John Loengard will be inducted into the International Photography Hall of Fame

Inductee and Award Recipient Profiles: As anticipation for the 2018 Induction and Award Ceremony grows IPHF will feature a new profile from an 2018 honoree each week. The 2018 Hall of Fame Induction and Award Ceremony will be held October 26th, 2018 at the .ZACK in Grand Center.


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John Loengard
1934-

When John Loengard was eleven years old, his father bought the family a brand new box camera. Loengard was hooked. He went from developing his first roll of film in the bathroom to becoming his high school’s newspaper photographer.

Loengard was a senior at Harvard College in 1956 when Life magazine’s Boston bureau-chief Will Jarvis asked him to photograph a cargo ship that had run aground on Cape Cod in a storm. Though Life did not use the pictures, the assignment began his relationship with the magazine. After two years in the army, he joined the photographic staff of Life magazine in 1961, though he still was not happy with the pictures he was taking. That is, until 1964 when a quiet coup overturned the government in Brazil. A few days later, with nothing camera-worthy happening in downtown Rio de Janeiro, he sat on Copacabana beach and took a picture of a man there. When he developed the photo back in New York, Loengard realized he had found his style.

The photographic essays he did on painter Georgia O'Keeffe, his portraits of the Beatles, poet Allen Ginsberg, and actor Bill Cosby became classics. American Photographer magazine identified him in the 1970s as “Life's most influential photographer.” He was instrumental in the startup of Life as a monthly publication.

In 1987 Loengard left to become a freelance photographer, full time, publishing four books about his own photographs and six concerning the work of other photographers. Today, he still uses a digital camera or an iPhone, rather than the box camera and bathroom he began with. My lens still marries reality to form, and my camera records their marriage. Their wedding is the moment. A proper moment still means the world to me.

All images © 2018 John Loengard except Loengard portrait: © 2018 Joe McNally. All rights reserved.


Interview with Russell Frederick - Slate Magazine France

The interview on "The Black Woman: Power and Grace" and about Kamoinge will be coming out soon in Slate Magazine France.  


Why and how did you decide to settle this exhibition? 

Kamoinge decided to do this exhibit because the time was now. The black woman's power and influence is on the rise and at the same time she faces many uphill battles culturally and professionally. She has always been the backbone of our families and churches. The black woman is a pillar in our community. Today, more black women are obtaining their graduate degrees than ever. The black woman is the breadwinner in quite a few households, she is a supermom and a rising force in politics and business. In most professional settings she has to work twice as hard for respect. She is still objectified and their is a long history of stereotypes that need to be shattered. We wanted the world of men, women and children to see her greatness. The time was right to honor her and show a nuanced narrative of her to the world. We love the black woman. We stand by her and behind her. Their aren't enough photos or images seen of us loving and supporting each other in public. Its in our family photo albums but the world does not have to access to that. We can't just rely on entertainment and school to educate and change perceptions. Photography and media are an even more powerful tool now in the era of cell phones, laptops and social media. Their are a lot more Michelle Obamas, Ibtihaj Muhammads and Meghan Markels out here but they are not seen. The black woman is perseverance, strength, love, faith and excellence. She is the MVP! 

 

How long have you been working on it? 

About twenty years this project was discussed by our current President Adger Cowans. Over the past fourteen years since I've been in Kamoinge it has come up several times. It was last summer when I decided put out a request for photos because I felt the exhibit would be very timely. We did not have a contract with a gallery but I knew the exhibit had to be in a location that we had not shown before. The gallery had to have a strong following and it would have to put us in a position to raise awareness to a new audience unfamiliar about our mission in Kamoinge and the black woman. in 2017, Karen Gaines of Photography Collections Preservation Project reconnected me with Catherine Johnson of the National Arts Club to discuss the show. Catherine and i met up in December and agreed to do the exhibit in May, 2018. Kamoinge started looking at photos collectively in the beginning of the year. Later on, a committee would form of Adger Cowans, John Pinderhughes, Daniel Dawson and yours truly to do a tighter edit. We reached out to several women in the group to be on the committee but many of were traveling, had their own exhibits, were on assignments or had scheduling conflicts. 

 

How did you choose the photographers?

When I sent out the call for photos in the summer of 2017 I extended it to all the membership. The majority of the group submitted work. Kamoinge decided that we wanted this show to be inclusive of the majority of the members. We ended up having twenty-three photographers submit work. Our active membership is twenty-five people mainly based in NY. Some in Philadelphia, Texas and one of our founding members in California (Al Fennar) who just passed away.

 

Why did you call it power, grace and beauty?

We voted on the title "The Black Woman: Power and Grace" because we all thought it was fitting for black women past and present. The black woman has always embodied power and grace but it isn't seen in society enough. The black woman's power and grace is uplifting and overwhelmingly positive but not everyone sees her that way. Her beauty ranges in hue, her values, drive, intelligence, strength, activism, spirituality, confidence, fearlessness, shape and boldness.  Over the years a lot of reality tv and other programming in the states have not shown a lot of black women at their best but have put her in the position to gain fame or wealth. These negative depictions have had a damaging affect psychologically on how to achieve success, self worth and love. The foundational virtues of the black woman is what we need to see more of. Its imperative for the black community, America and the world of men, women and children to see an image that can be looked up to and respected.

 

Are African-Americans photographers underrepresented? If yes, how do you explain it? 

Great question. Yes we are under-represented. Organizations like Kamoinge, the National Association of Black Journalists, the Studio Museum of Harlem and the National Museum of African American History and Culture in Washington D.C. exist because of this. If you was to look up ten galleries most wont have any photographers who are black or they might have one or in some cases if you have a "progressive" minded gallery owner two. Kamoinge has been around fifty plus years doing great work and I can say that only 25 - 30 percent of our photographers are represented by an agency or gallery. Four of which occurred within the the past five years. It took forty years for our work in the 1973 Black Photographer's Annual to be recognized by a mainstream museum (the Virginia Fine Arts Museum). Getting our work published has been an uphill battle over the years. Recently a notable publisher met with Kamoinge. They asked us to submit ten themes of books we could do and the only one they were interested in doing with us was on old Harlem. We refused! Magnum Photos is another example of under representation. This international photo agency has been around for seventy years and it has only welcomed one black photographer on staff. This is indefensible. As far as museums, very few of us are in the permanent collections of mainstream museums that are not African American. A lot of photos of black people that have been acquired were not made by black people. An outsider can have a unique perspective but too often the focus has been on the issues in black communities, void of dignity and missing our triumphs. This has created a monolithic view of black lives. The world has not been educated visually on the excellence of Africans and African Americans. The under-representation has misinformed the world and fed racist beliefs. How many times are we going to see a naked sick child representing poverty in Africa? This is a big problem. It has created more distrust with both races and more distrust of media. Under representation has hurt black photographers ability to take care of their families and our art has often been devalued if its not represented or endorsed by someone who is white or if we did not go to an elite university. Museums, educational institutions, not for profit organizations, magazines, newspapers and the commercial industry have not not put enough resources into employing our vision and voice to be equal with authors, curators and photographers who are white. If their were more solo or group exhibits of our work while we are alive a cultural shift could occur that could raise awareness for everyone. Last year, James Estrin of the NYTimes wrote two articles on the lack of diversity in the photo industry. In addition, the NYTimes also did a story "Its a Diverse City but Most Big Museums Boards are Strikingly White." All of these articles were very telling but not shocking to us in the African diaspora. It is our hope that more people who are not black see the value in addressing this matter of inequality and under representation.

 

What are the biggest challenges for African-Americans photographers? 

We have to work twice as hard to be seen or get our work recognized by someone in the industry, their is no room for error when you're black, employment is not evenly distributed, our art is often seen lower in value even when we are accomplished, grant opportunities to be on panels and being benefactors of the top grants are few. The majority of us would love to be on the playing field for some photo festivals and art fairs like AIPAD NYC but to have a booth to sell your work at AIPAD NYC is an exorbitant amount of money. Getting our work seen by international audiences and showing our work in galleries or museums overseas is not easy. This is why I'm so happy to do this interview. The warm reactions from near and far on our current exhibit have been energizing to see. The National Arts Club has proved to be a great venue to show our work. We don't focus on the challenges of the industry, we focus on producing great work. That is what we want to be know for and that is what we are committed to.

 

How does photography help to empower African-Americans/ black women?

Positive images uplift. A lot of images in media and publishing have not shown enough African Americans or Africans in a positive light or in positions of humanity. This is psychological violence. Our educational structures have not created curriculums that are inclusive of the significant achievements Africans, Afro-Caribbeans and African Americans have made in history past and present. When this becomes mandatory in all schools and not an elective for people to learn then we will have made progress. Images of us as slaves, criminals, poor, broken, entertainers or as sexual objects is something we have to fight against everyday. Dr. Deborah Willis University Professor and Chair of the Department of Photography & Imaging at the Tisch School of the Arts at New York University has dedicated her career towards shifting this with countless books, exhibits, talks and even a documentary about black photographers. Curator Shantrelle P. Lewis has done this as well with various exhibits and her Aperture published photo book "Danydylion" dedicated to black men with style.  Dr. Sarah E. Lewis of Harvard University is another pillar doing great work domestically and internationally. Lola Flash has documented the LGBTQ community for thirty years, Delphine Fawundu and Laylah Amatullah Barrayn published a book last year dedicated to women photographers of the African diaspora. All of this work is important in raising awareness and empowering black women and girls. When you see an image you identify with it can stop you in your tracks and generate a range of thoughts or emotions. A photo can inspire you or educate you. It can confirm a dream or goal in mind. When you see someone who looks like you doing work like this that's meaningful, artistic and educational that reaches you in a deep place that makes you want to be the best that you can be. So many of us are influenced by what we see as opposed to what we are taught. More balanced images of what it is to be black by black photographers should be supported across the globe by anyone who believes inequality is a global crisis. The perception versus the reality of who we are can change if governments put their muscle behind this. The times we are living in right now are scary. Racial and gender intolerance are at a tense place. More films like "Hidden Figures" need to be made. The triumphs of great women like Oprah Winfrey, Maya Angelou are not seen enough. Work is being done to move in a progressive direction but black men and women cannot do it alone. We need people of all races and ethnicities of good conscious to join us in this effort to deconstruct inequality and under representation.

* Russell Frederick is a co-organizer of the exhibition and Kamoinge’s vice president. For any inquiries, contact Russell Frederick

Celebrating the Grace of Black Women (New York Times)

By Antwaun Sargent
May 29, 2018

Original article: https://nyti.ms/2LGVaVp

 Church ladies. New York, 2005. Credit: Jamel Shabazz (Source: New York Times)

Church ladies. New York, 2005. Credit: Jamel Shabazz (Source: New York Times)

More than half a century after the groundbreaking exhibit “The Negro Woman,” the image announcing the show by the African-American collective Kamoinge still captivates. Taken by Louis Draper, who had a keen sense of light and shadow, the photograph shows an older black woman standing on a busy Harlem street corner. In the crowd, her face is finely in focus. She is tired, gazing off into the distance, as she waits, with serious dignity and grace.

It was an everyday scene that in its own way was extraordinary. Led by the astute chronicler of Harlem life, Roy DeCarava, the show aimed to reclaim the beauty of the African-American woman. Kamoinge’s group exhibition was among the first to carefully and radically picture the black woman’s elegance and pride.

“Nothing like that had been done in the community before,” said Adger Cowans, the president and a co-founder of Kamoinge,. “The black woman has been underrepresented. Here we are today and we are still looking at black women negatively. We wanted to show their beauty and power.”

Decades after “The Negro Woman,” that same motivation has inspired Kamoinge’s new exhibit, “Black Women: Power and Grace,” at the National Arts Club in New York from May 28 to June 30. “With this exhibition we are showing our love and appreciation to our mothers, wives and sisters,” said Russell Frederick, a co-organizer of the exhibition and Kamoinge’s vice president. “I think black women, who have mostly been objectified in the media, have actually made a major mark on society that really can’t be quantified but has gone unrecognized.”

The show includes several intimate portraits by Mr. Russell that examine traditional notions of beauty and Anthony Barboza’s images of black models, like a bald and beautiful Pat Evans, that affirm them. Among the show’s earliest works is Mr. Cowan’s “Untitled (Betty Shabazz).” Taken in 1965, the black-and-white picture shows Ms. Shabazz coming out the back of a Harlem church where the funeral service for her husband Malcolm X had been held. In an indelible image of strength and loss, Ms. Shabazz’s face is veiled in black lace as a single tear rolls down her cheek.

“That picture meant something to me because my whole universe stood still,” said Mr. Cowan, 81. “It was very emotional for me, she was as big in my eyes as Malcolm. It was important for people to see this image because this woman carried the weight of the world on her shoulders and you can see it on her face.”

Since 2016, the photo collective, founded in 1963, has made an effort to expand ranks — historically dominated by male photographers — with younger, female artists. The group’s new black female members, including the French-Senegalese portraitist Delphine Diallo, join a small company of women like Ming Smith, the first black woman photographer to have her work collected by the Museum of Modern Art.

“Black Women: Power and Grace” also features other female newcomers. Lola Flash has two pictures that bring visibility to the black lesbian community; a 2010 Delphine Fawundu self portrait, “What Do They Call Me, My Name Is Aunt Sara,” challenges us to rethink the names we call black women; and Laylah Amatullah Barrayn’s images explore spiritual practice in Senegal.

“I’ve been watching Kamoinge for most of my career and I’ve seen its growth,” Ms. Barrayn said. “I always felt being a part of Kamoinge was so far-fetched because there weren’t many women in the group.”

Given Kamoinge’s recent expansion, “Black Women: Power and Grace,” is an intergenerational mix of historic and contemporary portraits that span genres including reportage, fine art and fashion and represent black femininity across the African diaspora as empowered, resilient and visible. Some images are timely, like Ruddy Roye’s “#MeToo” series that add the stories of black women to a movement that has mostly overlooked them. Collectively, the pictures challenge what we think we know and have seen. They represent a mosaic celebration of identity, history and little-seen stories that forgo the tired presentation of a single, monolithic image of black womanhood.

Kamoinge’s mission-oriented pictures are populated with individual narratives that have long come together to shape the complex diversity of black women.

“The challenge is to see her differently,” Mr. Frederick said. “We really embrace today’s black woman, who she is and even those who came before her like Maya Angelou, Maxine Waters and Dionne Warwick, who are all holding hands in Eli Reed’s picture.

“Black women have broken barriers, been torch bearers and pioneers,” Mr. Frederick continued. “And at the same time, they have always looked out for all of us in the neighborhood, taking us to church, making Sunday dinner and always having our back.”

* For any inquiries, contact Vice President Russell Frederick. Follow Kamoinge Images on Instagram.