by 11:59PM MST on April 30, 2012

Image12 – ASMP New York (deadline: May 1, 2012)

History› Now in its twelfth iteration, Image is a nationwide photo contest run by the New York chapter of the American Society of Media Photographers, the leading trade association for professional photographers, promoting rights, education, better business practices and ethics.

Concept› Without thematic constraints, all of the eligible ASMP Image entries will be judged on the concept, creativity and technical execution of individual submissions. Entries are channeled into Student and Professional judging pools, each with their own respective first, second and third place winners. All images submitted to Image12 must have been created on or before January 1, 2011.

This Year› Image12’s judging panel includes: Elizabeth Avedon, Independent Curator and Writer, La Lettre; Holly Stuart Hughes, Editor, PDN; Jody Quon, Photography Director, New York Magazine; Marc Sobier, Global Director, Y&R NY; Hosanna Marshall, Art Buyer/Creative Producer, Saatchi & Saatchi NY

First Place prizes include publication of the winning Image in a full-page ad in Photo District News, and an exhibition of the winning Image in a New York gallery.

How To Apply› All entries must be received via web by May 1, 2012

Japan’s Young Portfolio (deadline: May 15, 2012): View further details here.

AI-PA Latin American Fotografia (deadline: June 30, 2012): View further details here.

Missing something? Send us links and recommendations via direct message on twitter, @aperturefnd


The Radical Camera: New York’s Photo League

A game of hopscotch. A toothpaste ad. Filthy slums. This, for better or worse, was New York life in the 1930s. Many looked but few saw until the Photo League—a pioneering group of young, idealistic documentary photographers—captured that life with cameras.

The Manhattan-based League, which incorporated a school, darkroom, gallery and salon, was the first institution of its kind when it was founded in 1936 says Mason Klein, curator of fine arts at The Jewish Museum, which is currently presenting “The Radical Camera,” an exhibition in collaboration with the Columbus Museum of Art in Ohio. “There was nothing like the Photo League, where people could exhibit their work, students alongside their mentors, be taught a kind of history of photography and start understanding what the meaning of the photograph might be.”

Many of its founding members, including Sid Grossman, Sol Libsohn and Aaron Siskind, were first-generation Jewish immigrants with progressive, left-wing sensibilities. “They were very conscious of neighborhoods and communities,” says Klein. “I think it was very natural for Jews to form an egalitarian group and understand that the ordinary citizen of the urban scene was as much a valid subject as any for photography.”

The League thrived for fifteen years, generating projects like the Harlem Document, a collaborative effort by ten photographers to document the living conditions in poor black neighborhoods. It also fostered the careers of notable photographers such as Lisette Model, Weegee and Rosalie Gwathmey.

Despite its progressive agenda, the League’s mission was far from simplistic. Founder Grossman, who was just 23 when the group started, encouraged its members to look beyond documentary and question their relationship with the image. “Sid taught people to challenge their habitual ways of seeing the world,” says Klein. “A more poetic and metaphoric expression of how one saw the world was what Sid wanted from his students.” Under Grossman’s guidance, the League’s young muckrakers became artists.

By the 1940s, the League had turned away from its narrow political focus, capturing the squalor and splendor of everyday New York. The country was moving in the other direction, however, zeroing in on those suspected of harboring leftist sympathies. On December 5, 1947, the U.S. Attorney General blacklisted the League as “totalitarian, fascist, communist or subversive.” In 1951, it closed its doors forever.

The League’s reputation has never truly recovered, says Klein. “They were condemned to a kind of ideological shelving and, I think, unfairly treated by history. We’re trying to rectify that with this show, because they really were always about pushing the photograph and understanding it as art.”

The Radical Camera is on display at The Jewish Museum in New York through March 25. 

Sonia van Gilder Cooke is a reporter in TIME’s London Bureau. Follow her on Twitter at @svangildercooke.

Photography Workshop with Alex Webb & Rebecca Norris Webb

Sancti Spiritus, Cuba, 1993 © Alex Webb/Magnum Photos

Photography Workshop at Aperture with Alex Webb and Rebecca Norris Webb
This one-day workshop is geared for documentary photographers, street photographers, and others who photograph the world with a camera—not for those who dramatically manipulate their photographs. Also includes public gallery talk with Alex Webb about his exhibition, Alex Webb: The Suffering of Light, at Aperture Gallery from 4:00 to 5:00 pm. The exhibition features works from his recently published book The Suffering of Light.

Saturday, December 17, 2011
10:00 am–5:00 pm

$225 (Tickets are non-refundable)
Purchase tickets to the event

Do you know where you’re going next with your photography––or where it’s taking you? This intensive one-day workshop will help photographers begin to understand their own distinct way of seeing the world. It will also help photographers figure out their next step photographically ––from deepening their own unique vision to the process of discovering and making a long-term project that they’re passionate about.

A workshop for serious amateurs and professionals alike, it will begin with reviews of each photographer’s work, serving as a jumping off point for a larger discussion about various photographic issues. Alex and Rebecca, a creative team who often edit projects and books together –– including their book and Museum of Fine Arts, Boston, exhibition, “Violet Isle: A Duet of Photographs from Cuba”––will explore with the class a series of topics, including the process of photographing spontaneously and intuitively; how to photograph in cultures other than one’s own; how to edit photographs intuitively; the emotional and psychological implications of working in color vs. black and white; the difference between images in a book and images on the wall; and how long-term projects can evolve into books and exhibitions. Participants should be prepared to ask questions, as these concerns will help shape the ultimate direction of the workshop. This one-day workshop is geared for documentary photographers, street photographers, and others who photograph the world with a camera––not for those who dramatically manipulate their photographs.

Aperture Gallery and Bookstore
547 W. 27th Street, 4th Floor
New York, NY
(212) 505-5555

The workshop is offered at the discounted price of $175 for full-time students and Aperture members. Please call (212) 505-5555 to reserve at this special rate, or buy tickets through Aperture’s website.


Alex Webb is best known for his vibrant and complex color work, especially from Latin America and the Caribbean. He has published nine books, including Istanbul: City of a Hundred Names, and his most recent, The Suffering of Light: Thirty Years of Photographs (Aperture). Alex has exhibited at museums worldwide including the Whitney Museum of American Art, the High Museum of Art, Atlanta, and the Museum of Contemporary Art, San Diego. His work is in the collections of the Museum of Fine Arts, Boston, the Metropolitan Museum of Art, NY, and the Guggenheim Museum, NY. Alex became a full member of Magnum Photos in 1979. His work has appeared in National Geographic, the New York Times Magazine, Geo, and other magazines. He received a Guggenheim Fellowship in 2007 for continuing working in Cuba, and the Premio Internacional de Fotografia Alcobendas in 2009.

For the past decade, Rebecca Norris Webb has been exploring the complicated relationship between people and the natural world. Originally a poet, she has shown her photographic work internationally, including at the George Eastman House Museum and Ricco Maresca Gallery, New York. Her first book, The Glass Between Us, was published in 2006, and her second book, Violet Isle: A Duet of Photographs from Cuba (with Alex Webb), was published in November 2009. Her photographs are in the collections of the George Eastman House Museum, Museum of Fine Arts, Boston, and the Provincetown Art Association and Museum, and she is represented by the Photographers’ Gallery in London. Rebecca’s work has appeared in Time, New Letters, Orion, and other magazines. Her third book, My Dakota, will be published in 2012 by Radius, and exhibited at the Dahl Arts Center in Rapid City, South Dakota.

Alex and Rebecca have a joint exhibition of their Cuba photographs at the Museum of Fine Arts, Boston, which will run until January 16, 2012, which will then travel to the Southeast Museum of Photography in Daytona, Florida. The couple is currently collaborating on a project in the U.S.

WHAT PHOTOGRAPHERS SHOULD BRING: About 30 photography prints (can be inexpensive 5×7” or 8×10” work prints; we are most interested in the image not the quality of the print). For those who are working in a series or on a long-term project, feel free to bring one or two projects. Class limit: 17. For more information, contact Rebecca at [email protected].

New York’s Photo League at The Jewish Museum

Coney Island, 1947. © Sid Grossman

The Radical Camera: New York’s Photo League, 1936-1951

Exhibition on view:
November 4, 2011–March 25, 2012

The Jewish Museum
1109 5th Ave
New York, NY
(212) 423-3200

The Jewish Museum of New York will be exhibiting The Radical Camera, a collection of photographs from the influential Photo League. Based in New York City, The Photo League consisted of young, politically progressive artists (many of whom were first generation Jewish Americans) that were shooting from the mid 1930s to the early 1950s. Interested in capturing their direct surroundings, League members documented the urban landscape of New York City during the turbulent times of the late Depression, World War II, and early Cold War eras. The League also created a collaborative center which offered affordable classes, darkroom facilities, and free lectures and social events for photographers.

Although they dismantled during the Red Scare of the McCarthy era, the legacy of The Photo League continues to influence documentary photographers. Aperture has published the work of several Photo League artists and those works include Lisette Model’s self-titled monograph and Paul Strand’s Paul Strand in Mexico. Aperture’s current Fall issue (204) includes an article by Mary Panzer about The Photo League’s legacy.

Bruce Davidson’s Subway Exhibition

© Magnum/Bruce Davidson

In 1986, Aperture first published Bruce Davidson‘s Subway—a ground-breaking series that has garnered critical acclaim both as a document of a unique moment in the cultural fabric of New York City as well as for its phenomenal use of extremes of color and shadow set against flash-lit skin. In Davidson’s own words, “the people in the subway, their flesh juxtaposed against the graffiti, the penetrating effect of the strobe light itself, and even the hollow darkness of the tunnels, inspired an aesthetic that goes unnoticed by passengers who are trapped underground, hiding behind masks, and closed off from each other.”

Accompanying the third edition of this classic of photographic literature, Aperture Gallery will present Subway, an exhibition of the iconic color images that move the viewer through a landscape at times menacing, at other times lyrical, soulful, and satiric. The images include the full panoply of New Yorkers—from weary straphangers and languorous ladies in summer dresses to stalking predators and the homeless.

There will also be a Talk and Book Signing event at Strand Books on Monday, September 26, 2011. Buying a copy of the new edition of Subway, or a $10 Strand gift card will get you into the event. Although tickets are sold out online, more tickets will be sold at the door the night of the signing.

Bruce Davidson (born in Oak Park, Illinois, 1933) is considered one of America’s most influential documentary photographers. He began taking photographs when he was ten, and studied at the Rochester Institute of Technology and the Yale University School of Design. In 1958 he became a member of Magnum Photos, and in 1962, he received a Guggenheim Fellowship to document the civil rights movement. After a solo exhibition at the Museum of Modern Art in 1963, followed by a National Endowment for the Arts grant in 1967, Davidson spent two years photographing in East Harlem, resulting in East 100th Street. In 1980, after living in New York City for twenty-three years, Davidson began his startling color essay of urban life in Subway. Davidson received a second National Endowment for the Arts Fellowship in 1980, and an Open Society Institute Individual Fellowship in 1998. His work has been shown at the International Center of Photography, New York; Walker Art Center, Minneapolis; Museum de Tokyo, Paris; Smithsonian Institution, Washington, D.C.; Museum Rattu, Arles, France; Burden Gallery (Aperture), New York; Parco Gallery, Tokyo; and New-York Historical Society.

Exhibition on view:
Tuesday, October 4, 2011–Saturday, October 29, 2011

Opening reception:
Thursday, October 13, 2011, 6:00 pm

Artist Talk:
Wednesday, October 26, 2011, 6:30 pm

Aperture Gallery
547 West 27th Street, 4th floor
New York, New York
(212) 505-5555

Marcus Bleasdale at Anastasia Gallery in NY Sept 7 to Oct 21 2011. Reception Sept 27th

Anastasia Gallery
166 Orchard Street
New York, NY 10002
Hours: Tues – Sun 11am – 7pm

Artist Reception is on September 27th.

Proceeds are being donated to St Kizito Orphanage in DR Congo.

However painful it may be for us delicate souls, and however intractable the Congo’s ills may appear, and however drained of compassion we may feel in the face of Darfur and other hells, we must never turn away our gaze. Indeed, we have a moral duty to look, which is what these images are telling us. To observe pain only through the prisms of the boardroom and the computer screen is to sever the vital artery between compassion and action.

The continuing human tragedy of Congo is not a statistic. It is a continuing human tragedy. It is fourteen hundred and fifty tragedies every day. It is countless more than that if you include the orphaned, the bereaved, the widowed, and all the ripples of truncated lives that spread from a single death. It is you and me and our children and our parents, if we had had the bad luck to be born into the world this work portrays.

But Congo has one secret that is hard to pass on if you haven’t learned it at first hand. Look carefully and you will find it in these images: a gaiety of spirit and a love of life that, even in the worst of times, leave the pampered Westerner moved and humbled beyond words.

John le Carré



Marcus Bleasdale is one of the world’s leading documentary photographers. He increasingly uses his work to influence decision makers and policy makers around the world.

His work on human rights and conflict have been shown at the U.S. Senate, The United Nations and the Houses of Parliament in the UK. Bleasdale’s work also appears in The New Yorker, The New York Times, The Sunday Times Magazine, The Telegraph Magazine, Stern, Le Monde, TIME Magazine, Newsweek and National Geographic.