DROWNED RIVER : The Death and Rebirth of Glen Canyon on the Colorado | Photographs by Mark Klett + Byron Wolfe

© Mark Klett and Byron Wolfe
Drowned River: The Death and Rebirth of Glen Canyon on the Colorado
Radius Books, 2018
© Mark Klett and Byron Wolfe
Drowned River: The Death and Rebirth of Glen Canyon on the Colorado
Radius Books, 2018

© Mark Klett and Byron Wolfe
Drowned River: The Death and Rebirth of Glen Canyon on the Colorado
Radius Books, 2018

© Mark Klett and Byron Wolfe
Drowned River: The Death and Rebirth of Glen Canyon on the Colorado
Radius Books, 2018

© Mark Klett and Byron Wolfe
Drowned River: The Death and Rebirth of Glen Canyon on the Colorado
Radius Books, 2018

© Mark Klett and Byron Wolfe
Drowned River: The Death and Rebirth of Glen Canyon on the Colorado
Radius Books, 2018

The Death + Rebirth of Glen Canyon on the Colorado
Radius Books, 2018

Drowned River is a book about climate change, but also about how photography can describe beauty and trouble simultaneously, about depth and shallowness, about what it takes to understand a place and to come to terms with the enormous scale of the changes we have set in motion.

"Their starting point was Eliot Porter’s landmark book of color photography, The Place No One Knew: Glen Canyon the Colorado, published by the Sierra Club in 1963 as a political statement about what had been lost under the dam’s waters and why it should never happen again. Their ending point is the reemergence of the river and the rise of questions about climate, the fate of the southwest, the folly of human endeavors to control nature, and the possibility of seeing these places and problems in new ways. 
Like previous collaborative work using historic images, Mark Klett and Byron Wolfe retrace the physical locations where Porter made his photographs, now mostly submerged by the lake’s waters, often as deep as 400 feet beneath the surface. Unlike previous projects, this work is not a rephotographic examination of his earlier sites or scenes; by necessity, this effort involves making entirely new images in response to the original Porter works. Rebecca Solnit’s accompanying text meditates on meanings and histories, drawing from both the trio’s explorations of the place and archival research." – Radius Books

Photography by Mark Klett and Byron Wolfe
Introduction by Michael Brune
Essay by Rebecca Solnit

Hardcover / 11.25 x 13
80 images / 212 pages

Text and images courtesy of Radius Books



Pablo Picasso, Vallauris, France, 1954
© Arnold Newman

Eikoh Hosoe, 1971 © Arnold Newman

Georgia O'Keefe, Ghost Ranch, New Mexico, 1968
© Arnold Newman

 Yasuo Kuniyoshi, New York City, 1941
© Arnold Newman

Helen Levitt, 1944 © Arnold Newman

Georgia O'Keefe, NYC, 1944 © Arnold Newman

"Arnold Newman (1918-2006) was born in New York City. He began his career in photography in 1938 working at chain portrait studios in Philadelphia, Baltimore, and West Palm Beach, and immediately began working in abstract and documentary photography on his own. In June of 1941, Beaumont Newhall of the Museum of Modern Art, New York, and Alfred Stieglitz “discovered” him, and he was given an exhibition with at the A.D. Gallery in September. In 1945 his Philadelphia Museum of Art one-man show, Artists Look Like This, attracted nationwide attention. Newman’s new approach to portraiture began its influence through key publications in America and abroad. Exhibitions and purchases of his work by major museums quickly followed." 

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"Published to coincide with the centennial of Arnold Newman’s birth, Arnold Newman: One Hundred offers a celebratory look at 100 of the photographer’s most provocative and memorable images. Arnold Newman (1918–2006) is generally acknowledged as the pioneer of the environmental portrait. He spent time exploring the essence of his subjects, finding the best environment to express who they were, and integrating them with their work into compositions that referenced the work. He structured his own visual language, setting up photographs with jaunty geometric grace and inventing visual elements where none existed thus adding complexity and depth to his portraits. His sense of tension, rhythm, and balance, guides the eye through his command of composition."

"The book interweaves the portraits with a selection of Newman’s earlier abstractions and still lifes and thus illuminates the photographer’s development and creative process. The carefully composed formal elements of his early images are echoed in his portraiture and demonstrate his understanding and assimilation of the modernist and cubist ideas that were manifest in the work of many of the artists he photographed and befriended.” 
– Howard Greenberg Gallery

"Arnold Newman: One Hundred" 
Cover: William de Kooning, New York, 1959

Photography by Arnold Newman
Introduction by Gregory Heisler
Hardcover / 10 x 12 inches
100 images / 224 pages
Radius Books, 2018


All text courtesy of Howard Greenberg Gallery



Jasper © Matthew Genitempo / Twin Palms Publishers, 2018

Jasper © Matthew Genitempo / Twin Palms Publishers, 2018

Jasper © Matthew Genitempo / Twin Palms Publishers, 2018

Jasper © Matthew Genitempo / Twin Palms Publishers, 2018

Jasper © Matthew Genitempo / Twin Palms Publishers, 2018

Jasper © Matthew Genitempo / Twin Palms Publishers, 2018

pines grow pulling the old dreams through the soil pine sap
climbing into its limbs lifting a ladder like solitude”

Inspired by the life and work of the poet and land surveyor, Frank Stanford, these photographs of hermetic homes and men living in solitude were taken in the Ozark Mountains of Arkansas and Missouri.

By capturing the foggy landscapes, cluttered interiors, and rugged men that are tucked away in the dark woods, Jasper explores a fascination with running away from the everyday. The work bounces between fact and fiction, exhibiting the reality and myth of what it means to be truly apart from society.

Matthew Genitempo is an American photographer and book publisher currently living and making work in Marfa, Texas and received his MFA in photography from the University of Hartford. 

Matthew was recently selected as one of PDN’s 30 Emerging Photographers and received the LensCulture Emerging Photographer Award. Jasper was short-listed for the 2018 Paris Photo/Aperture Foundation First PhotoBook Prize. 

 Jasper by Matthew Genitempo / Twin Palms Publishers, 2018

Santa Fe

first edition of 2000 copies
10.5 x 13 inches, 96 pages
 51 tritone plates
uncoated paper
clothbound hardcover
raw paper dust jacket
US $85

Text and images courtesy of Twin Palms

TOM CHAMBERS: Hearts and Bones

 Hearts and Bones 
(Unicorn Publishing, 2018)
Tom Chambers Photomontage Retrospective
Introduction by Elizabeth Avedon
Cover: Prom Gown, 2005 / Rite of Passage Series

"I am very aware of the balance of nature and disturbed by the negative impact of global warming. This is not only a problem for the animal population, but it’s now starting to affect us directly through fires, extreme weather, and scarcity of water. I have a daughter who will be on  this planet for years to come. For her I worry about the shift that is happening now." – Tom Chambers

The Trickster © Tom Chambers
To The Edge Series

Charmers © Tom Chambers
Rite of Passage Series

Afternoon with Octavio © Tom Chambers
Dreaming In Reverse Series

Edge of a Dream © Tom Chambers
Animal Vision Series

Stone and Sand © Tom Chambers
To The Edge Series (Ireland)

"Tom Chambers is a visionary artist, a mystical storyteller. When I was first introduced to his work over a decade ago, I was immediately drawn into his masterful world of staged surrealism, combining ideas and images, the mystery of which only he seemed to have the key to unlock." – Elizabeth Avedon

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Raised in the Amish farm country of Lancaster, Pennsylvania, photographer Tom Chambers completed his B.F.A. in 1985 from The Ringling School of Art, Sarasota, Florida majoring in graphic design with an emphasis in photography. Since 1998, Tom has exhibited photomontage images from eight photographic series both nationally and internationally in twenty one solo exhibitions and over seventy group exhibitions and art fairs. 

A comprehensive retrospective of Chambers's stunning Photomontage Art, 'Hearts and Bones', was published this Fall by Unicorn Publishing, London and Chicago.

Hearts and Bones
A Retrospective of Tom Chambers' Photomontage Art
Photographs by Tom Chambers
Foreword by Elizabeth Avedon
Unicorn Publishing Group, Chicago, 2018
In English. 208 pp., 125 color illustrations, 11x11”

photo-eye Gallery, Santa Fe
Friday, Nov 30, 2018
5 PM – 7 PM MST




Dorothea Lange, 1935, California by Rondal Partridge
Farm Security Administration, Library of Congress.

Meet some of the most important photo editors, curators, gallery owners, video producers and book publishers.  Applications now open for the free 2019 New York Portfolio Review. 

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The New York Times Lens column, the Craig Newmark Graduate School of Journalism at the City University of New York and United Photo Industries are again bringing together 160 talented photographers with 75 top photo editors, publishers, curators, gallery owners and video producers, for the 7th annual New York Portfolio Review on March 30 and 31 in New York City. 

Applications are now open for the free (as always) review. Participation is open to anyone over 18 years old, and all types of photography will be considered. The Deadline is Dec. 10 at 11:59 p.m. Eastern Time.

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Photographers, Apply Here


RUDDY ROYE: When Living Is a Protest

"The Gun" © Ruddy Roye
@ruddyroye on Instagram, Oct. 20, 2014

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

"Twenty year-old Robert Scott (When Living is a Protest Series)" 
Photograph © Ruddy Roye

“When Living Is a Protest”

Radcliffe "Ruddy" Roye (b. 1969, Jamaica) is a Brooklyn based documentary photographer specializing in editorial and environmental portraits and photo-journalism photography. In his Instagram profile, he calls himself a humanist/activist and a photographer with a conscience. "Roye’s ongoing photo project “When Living Is a Protest” is potent storytelling, capturing glimpses of Black life and addressing issues of police brutality and structural inequality throughout the country in the wake of the deaths of Michael Brown and Eric Garner.”

Reclamation II : Curtis Talwst Santiago and Ruddy Roye "An exhibition dedicated to issues surrounding environmental and social justice, Reclamation brings together Jamaican-born, Brooklyn-based photographer Ruddy Roye and Canadian sculptor and painter Curtis Talwst Santiago around the double meanings of “reclamation”: to salvage or reclaim material and to reassert rights. Four new works debut and present eight works of Ruddy Roye’s ongoing photo project “When Living Is a Protest”.” 

November 5, 2018 – January 6, 2019
Brooklyn Public Library
10 Grand Army Plaza
Brooklyn, NY 11238

Shown here are several of my many favorite Roye images, although not necessarily in the current Brooklyn Public Library exhibition.  – EA

Photograph © Ruddy Roye
@ruddyroye on Instagram, August 29, 2014

"Richard Avedon is really why I started taking portraits the way I do. His ability to make the one picture speak like a story is the reason he is "The One," well for me anyway...."

"Forming the Circle" © Ruddy Roye
@ruddyroye on Instagram, November 3, 3018

"Dancehall is from the bowels of ghetto people. It is church, theatre, strip club, fashion show, business, seat of government and the polling station all rolled up into a nice tight spliff. ...." read more here

Ruddy Roye discusses photo-journalism with my School of Visual Arts BFA Photography students, sharing his own personal history, his beautiful black and white portraits and introducing his Jamaican "Dancehall" series. He has held teaching positions at New York University and the School of Visual Arts and lectured at Columbia University. Roye is one of the youngest members of the Kamoinge Workshop, the seminal and enduring black photography collective founded in 1963. His photography has appeared in the New York Times, TIME, The New Yorker, Vogue, Ebony, Fast Company, BET and ESPN. His work has been in exhibitions at the Museum of Contemporary Photography, Chicago; the Museum of Contemporary African Diasporan Arts; Silver Eye Center for Photography; the Chastain Arts Center; Alice Austen House and Photoville.


MONA KUHN: ParisPhoto 2018 | Flowers Gallery Exhibition + Book Signings

 Bushes and Succulents © Mona Kuhn

Bushes and Succulents © Mona Kuhn

Bushes and Succulents © Mona Kuhn

Bushes and Succulents © Mona Kuhn

Bushes and Succulents © Mona Kuhn

Bushes and Succulents © Mona Kuhn

Bushes and Succulents © Mona Kuhn

Bushes and Succulents 
Photographs: Mona Kuhn
Poetry: Gwendolyn Brooks
Published by Stanley Barker, 2018

PARIS PHOTO: Under the glorious glass domed ceiling of the Grand Palais, just at the VIP entrance, you will immediately be struck by the exotic beauty of Mona Kuhn's brilliant new series, "Bushes and Succulents,” hanging in FLOWERS London Gallery, Booth (A2); several large pieces ranging in size from 30x40" to 45x60. As a long-time fan of Kuhn's work going back over a decade -  from her early black and white portraits and nudes, through her color series Evidence, Native, Bordeaux and Private, up to this most recent incredibly sensual new series, "Bushes and Succulents” now debuting at Paris Photo - I'm always impressed by her methodology when embarking on a new series.  I spoke with Mona about her inspiration with these alluring botanicals.

EA: How did this series originate for you?

MONA KUHN: Not so long ago, women would find recognition as artists mainly if they worked with botanicals and craft. So earlier this year, I thought I ought to start, sooner than later, my first botanical series titled “Bushes and Succulents”. The title offers a sensual and playful wit to the much discussed aspects of current feminism.  My contribution is to continue a conversation that probably started with Courbet's painting "L'origine du monde”.

Feminism is currently multidimensional; there is no one take or objective. As for my own work, my intention with this series is to celebrate the female form and address women’s rights to express their sexuality in a way that is both playful and provocative. My own initial intent was strongly intuitive. The plants, in this case succulents, were chosen because of their power of endurance. And the solarized process on the Bushes abstracted the images of the bodies and the process itself pushed to reveal imperfections and bring out to the surface women's struggles, their strength, and their power. 

To me, both the succulents and women have powerful alluring forms related to notion of origin and survival. As a photographer, my female gaze highlights an unfiltered admiration for the female form and the works of other women such as Lee Miller and Georgia O’Keeffe. Additionally, I am honored to include a poem by Gwendolyn Brooks, who won a Pulitzer Prize for Poetry.  I have great respect for the women who collaborated in this work and the artist women who inspired me to push myself forward.

EA: Stieglitz and members of his circle viewed Georgia O’Keeffe’s flower paintings as an expression of her female sexuality. If you could choose what people to take away from viewing your new work, what would it be?

MK: My intention with “Bushes and Succulents” was to abstract the images while still holding on to the history of the photographic medium. I wanted to bring back attention to Lee Miller’s process of solarization. Man Ray was well known for creating solarized images, however it was Lee Miller who discovered it. Solarizing the body parts helped me abstract from straight reality and the "au naturel” or “full bush” look helped shield visually what most people prefer to keep private. As a result, I photographed an intimate segment of a woman’s body without showing much!

As a counter point, the close-up images of succulent plants evoke a much more heightened sensual emotion. The succulents embrace a sense of wonder, you no longer know what you are looking at, they are in a way reminiscent of Georgia O'Keeffe’s large flower paintings. This new series is about juxtaposing images and playing with how the mind brings them together, the viewer feels allured, yet nothing is quite revealed. This series plays with the power of perception.

EA: Why did you choose Gwendolyn Brooks poem “We Real Cool” for this book?

MK: Instead of an art historian or curatorial text, I was rather looking for a song or a poem that carried a similar energy. When I first read Gwendolyn Brooks “We Real Cool” poem, I was immediately taken by a few key words which resonated with what I was trying to convey visually. I like to think of women as “We”. I like the all inclusive unifying message. I also loved passages like “we sing sin” and “we thin gin” and “we lurk late” and “we strike straight”. 

I created these images with women of all shapes and ethnic backgrounds, who felt alike because they think alike and go fiercely about their daily lives. There is a sense that they own their good and bad days, that they find time to connect and have fun and that they are not ashamed or in any way apologetic for being themselves.  So the poem felt perfect.  Gregory Barker then reached out to Gwendolyn Brooks’ estate and presented my work for their consideration.  I was beyond honored when he called to confirm they had granted us permission to include the poem in this book.

And lately, as I present this series to institutions, I always save the best for the last, and finish with a recorded voice of Gwendolyn Brooks reading that poem. It gives me the chills, it is a real blessing!

“Bushes and Succulents"
Flowers, London
Paris Photo. Booth A2
Grand Palais
Avenue Winston Churchill
75008 Paris 
“Bushes and Succulents"
Photographs: Mona Kuhn
Text by Gwendolyn Brooks
Publisher: Stanley/Barker, 2018

"Bushes and Succulents" is a woman’s artistic interpretation of women, endurance, freedom, and origin. The monograph has been printed using silver ink and features the poem "We Real Cool" by Pulitzer Prize winner Gwendolyn Brooks.
Book Signings:

 Nov 10: 2pm 
Flowers London, Booth A2 inside the Grand Palais

Nov 10: 4pm
Group Signing at Jeu de Paume, Place Concorde 
6 Artists Published by Stanley Barker 2018




MICHAEL AVEDON : Survivors of School Shootings from 1946-2018 | New York Magazine

Cover Photograph © 2018  Michael Avedon
New York Magazine (Oct 29 - Nov 11, 2018)

Photograph © 2018  Michael Avedon
New York Magazine (Oct 29 - Nov 11, 2018)

"Anthony Borges was shot five times in the February 14, 2018 Marjory Stoneman Douglas High School shooting in Parkland, Florida. He barricaded a door to a classroom to protect other students, saving as many as 20 lives. He was the last of the injured to leave the hospital." read more...

Photograph © 2018  Michael Avedon
New York Magazine (Oct 29 - Nov 11, 2018)

Rome Schubert who was shot at the age of 16 at the Sante Fe Highschool in Sante Fe, Texas. “It turned into total survival mode. There were two girls sitting by the back door to the classroom, and they said, “Let’s go now.” I had no idea where he was. I had no idea that I had even been shot yet..." read more...

Photograph © 2018  Michael Avedon
New York Magazine (Oct 29 - Nov 11, 2018)

"Nick Walczak was shot at age 17 by a fellow classmate using a .22-caliber semi-automatic handgun..." read more...

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“School shootings are an epidemic in this country, and until the United States changes its gun laws, they will continue. This is not just a problem for our country; it is a crisis for humanity.” –Michael Avedon

Not to be missed, one of the most important cover stories of the year, "Survivors of School Shootings from 1946-2018”, in their own words as told to Jared Soule and Amelia Schonbek. Photographed across America by Michael Avedon; brilliant, heartbreaking portraits of #SchoolShooting survivors. New York Magazine (Oct 29 – Nov 11, 2018 issue). Instagram @michaelavedon

As told to Jared Soule and Amelia Schonbek 
Photo Portfolio by Michael Avedon
New York Magazine, issue Oct 29 - Nov 11, 2018