Roger Farrington: Celebrity in Boston


Roger Farrington, Jason Landry and I have been talking about exhibiting Roger’s celebrity photos for the last several years.

All throughout his career, Roger was the go-to guy to photograph countless Boston cultural events. He was everywhere, shooting everyone. The photos that are in Roger Farrington: Celebrity in Boston reflect the crazy mix of celebrities that have passed through Boston and in front of Roger’s camera for over four decades. It was tough for the three of us to select only 50 images from the thousands that Roger has in his files. We didn’t always agree, but in the end, we think that the images we chose tell a story that anyone who is a lifelong Bostonian (like me) will bring back more than a few memories.

This is an exhibition unlike any exhibition in recent memory. Where else can you see a photo of Reba McEntire and John Candy at the Boston Pops or Elizabeth Taylor being honored as Woman of the Year by Harvard’s Hasty Pudding? How about Anthony Quinn & Sammy Davis, Jr. at the opening of Zorba the Greek?

If you are a Bostonian, it’s an exhibition – like the events Roger photographed – not to be missed.

From the Panopticon Gallery website:
Roger Farrington: Celebrity in Boston

Panopticon Gallery is pleased to be exhibiting for the very first time an exclusive selection of fifty of Farrington’s classic candid shots of internationally known celebrities who visited Boston between the years of 1976 and 1996.

Curated by the former Executive Director of the Photographic Resource Center, Jim Fitts, and Panopticon Gallery owner, Jason Landry, the black and white photographs hark back to pre-internet times – the time before the “instant celebrity” of Facebook, Instagram and “the selfie,” before digital photography (even auto-focus) – to a more innocent time when black and white still ruled print media. It was also a time when celebrities were Celebrities and Andy Warhol’s famous dictum, “In the future, everyone will be famous for 15 minutes,” had yet to be realized. (Yes, a cool shot of Warhol on Newbury Street in 1985, is featured in the show.)

The facts:
Roger Farrington: Celebrity in Boston
January 28 – April 10, 2017
An artist’s Gallery Talk and Closing Reception will be held on Saturday, March 25th from 1:00 – 4:00pm
Panopticon Gallery
502c Commonwealth Ave.
Boston, MA 02215
P: 781-718-5777

All photos: © Roger Farrington 
All rights reserved. Unauthorized reproduction is prohibited.






Of Light and Line – Elizabeth Ellenwood


Elizabeth Ellenwood‘s series of black and white photographs on exhibit outside of Boston at the Danforth Art Museum explore light and line in a quiet, controlled, approachable manner.

The prints are small – but not overly small – which makes their sparse compositions that much stronger. Line and light travel across the images in diagonal directions from left to right and in some prints right to left. If you want to spend a few quiet minutes basking in warm, white sunlight, take the time to see this exhibition.

Danforth Art Museum and School press release:
On exhibit in Of Light and Line, Elizabeth Ellenwood’s photographs are distinctly rooted in place and the everyday, and her process and treatment of subject matter emphasize the importance of the elements of photography. Ellenwood’s work is indebted to photographic history—modernism, constructivism, and the angular planes of The New Topographics —yet she creates a distinct new interpretation of the often overlooked elements of the everyday landscape.  Her compositions are elegantly simple, highlighting her negotiation of natural light, line, shadow and the richness of tone. Nuanced views of outside wires, building façades, and the billowing of a curtain reveal modernist sensibilities and experimentations with form that complicate otherwise familiar spaces to produce a new view on traditional subject matter.

The facts:
Elizabeth Ellenwood
Of Light and Line
March 15 – May 17, 2015
Danforth Art Museum and School
123 Union Avenue
Framingham, MA 01702
T: 508 620 0050
F: 508 820 0258
You can see more of Elizabeth’s work here.
All photos: © Elizabeth Ellenwood. 
 All rights reserved. Unauthorized reproduction is prohibited.






New Visionaries – Photographers Who Bridge Art + Commerce


New Visionaries – Photographers Who Bridge Art + Commerce at Mount Ida College

The exhibition at Mount Ida College highlights photographers who possess the ability to translate personal vision into real world commissioned imagery

In the past, the two distinct photographic genres of fine art and commercial rarely intermingled. Now, with the prevalence of the photographic image in our hyper visual culture, there exists an endless need for brands to develop visual identities. The boundary between these once distant genres is blurring. Today there exists the inherent demand for photographers to have the ability to synthesize their personal visions into images that communicate the brand story, be it for corporations, organizations, communities, or individuals.

The exhibition highlights the requirement for photographers to have the ability to translate personal visions into real world commercial imagery, bridging genres and resulting in the construction of a new paradigm within photography.

Enjoy a preview of the exhibition on Instagram, Twitter, and Facebook.
Sponsored in part by Hahnemühle Paper and Panopticon Gallery.

The facts:
New Visionaries
Photographers Who Bridge Art + Commerce
Curated by:
Michael Donnor, MFA
Adjunct Professor, Photography
Alison Poor-Donahue, MFA
Department Chair, Photography
On exhibit February 5th – April 21st
Opening Reception
February 5th, 6pm
The Gallery at The School of Design at Mount Ida College
777 Dedham St.
Newton, MA 02459

Photograph by Elizabeth Weinberg
Client: Joaquin Phoenix for the New York Times, 2014

Photograph by Magdalena Wosinska
Client: Converse

Photograph by Bobby Doherty
Client: New York Magazine: “Spit, A story on 23 and me”, 2014

Photograph by Marcelo Gomes
Client: Issey Miyake Editorial for Noon Magazine.







Jayanti Seiler – “Of One and The Other”


Jayanti’s insightful color portraits capture the complex relationship between people and animals.

From Jayanti’s website:
In these photographs, dichotomous and complex relationships between people and animals are explored through found and constructed human-animal encounters. They are a call to revere the natural world while living in a modern one in which the two realms often conflict.

As participant, observer and storyteller, I spent time among people and animals on ‘the border’ at wildlife rescue and rehabilitation centers, 4-H club animal auctions, domestic and exotic animal shelters, wildlife sanctuaries, taxidermy shops, traveling circuses and encounters for profit. I was immersed in both the commonalities and conflicts of interest between these neighboring groups. I found various notions of romantic idealism used to rationalize efforts to coexist harmoniously, but also control, consume and rule. The images are performances that reconcile intentions with these dissonant motivations.

The capturers become the captured as they are bound by their commitments to preserve and protect. Conflict is found again in efforts to remain at a distance, pictured as not only humane but also essential to survival and conservation in the world of wildlife rescue and rehabilitation. Others blatantly bridge that gap and sell encounters with big cats under the same guise. The love and tenderness of the child who raises an animal from birth, who then must find the courage to send it to slaughter and begin the process again; the altruism of individuals who dedicate their lives to preserving the health of debilitated wild animals that otherwise would have been euthanized; the care the taxidermist takes when meticulously crafting keepsakes from hunted animals; big cats purchased as cubs, raised in captivity and discarded, live out their lives in captivity; these disparities are woven into the fabric of the photographs, calling attention to undefined slippery boundaries of displaced intentions and notions of adoration, escape, capture, release, and conservation.

“Of One and The Other” is an acknowledgment of the myriad contradictions, the questionable and complex borderlands of modern life and wild nature. I portray, that irrespective of our own biases, within every interaction and encounter, there deserves to be further understanding of our obligations and impact. This body of work seeks to inspire consideration of the complexity and depth found in the relationships between animals and people from all points along a spectrum that spans the chasm from lifesaving to exploitation.

The facts:
You can see more of Jayanti’s work here.
All photos: © Jayanti Seiler. 
All rights reserved.
Unauthorized reproduction is prohibited




A very rare photography exhibition and sale.


Thirty-nine fine art photographs from a noted private collection are offered for sale.

You still have an opportunity to purchase photographs from the collection of the late Bob Rogers.

Unsold prints are still available.

Print prices begin at under $300.00. Works in the sale include prints by Henri Cartier-Bresson, Keith Carter, Lotte Jacobi, Danny Lyon, Arthur Tress, and Jerry Uelsmann.

The event is not an auction. All prints are sold at 50% of their estimated value. Sample images from the sale and information about Bob Rogers, New Hampshire College of Art, and the New Hampshire College of Art Photography Collection is posted below.

Unsold images can be viewed here.

Henry Cartier-Bresson
Simiane-la-Rotonde, 1969, printed later
Gelatin silver print
9 1/4 x 14 inches
Signed recto
Estimated value: $18,000
Price: $9,000.00

About Bob Rogers and The Bob Rogers Collection
Robert Rogers (September 5, 1944 – November 6, 2013), one of New Hampshire’s pre-eminent photography collectors, began taking photographs at the age of six, and started collecting photographs when photography was not considered a serious art form back in the late 60’s. In 1967, Bob visited the home of renowned photographer Edward Steichen who helped him to appreciate photography as a great artist medium. Bob also came to know and befriend the prominent Boston photographer John Brooks who had a studio on Newbury Street. Bob always had a tremendous eye for photography, purchasing works that he loved, rather than works solely because they were attributed to well known artists. Two years ago, the Institute exhibited work from Bob’s remarkable collection. Bob recently donated exceptional works by photography legend Dorothea Lange and New Hampshire artists Lotte Jacobi and Hope Zanes. His indelible friendship to the New Hampshire Institute of Art continues through the extraordinary photos he has gifted to the Institute. The Bob Rogers Collection is made up largely of photographs exploring portraiture, and the human condition. Most of these exquisitely printed images were created in the darkroom using the gelatin silver printing processes and serve as some of the finest examples of photographic art created in the 20th century.

Alfred Stieglitz
The Letter Box, from Camera Notes, 1894/1897
7 1/2 x 5 3/4 inches
Estimated value: $1,500.00
Price: $750.00

About New Hampshire Institute of Art Photography Collection
The Institute offers one of the finest collections of photographic resources in the United States. The John Teti Photography Rare Book Collection includes over 2,000 rare books, periodicals, prints and documents illustrating the history of photography dating back to the 19th century. In 2010, Thomas L. Adams, Jr. donated a large number of works by emerging and major well-known photographers from his personal collection to help establish the Adams Center for Photographic Research & Study.  Mr. Adams’ extraordinary collection promotes research, study and appreciation of photography as a fine art. Recently, the Institute received additional photographic works from generous donors Jim Fitts and Douglas Prince.

About the New Hampshire Institute of Art
Founded in 1898, the mission of the New Hampshire Institute of Art is to engage students, artists, scholars, and the community in the arts through quality education, outreach and access to creative resources, with a focus on the present and a vision of the future. NHIA offers a BFA in Ceramics, Creative Writing, Fine Arts, Graphic Design, Illustration, Interdisciplinary Arts, Photography, and Art Education.  Graduate study is also available in the Master of Arts in Art Education (MAEA) as well as in the Master of Fine Arts (MFA) programs in Studio Art, Creative Writing, Photography, and Scriptwriting for Stage and Screen. The Institute offers public exhibitions and lectures featuring renowned artists, and offers children’s art education and adult continuing education courses at both the main campus in Manchester and the Sharon Arts Center in Peterborough/Sharon.

Jules Aaron
Lighting Up, West End, Boston, 1954
Printed later
Gelatin Silver Print
11 x 14 inches
Estimated value: $2,000.00
Price: $1,000.00




Jean de Pomereu – “Topography of Absence”


Jean de Pomereu’s series of black and white photographs shot in Antarctica between 2003 and 2009.

Jean sent me the following information about his series:
Concealed at the bottom of the earth where the globe maker attaches the orb to its frame, Antarctica remains untouched by the cacophony of our time: a breathing space for the planet as much as for our human imagination; an elementary realm where less is evidently more; a vantage point from which to contemplate our condition with a little more clarity.

With this ongoing series of black and white images, I have sought to interpret the Antarctic experience in all its haunting simplicity: An encounter with an elemental realm devoid of vegetation or habitation – without references of scale or perspective. A “Topography of Absence” that early Antarctic photographers would seek to grasp by placing human objects of reference in their compositions, but which I prefer to distill to its minimalist, often abstract essence.

For me, Antarctica is an object of continued visual and intellectual fascination: A wilderness that, however much it is scrutinized and deconstructed, remains unmoved in its glacial quietude, its penetrating silence, and its ability to draw us, one degree at a time, toward the essential.

The facts:
Jean de Pomereu – “Topography of Absence”
You can see more of Jean’s work on his website here:
The images are available as limited edition platinum prints.
All photos: © Jean de Pomereu.
All rights reserved. Unauthorized reproduction is prohibited




“31 Days” by Chris Lowell


Chris Lowell’s heartfelt black and white poem to summer at Jackson Fine Art.

From Jackson Fine Art:
Jackson Fine Art is excited to announce our summer exhibitions by Atlanta-native Chris Lowell and celebrated street photographer, Vivian Maier.  “31 Days”, a body of large black and white traditional silver gelatin photographs, chronicles Lowell’s nostalgic return to his family’s lake house. “31 Days” is Lowell’s second exhibition and first solo exhibition at Jackson Fine Art.  In addition, we will be showing a selection of “life at leisure” summer beach photographs by acclaimed nationally recognized and recently discovered photographer and nanny Vivian Maier. This will be the second exhibition of Maier’s work at Jackson Fine Art.

Chris Lowell was born and raised in Atlanta, Georgia, his childhood and adolescence was marked by excursions to the family lake house. Nestled at the foothills of the Blue Ridge mountains, Lake Rabun held memories of carefree days of swimming, water skiing, roasting marshmallows, after dinner card games, skinny dipping into chilly water, and finally dropping off to sleep as cicadas sing.  When Lowell’s family sold the lake house, he left Manhattan to spend one final month in the summer home of his childhood.  “31 Days” documents this last month as a tribute to place and the magic of youth, created in resistance to inevitable change.  The lake continues to exist after we leave, as a revolving stage from one family to the next in a photo album of collected Neverlands.

Lowell studied photography at the University of Southern California and The New School in New York, and has exhibited in Los Angeles. He has photographed for several non-profit organizations and his work is included both prestigious public and private collections.  Lowell also works as an actor and screenwriter, his credits include “The Help,” “Up in the Air,” “Private Practice” and “The Veronica Mars Movie.”  His poetry and short stories have been published in 12th Street Magazine.

I posted Chris’s artist statement below his images.

The facts:
Chris Lowell: 31 Days
Vivian Maier: Summer
July 10 – August 30, 2014
Jackson Fine Art
3115 East Shadowlawn Avenue
Atlanta, GA 30305
Phone: 404 233-3739

Image courtesy of Jackson Fine Art, Atlanta and the artist. Image copyright Chris Lowell.

Image courtesy of Jackson Fine Art, Atlanta and the artist. Image copyright Chris Lowell.

Image courtesy of Jackson Fine Art, Atlanta and the artist. Image copyright Chris Lowell.

Image courtesy of Jackson Fine Art, Atlanta and the artist. Image copyright Chris Lowell.

Image courtesy of Jackson Fine Art, Atlanta and the artist. Image copyright Chris Lowell.

Artist Statement:

I never left the house on Pearson Lane. My body left the house: the organs and the muscles and the tiny joints. My footsteps led to ignitions and gas pedals, and gas pedals led to the distances that have since grown between my body and the house of stone and wood and shingle on Pearson Lane. But I never really left.

The house was something magical – I don’t say this wistfully, but with absolute certainty – a spark of which must be attributed to its location. Georgia (the South in general) has always been a proprietor of enchantment: the hanging moss in the trees… the inescapable, almost biblical, swarms of mosquitoes in the summertime… the honeysuckle… the peaches… the heat… the thunderstorms…

The South is a doorway into the past and southerners cling to it with the unbearable stubbornness of red Georgia clay. Outsiders tend to become fascinated with the seeming arrested development of the region: its tempo, its hospitality, its taboos. At its worst, the South can be close-minded and hardened to change. But at its best? At its best, the South can still believe in magic.

Do you see those bunk beds? That’s where my sisters would sleep. My friends and I would take the ladder down to the boathouse and crawl onto the roof. We’d strip down naked and jump into the water. We’d howl at the full moon. We would park our boat alongside that dam and peek over the edge. We’d have dance parties in the living room. Our dogs would chase squirrels in the garden. We’d play hide and go seek in the backyard. We’d set off fireworks.

The mason jars on the porch? We filled them with cocktails before we knew how cocktails were meant to taste. We caught butterflies in those jars. And lightning bugs. I remember.

When my mother told me she had sold the house on Pearson Lane I left my apartment in Manhattan and moved back to Georgia in a classic southern attempt to cling to the past. Everyone came back to Georgia, friend and family alike. We returned to the house of our collective childhood. And that desperate, hopeless return to our youth became the backbone of these photographs.

In contrast or perhaps rebellion, my twin sisters – still children themselves – accelerated their behavior in the opposite direction (as children do), toward adulthood. They adopted somber expressions in front of the camera. They dressed in “grown-up” clothes. And so we danced this way, all of us together – children acting like adults, and adults like children – eager to deny an unconquerable passage of time, eager to believe.

We were given thirty-one days to say our goodbyes. I arrived at the house with the sole intention of photographing the magic. I was going to bottle up my childhood memories inside those mason jars. I was going to call the project “Neverland” and it was going to be heartbreaking and mythical and perfect.

The only problem with Neverland is that it doesn’t exist. And despite my best efforts, there was no denying that some spectacle of youth had already come and gone from this house. The sailboat sat on the side of the driveway now, caked in dirt, its mast broken during a storm I never got to see. Only one of our dogs was still living, and now she needed nightly dialysis injections. The small cabin next door had been torn down, and in its place a behemoth construction was underway. The naked bodies I remember had also changed. They looked different now: the skin heavier, the wrinkles more defined. And each day looked, more and more, like the last.

But we still saw thunderstorms…

And the lightning bugs still drifted around the garden. We still went skinny-dipping. And our dog still barked when someone new arrived to the house. We played games, took naps, went swimming. We wrote poems in crayon underneath the kitchen drawers. It was summer camp. It was sex-ed. It was wine tasting and a gateway drug. It was the shape of the moonlight. It was every single firecracker on the Fourth of July and New Year’s Eve. It was my mother’s children. It was my imagination. It was twenty-six years and all of my youth. It lasted for thirty-one days and thirty-one nights: a single month for most, but a lifetime for those of us who are butterflies.




Garry Winogrand at The Metropolitan Museum of Art


Garry Winogrand at The Metropolitan Museum of Art

From The Metropolitan Museum of Art website:
The first retrospective in twenty-five years of work by Garry Winogrand (1928–1984)—the renowned photographer of New York City and of American life from the 1950s through the early 1980s—this exhibition brings together more than 175 of the artist’s most iconic images, a trove of unseen prints, and even Winogrand’s famed series of photos made at the Metropolitan Museum in 1969 when the Museum celebrated its centennial. It offers a rigorous overview of Winogrand’s complete working life and reveals for the first time the full sweep of his career.

Born in the Bronx, Winogrand did much of his best-known work in Manhattan during the 1960s, and in both the content of his photographs and his artistic style he became one of the principal voices of that eruptive decade. Known primarily as a street photographer, Winogrand, who is often associated with famed contemporaries Diane Arbus and Lee Friedlander, photographed with dazzling energy and incessant appetite, exposing some twenty thousand rolls of film in his short lifetime. He photographed business moguls, everyday women on the street, famous actors and athletes, hippies, politicians, soldiers, animals in zoos, rodeos, car culture, airports, and antiwar demonstrators and the construction workers who beat them bloody in view of the unmoved police. Daily life in postwar America—rich with new possibility and yet equally anxious, threatening to spin out of control—seemed to unfold for him in a continuous stream.

While Winogrand is widely considered one of the greatest photographers of the twentieth century, his overall body of work and influence on the field remain incompletely explored. He was enormously prolific but largely postponed the editing and printing of his work. The act of taking pictures was far more fulfilling to Winogrand than making prints or editing for books and exhibitions; he often allowed others to perform these tasks for him. Dying suddenly at the age of 56, he left behind proof sheets from his earlier years that he had marked but never printed, as well as approximately 6,600 rolls of film (some 250,000 images) that he had never seen, more than one-third of which he had never developed at all; these rolls of film were developed after his death.

The facts:
Garry Winogrand
June 27–September 21, 2014
The Metropolitan Museum of Art
1000 Fifth Avenue (at 82nd Street)
New York, NY 10028
Phone: 212-535-7710

Garry Winogrand 
(American, 1928–1984)
Date: 1957
Medium: Gelatin silver print
Classification: Photographs
Credit Line: The Museum of Modern Art, New York, Purchase

El Morocco, New York
Garry Winogrand 
(American, 1928–1984)
Date: 1955
Medium: Gelatin silver print
Dimensions: 23.5 x 33.7 cm (9 1/4 x 13 1/4 in.)
Classification: Photographs
Credit Line: Purchase, The Horace W. Goldsmith
Foundation Gift, 1992
Accession Number: 1992.5107
Rights and Reproduction: © The Estate of Garry Winogrand, courtesy Fraenkel Gallery, San Francisco






Peter Hujar “Love & Lust” at the Fraenkel Gallery


“Love and Lust”

From a Fraenkel Gallery press release:
Fraenkel Gallery is pleased to announce the exhibitions Peter Hujar: Love & Lust and Nan Goldin: Nine Self-Portraits, to be presented January 4 – March 8, 2014.

The work of Peter Hujar (1934–1987) is revered by artists, yet still something of a secret to the wider art public. His photographs dealing with sex and eros—pictures that are among his finest and most radical work—may be responsible in part for the sub rosa quality of his reputation. Fraenkel Gallery will present the first exhibition and publication to focus on Hujar’s photographs of love and lust.

For Hujar, love and lust were central preoccupations, the primary engines of his creativity. The nearly 30 black-and-white photographs in the exhibition, made between the years 1967 and 1986, include men depicted in the highest pitch of orgasm, as well as perceptive portraits of fellow artists such as Merce Cunningham and John Cage, David Wojnarowicz and Lynn Davis.

Twenty-seven years after his death, certain of the photographs will still make many viewers uneasy. Hujar’s view of the human body was uninhibited and uncompromising, but his most original work broke new ground in capturing eros and eroticism. [Note: the exhibition includes sexually explicit images.]

Peter Hujar: Love & Lust will be accompanied by an 82-page, illustrated catalogue ($45). Although individual works have been seen in survey exhibitions, they have never before been published as a whole. The catalogue also features an essay by Vince Aletti and an interview with Fran Lebowitz.

Among the many photographers Hujar influenced is Nan Goldin, who wrote in the 1994 catalogue, Peter Hujar: A Retrospective, “He was a magician, he hypnotized his subjects. He never forced exposure, he seduced people to want to reveal all to him.” She added, “He taught so much to me and everyone who knew him…we went through periods of trying to work in each other’s style. I think it changed both of us.”

Concurrently with the Peter Hujar exhibition, Fraenkel Gallery will present Nan Goldin: Nine Self-Portraits, featuring recent photographs never exhibited before, as well as diaristic and contemplative works spanning back to the 1990s. With her characteristic rich colors, deep shadows and lush textures, Goldin shares very personal images of desire, intimacy and introspection.

The facts:
Peter Hujar “Love & Lust”
Fraenkel Gallery
49 Geary Street, 4th Floor
San Francisco, CA 94108
t: 415 981-2661

David Wojnarowicz, 1981

Bruce de Sainte Croix, 1976

Couples for New York Scenes, Michael Fajans and Sheila Raj, 1969

Self-Portrait Standing, 1980







Photographic legend Robert Capa in Color


Capa in Color at the ICP.

From an International Center of Photography press release:
Beginning in 1941, Robert Capa regularly used color film until his death in 1954. Some of the photographs were published in the magazines of the day, but over the years the color work was virtually forgotten. Until now.

Capa in Color, on view at the International Center of Photography (ICP) from January 31 to May 4, 2014, is the first full assessment of color photographs by the famed photojournalist. Comprising over 100 contemporary prints, as well as related publications and personal papers, the exhibition is a fascinating new look into the color work of this master of photography.

“Capa’s talent with black-and-white film was extraordinary, and starting color film halfway through his career required a new discipline, but it also opened up new opportunities,” said ICP Curator Cynthia Young, who organized the exhibition. “The exhibition is also about how Capa reinvents himself as a photographer during the years when he is not covering war and political conflicts. The color work was very much a part of trying to keep the Magnum agency afloat, because the magazines wanted more and more color in the postwar period.”

In 1938, while in China covering the Sino-Japanese War, Capa wrote to a friend at his New York agency requesting 12 rolls of Kodachrome and instructions on how to use it. Only four prints published in the October 17, 1938, issue of Life survive from these first experiments with color film, but Capa was clearly curious about color photography even before it was widely used in news magazines or by other photojournalists. During his first two years covering World War II, he used color film more regularly and often carried two cameras with him. In 1941, while crossing the Atlantic with an Allied convoy, he shot color images for the Saturday Evening Post and later traveled to North Africa, where he made spectacular images of the military buildup. While some of his color work was published in Illustrated and Collier’s, in 1944 and 1945 he returned to using black-and-white film exclusively, in part because of the time required to process, censor, edit, and publish color.

Capa’s use of color film exploded in postwar stories for Holiday, Illustrated, Collier’s, and Ladies’ Home Journal. He traveled to the USSR in 1947 with writer John Steinbeck and to Israel in 1949 and 1950. He covered fashionable Paris and Rome, Alpine skiing, glamorous Hollywood celebrities on international film sets, and the stylish resorts of Biarritz and Deauville for the burgeoning travel market. Holiday also published Capa’s travel writing to accompany several of these stories. The exhibition also includes his last stunning color photos taken in Indochina in 1954. Color photography was not a supplement to his black-and-white work, but was fundamentally integrated into his life and career during the 1940s and 1950s.

Capa in Color is drawn entirely from the Robert Capa Archive in ICP’s permanent collection. The Archive contains roughly 4,200 color transparencies – 35mm Kodachrome, 21⁄4 Ektachrome, and some larger Kodachrome sheet film. It also includes thousands of vintage black-and-white prints, negatives, tearsheets, and papers.

The facts:
Capa in Color
International Center of Photography
1133 Avenue of the Americas at 43rd Street
New York NY 10036
T: 212 857-0045

Robert Capa, [Spectators at the Longchamp Racecourse, Paris], ca. 1952. © Robert Capa/International Center of Photography/Magnum Photos.


Robert Capa, [On the road from Namdinh to Thaibinh, Indochina, (Vietnam)], May 1954. © Robert Capa/International Center of Photography/Magnum Photos.

Robert Capa, [Capucine, French model and actress, on a balcony, Rome], August 1951. © Robert Capa/International Center of Photography/Magnum Photos.

Robert Capa, [Truman Capote and Jennifer Jones on the set of Beat the Devil, Ravello, Italy], April 1953. © Robert Capa/International Center of Photography/ Magnum Photos.