Photography as a mechanism for poverty in new york city during the late 19th and early 20th century. Like of congress for the book hosted this event. Thank you everybody. Im here to introduce bonnie yochelson. Whom i was lucky enough to work on the book. Bonnie is originally from the d. C. Area. But shes made her long time home in new york city. She graduated from college. Pursued a masters and doctorate from new york university. Early in her career; he was back in d. C. Working in the print room. From 1987 she was a curattor of prints and photographs at the museum at the city of new york. Thats since leaving the museum, shes been an independent curator and photographic historians working with the New York Historical society and the south Sea Port Museum. Since 1988 she taught in the msa program in the department of photography, video at the school of visual arts in new york. In addition to the thesis show bonnie carried numerous exhibition at the ubs art gallery in new york in 2001. T
[ inaudible ] you know, again, it goes back to what i said earlier. Nick and i are both professional photographers both actually i spent five years of wire photographer. Really our job. Its that simple. Dont you think. Picture showing a story. Always the right story. Its quite fascinating, very interesting. My question was, when you were in country, were there any areas you were specifically forbidden to go to or simply explicitly told you should not or were there any subjects or areas you felt were off limits that perhaps that wouldnt be beneficial for your camera . Good question. Well, i know we were talking about coverups on the government side. My experience was i found the military incredibly helpful wherever i wanted to go, hitch a ride on a chopper. A few were stupid enough or excited enough to get into action, you could get there. If there were americans or vietnamese, i never had one instance where i wasnt able to go where i wanted to go, see what i wanted to see and one of th
Scholar and museum professor. She manage her own time, and find money to get big projects done. I was spending much of my time on this one project, she was simultaneously conducting original research, writing unique exhibition lists for different venues. Teaching and coordinating the senior thesis show at the school of visual arts. All well writing the book and compiling the first ever catalog of riiss photographs. In the years it has taken to get inexhibitions mounted and this book published she has worn any sev single different hat in the business. None of this could have been done without her passion for her subject. I will let bonny take the stage. [ applause ] thank you so much. Im moved. Thank you very much. Welcome, everyone. Okay. So im going to read. Pretty much. Lets see what we have to say here. The im going to repeat a little bit of what amy did, to just make sure that we understand how these different parts of the project fit together. The jacob riis exhibition on view in
Stage devoted to the 1820s and 1860s. Among many of his accomplishments, too many that i could go to tonight. High seeked and difference and desires of americans. Hes working with cureuating new exhibits and portraying americas workers 1750, 2015. Speaking directly to his talk tonight, david has his fourth scene on view now, it is calling dark field of the republican. Alexander garner photograph 1857 to 1872. Which in multitude severals lincoln paragraph. This i mage was the you my remember last year walt wittman was a theme of our lincoln event. I may mention that along the way, with his work of the National Gallery of david ward is a poet and an editor and a literally critic. His poetries was published in 2011 called internal difference. David earned his bachelors degree from the university of rochester and Yale University and england. Please join me in welcoming david ward. [ applause ] thank you, brian, thank you all, i am delighted to be here. We ai want to congratsulatioe portrai
All while writing this book and compiling the first catalog of riiss photograph. In the years it has taken to get these exhibitions mounted and this book published kb eed bonn worn ever single type of hat in the business and none of this could have been possible without her talent, energy and passion for her subject. With that, i will let bonnie take the stage. [ applause ] jacob rhys. Amy, thank you so much, im moved. Thank you very much. Welcome, everyone. Okay so im going to read pretty much lets see what we have to say here. The jacob im going repeat what amy did to just make sure that we understand how these different parts of this project fit together. The jacob riis exhibition now on view in the Jefferson Building at the library of congress is the result of a collaboration of the past several years between the library and the museum and the city of new york. The museums owns riiss photograph of new york city slums in the late 19th century. These photographs are the earliest evid