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Daniel Castro Garcia Receives $35,000 Grant from W. Eugene Smith Memorial Fund in Humanistic Photography for or his work on immigration into Sicily

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The 2017 W. Eugene Smith Grant in Humanistic Photography
given to Daniel Castro Garcia for his work on immigration into Sicily

Fellowships to Edmund Clark and Alex Majoli
The Howard Chapnick Grant goes to Michael Shaw

New York, NY – October 18, 2017 – The W. Eugene Smith Memorial Fund is pleased to announce that Daniel Castro Garcia is the recipient of the 2017 Grant in Humanistic Photography for his project, Foreigner: I Peri N’Tera — a Sicilian colloquialism that translates as “feet on the ground.” Selected from a talented group of 12 finalists, Foreigner is the second chapter of Garcia’s ongoing project on the migrant/refugee crisis in Europe, focusing on Sicily, Italy and capturing the lives of those who survived the long journey across the Sahara Desert and Mediterranean Sea. The project takes a hard look at unemployment, exploitative labor, and the difficult process of receiving documentation in a new land. The Smith Grant will allow Mr. Garcia to continue his project with subsequent chapters set to explore the psychological impact of these journeys and the struggles of integrating into new communities throughout Europe.

The annual grant, which was increased to $35,000 by the Smith Fund’s board of directors this year, was presented to Mr. Garcia during the organization’s 38th annual awards ceremony at the School of Visual Arts (SVA) Theater in New York City Wednesday evening. “Receiving the W. Eugene Smith Memorial Fund Grant in Humanistic Photography presents me with the most humbling and extraordinary achievement in my professional career,” he told attendees at the SVA Theater. “This support and infrastructure for my project is invaluable and it will enable the continuation of a project I believe can make a positive contribution to individual lives and a wider audience. I am incredibly grateful and moved to be given this vote of confidence and support and I will endeavor to respect the standards and expectations of both previous recipients and the W. Eugene Smith Memorial Fund organization.”

The W. Eugene Smith Memorial Fund is presented annually to photographers whose work is judged by a panel of experts to be in the best tradition of the compassionate dedication exhibited by W. Eugene Smith during his 45-year career in photojournalism. The grant enables recipients to undertake and complete worthy photojournalistic projects.

“The judges were struck by Mr. Garcia’s humanism which is appropriate for a grant that honors the legacy of W. Eugene Smith,” explained W.M. Hunt, longtime Smith Fund board member and the Chair of this year’s adjudication committee. “The pleasure of judging the Smith Fund is the strength and range of the work submitted. The judges were aware that having 12 finalists would be a bit unwieldy, but they wanted to ask questions and consider each of the proposals for a longer time,” Mr. Hunt continued. “They are delighted with the selection of Daniel Castro Garcia as the $35,000 Smith Grant Recipient and felt his work was blessed with clarity and wonder.”

Garcia undertook his Foreigner project in May, 2015, one month after reading about two boats that capsized in the Mediterranean Sea with an estimated 1,000 people dead. As select British media outlets used adjectives such as “cockroaches” to describe those who were onboard the vessels, Garcia made an unbreakable commitment to himself and this project, driven by the desire and belief that proximity and engagement with people could provide answers that often go unheard. As the son of migrants himself, he did not feel represented by the way the images of this crisis were used by the media, nor did he agree with the tone of the narrative being used to discuss migration as a solely negative issue. Feeling that much of the image-making and reporting were questionable, he set out to determine the truth and share his findings through his photographs and written word.

Additional Awards
Photographers Edmund Clark and Alex Majoli were also honored, each receiving a $5,000 Smith Fund Fellowship. Clark’s project “The Unseen Consequences and Networks of Air Strikes and Drone Warfare” is intended as a multi-media investigation of the expanded use of air-strikes and drone weapons as the primary strategy of the on-going American-led War of Terror in Afghanistan, Iraq, Libya, Pakistan, Somalia, Syria and Yemen.

Majoli’s project, “Titanic,” deals with the fragmentation and polarization of Europe’s identity as it grapples to come to terms with the realization that it can no longer isolate itself from the crisis unfolding just across the Mediterranean. His photographic approach intentionally makes it difficult to separate fact from fiction.

“The $5,000 Smith Fellowship is important, of course, but given at the jury’s discretion,” Bill Hunt explained. “Two fellows were selected for recognition. The Jury petitioned the Board to request that both receive the $5,000 Fellowships rather than split it equally as in the past. It is the first time in the Fund’s history.”

Judges for this year’s grant and fellowship included W.M. Hunt (USA), Mitra Abbaspour (USA) and Enrica Vigano (Italy). Mr. Hunt is a New York City-based collector, former-dealer, writer, teacher and longtime member of the Smith Fund Board of Directors. Mitra Abbaspour is an art historian specializing in the history of photography and art of the modern and contemporary Middle East. Ms. Vigano is a curator of photography from Milano, Italy. In 2009 she founded Admira, an organization specializing in cultural events and traveling exhibitions in the field of photography including “W. Eugene Smith: More Real Than Reality”.

Recipients of the 2017 W. Eugene Smith Memorial Fund grant and fellowships were selected from hundreds of submissions received from 51 countries. Recent recipients of the grant include Justyna Mielnikiewicz (2016), Matt Black (2015), Joseph Sywenkyj (2014), Robin Hammond (2013), and Peter van Agtmael (2012). A complete listing of recipients can be viewed at SmithFund.org.

This year’s Howard Chapnick Grant was presented to Michael Shaw, founder and publisher of Reading the Pictures, a web-based educational and publishing organization dedicated to visual culture, visual literacy and media literacy through the analysis of news, documentary and social media images. The grant is awarded to an individual for his or her leadership in any field ancillary to photojournalism, such as picture editing, research, education and management.

The Reading the Pictures Salon is a documentary research project and online webcast analyzing the visual representation of major social issues. The project, “U.S. Media’s Visual Representation of the US/Mexico Border Wall,” focuses on how that controversial barrier has been characterized. It will also explore how photographers and the media are using imagery to capture the political narrative, inject opinions, or to outright challenge the wall from a human rights and social justice perspective.

“I am honored to receive the Howard Chapnick grant on behalf of myself and Reading the Pictures,” Mr. Shaw said. “I never had the privilege to meet Mr. Chapnick, but I greatly appreciate his legacy. He was dedicated to photographers, to developing their vision, and to capturing deeper truths. We feel his conscience is in our work. Chapnick might have been surprised by how much photography and visual culture have taken off, and now permeates daily life. But I’m certain the commitment to understanding that imagery, and helping people read it, is a mission he would have thoroughly recognized,” Shaw added.

“Michael Shaw and his team at Reading the Pictures have brought deep analysis to daily news photography,” said Brian Storm, founder of MediaStorm, Smith Fund board member, and Chair of this year’s adjudication committee for the Chapnick Grant. “Their online salon brings together experts and practitioners in an effort to raise visual literacy.”

Lynsey Addario, the famed New York Times and Pulitzer Prize documentary photographer delivered the evening’s keynote address. Ms. Addario’s best-selling book, “It’s What I Do,” is currently being produced as a motion picture directed by Steven Spielberg and starring Jennifer Lawrence as Addario.

The Smith Fund took a moment during the ceremony to recognize and pay tribute to two members of the journalism community who passed away this year:

A recipient of the Smith Fund Grant in 2004, Stanley Greene became one of the leading international conflict photographers of his generation. A founding member of the photographer-owned agency Noor Image he was highly regarded and liked by his peers. He succumbed after a long battle with liver cancer, last May, at age 68.

A legendary photo editor and co-founder of the W. Eugene Smith Memorial Fund, John G. Morris was an amazing globe-trotting centenarian. He passed away in July. “A humanist and a pacifist, he was photo-journalism’s tireless defender and champion, and possibly its most exceptional chronicler and historian. But most of all, he was our friend,” said Smith Fund board member, Robert Pledge.

Sponsors
The W. Eugene Smith Memorial Fund is supported by generous contributions from The Incite Project, Herb Ritts Foundation, Phillip and Edith Leonian Foundation and Canon USA.

Additional support is provided by Aperture, Brilliant Graphics, Center for Creative Photography (CCP), the International Center of Photography (ICP), MediaStorm, Photo District News (PDN),  the School of Visual Arts BFA Photography, MFA Photography, Video and Related Media Department, and Synergy Communications Inc.

Attend the 38th annual W. Eugene Smith Grant and awards presentation

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The ceremony will take place on at the SVA Theater on Wednesday, October 18, 2017. Doors open at 6:15 pm.

More details here | RSVP here

You are Cordially Invited to Attend the 38th Annual W. Eugene Smith Grant Ceremony

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THE BOARD OF DIRECTORS of the
W. EUGENE SMITH MEMORIAL FUND

Cordially Invites You to The Presentation of

 

THE 38th ANNUAL W. EUGENE SMITH GRANTS IN HUMANISTIC PHOTOGRAPHY
&
21st ANNUAL HOWARD CHAPNICK GRANT FOR THE ADVANCEMENT OF PHOTOJOURNALISM

Country Doctor W. Eugene Smith/CCP

Country Doctor W. Eugene Smith/CCP


Wednesday, October 18, 2017
7:00 p.m. – 8:30 p.m.
(Doors open at 6:15 p.m.)

Where: The School of Visual Arts Theatre
333 West 23rd St.
New York, NY 10011

Keynote Presentation by:

Lynsey Addario
Photojournalist awarded the Pulitzer Prize as part of the New York Times team for International Reporting, recipient of a MacArthur fellowship and author of “It’s What I do”.


Ceremony RSVP:

Please RSVP here — First Come, First Served

FREE Admission
Seating is Limited
Doors open at 6:15 p.m.


The program includes presentations of photo essays by this year’s grant and fellowship recipients, plus finalists

Announcement and presentation of
The 2017 W. Eugene Smith Grant of $35,000
The 2017 jurors’ discretionary Smith Fellowship(s) of $5,000
&
The 2017 Howard Chapnick Grant of $5,000

Reception to Follow

The W. Eugene Smith Memorial Fund Grant, selected from over 300 worldwide submissions, is presented annually to photographers whose work carries forward the tradition practiced by Eugene Smith during his 45-year photojournalism career. The grant enables recipients to undertake and complete worthy photojournalistic projects.

The W. Eugene Smith Memorial Fund is supported by generous contributions from The Incite Project, Herb Ritts Foundation, Phillip and Edith Leonian Foundation and Canon USA.

Additional support is provided by Aperture, Brilliant Graphics, Center for Creative Photography (CCP), the International Center of Photography (ICP), MediaStorm, Photo District News (PDN),  the School of Visual Arts BFA Photography, MFA Photography, Video and Related Media Department, and Synergy Communications Inc.

RSVP

Please RSVP through eventbrite

Artist Talk: Justyna Mielnikiewicz

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Monday, October 16, 2017
6:30 p.m.
Aperture Foundation
547 West 27th Street, 4th Floor
New York

JOHN. G. MORRIS — in memoriam

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John G. Morris, Paris, France, March 9, 2014

John G. Morris, Paris, France, March 9, 2014     © Jane Evelyn Atwood

John G. Morris gave tremendous weight and dignity to the role of the newspaper and magazine picture editor. He became the reference in the field because of his deep commitment to the profession over many decades and his personal presence at major events or his involvement with such circumstances: the beaches of Normandy in 1944; the assassination of Bobby Kennedy in Los Angeles in 1968; the military Coup in Chile in 1973, for instance. To him, photography was a powerful tool for reporting on social reality and injustice, for investigating harsh truths, and, above all, for denouncing the atrocities and devastation of war.

John was shaped by war. Born in 1916 in New Jersey, in the United States during The Great War, he witnessed World War II working with Life magazine; lived through the Cold War in turn with The Ladies’ Home Journal, the Magnum agency and The Washington Post; questioned the Vietnam War when at The New York Times; and, in the early nineties, at the time of the first Gulf War, he was National Geographic’s European correspondent.  

But John also possessed a deep “joie de vivre” which might be what kept him going for a full Century, one he intensely revisited over the last three years of his life to produce the dummy of a six hundred page personal memoir, both in images and words, that he was able to complete this past April. John was a prolific writer. He wrote often about war and peace, about photography, memories, and his old friends of which he had so many going back to the late Robert Capa and Henri-Cartier Bresson, not to forget today’s living centenarian, David Douglas Duncan. Yet, most of his friends belonged to much younger generations. John was insatiably curious about the emerging “new faces” he would get to meet at photography festivals in Europe, unless they would just ring his doorbell in Paris, his city of adoption. He was hugely generous with his time and advice, always attentive, open minded and encouraging; both passionate and reasoned.

Among his numerous professional achievements, John will be remembered for his unwavering support for Cornell Capa’s ‘concerned photography’ that led him in 1980 to establish ‘The W. Eugene Smith Grant in Humanistic Photography’ together with editor and biographer Jim Hughes, lawyer Arthur Soybel, and the late picture agency director Howard Chapnick, following the death of their common friend, the great American documentary photographer.

A humanist and a pacifist “with an eye, a heart, and a brain,” he was photo-journalism’s tireless defender and champion, and possibly its most exceptional chronicler and historian.

He was our friend.

 

Robert Pledge
President, Contact Press Images
Former President of the W. Eugene Smith Memorial Fund


 

 

Remembering John G. Morris

John Morris, Bayeux, Normandy, July 23, 1944, photographed by Ned Buddy.

John Morris, Bayeux, Normandy, July 23, 1944, photographed by © Ned Buddy.

John was the most passionate and fascinating man.

Looking back, 1985, the year Tana Hoban, the well-known children’s photographer, introduced me to John… she and I were in search of an agent to represent our photography… she had started seeing him romantically.

When they married and moved to Paris into a wonderful ground floor apartment filled with books in the Marais, I often visited.

He was always a great supporter of mine. So it was John Morris who invited me to join the W. Eugene Smith Board in 1986. At the time I was president of the American Society of Magazine Photographers. Curiously, Gene Smith had been president of ASMP for a brief time in the forties.

John had his favorite haunts, in New York City, a restaurant on the West Side that no longer exists, a tiny bistro near the Paris apartment that squeezed us in no matter how crowded. He was very frugal.

So many lovely memories of John that make me laugh. I will always think of him with affection and admiration. Shall miss him.

Helen Marcus
President Emerita, the W. Eugene Smith Memorial Fund

 


 

Very sad news

Helen and the Smith Fund: On the way home from brunch, we heard on NPR the sad news that John Morris has died. I have no further news on the circumstances, but I did receive a surprise telephone call from John recently. “Just to chat,” he said, and we did, for quite a while. His voice was weak, but his mind was still strong. I think he was saying goodbye, on his own terms.

Below, please find some pictures I made of John and his son, John II, at the latter’s home in Maine. After a wonderful pancake brunch featuring blueberries grown and harvested by John’s son, we all hiked up the “mountain” behind John and Susan’s beautiful home. Slowly, of course; John needed a cane for balance, but otherwise seemed fine.

These are my last vivid memories of John Morris. Some photographs I made in and from John II’s stone corral, or should I call it the Morris Stonehenge?

John Jr & John, Waldoboro, MeJohn and John, after a hike up the mountain, 2013       © Jim Hughes

As we left John and Susan’s hilltop, we saw this lone tree, standing strong against the elements, below a sudden and dramatic dramatic break in the clouds. 

View from John Morris Jr's HilltopPhotograph © 2013 by Jim Hughes

Jim Hughes
Author
Co-founder of the W. Eugene Smith Memorial Fund

 

Artist Talk: Justyna Mielnikiewicz

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W. Eugene Smith Partnership
Artist Talk: Justyna Mielnikiewicz

Monday, October 16, 2017
6:30 p.m.

Aperture Foundation
547 West 27th Street, 4th Floor
New York

FREE

Aperture Foundation, in collaboration with the W. Eugene Smith Memorial Fund, is pleased to present an artist talk with Justyna Mielnikiewicz. Based in Tbilisi, Georgia, Mielnikiewicz is the 2016 recipient of the W. Eugene Smith Grant in Humanistic Photography for her project A Diverging Frontier: Russia and Its Neighbors. Passionate about people and their stories, Mielnikiewicz creates photographs that are sensitive studies of life in the areas surrounding the Russian border more than two decades following the dissolution of the Soviet Union. Mielnikiewicz’s concerns are complex, often discussing issues that relate to these regions such as the abstractness of borders, unity and disunity, and how personal beliefs can be exploited by leaders to incite conflict and destabilize. However, the photos themselves are grounded in the everyday, perhaps even the seemingly mundane—as Mielnikiewicz explains: “Even in the time of war, people still get up, brush their teeth, have to do their shopping. They go meet their friends, they marry and they die. In a peaceful time it’s easier, in wartime it’s harder. But war or revolution or unrest doesn’t stop real life.”

The W. Eugene Smith Grant in Humanistic Photography was established in 1978 following the death of W. Eugene Smith, the legendary American photo-essayist. Today, it is one of the most prestigious honors in documentary photography. Every year it recognizes a photographer whose past work and proposed project, as judged by a panel of experts, follow the tradition of Smith’s concerned photography and the dedicated compassion exhibited during his forty-five-year career. The application deadline is in early June. More information can be found at smithfund.org.

The W. Eugene Smith Memorial Fund is supported by generous contributions from The Incite Project, Herb Ritts Foundation, Phillip and Edith Leonian Foundation, and Canon USA. Additional support is provided by Photo District News, International Center of Photography (ICP), School of Visual Arts (SVA) BFA Photography, MFA Photography, Video and Related Media departments, MediaStorm, Brilliant Graphics, Synergy Communications, and Aperture Foundation.

The Smith Talks and other programs at Aperture are supported, in part, by the Grace Jones Richardson Trust and William Talbott Hillman Foundation, and by public funds from the New York State Council on the Arts with support of Governor Andrew M. Cuomo and the New York State legislature and the New York City Department of Cultural Affairs in Partnership with the City Council, and with additional support from generous individuals, including the Board of Trustees and Members of Aperture Foundation.

Justyna Mielnikiewicz (b. 1973) grew up in Poland and started her career as a photographer after graduating from Jagiellonian University. Since 2002 she has been based in the Republic of Georgia. In her work, she mainly focuses on the countries of the former Soviet Union. The most important part of her professional activity is devoted to personal, long-term projects. In 2014, she published her first book, Woman with a Monkey: Caucasus in Short Notes and Photographs. She is currently finishing her long-term project on Ukraine titled A Ukraine Runs Through It, exploring modern Ukraine in turmoil, with the Dnieper River as a metaphor of the present split in the country. With the 2016 grant she won from the W. Eugene Smith Memorial Fund, she is working on a new project that explores the role of ethnicity in identity formation for Russians residing in former Soviet states, twenty-five years after the fall of the Soviet Union.

Farewell party for the first Georgian soldiers deployed to Iraq. Tbilisi. 2005.

Farewell party for the first Georgian soldiers deployed to Iraq. Tbilisi. 2005.

November 2008, Simferopol , Crimea, Ukraine  Varvara Nikolayenko on  the stage in the theater play where she performs a role of the soviet Pioneer. Opening night  of the play “Stalin’s Roads” was scheduled for  the day Ukraine commemorated victims of  1932-1933  Famine .Play presents Stalin as a man who created famine artificially with a purpose to punish Ukrainian anti-Soviet nationalism.During performance police was deployed outside and inside theater to avoid possible clashed with pro-Russian residents of the city-who's views on the reasons behind the famine were radically different.

November 2008, Simferopol , Crimea, Ukraine
Varvara Nikolayenko on the stage in the theater play where she performs a role of the soviet Pioneer.
Opening night of the play “Stalin’s Roads” was scheduled for the day Ukraine commemorated victims of 1932-1933 Famine .Play presents Stalin as a man who created famine artificially with a purpose to punish Ukrainian anti-Soviet nationalism.During performance police was deployed outside and inside theater to avoid possible clashed with pro-Russian residents of the city-who’s views on the reasons behind the famine were radically different.

February 2017,Petropavl Kazakhstan  Murals at the local University visible above  the army conscripts  depicts two  Kazakh : Abai Qunanbaiuli  (poet, composer and philosopher  ) and Shoqan Walikhanov (scholar, ethnographer, historian) dominating  over Russian classic writers  :  Tolstoy, Dostoyevsky and Pushkin .

February 2017,Petropavl Kazakhstan
Murals at the local University visible above the army conscripts depicts two Kazakh : Abai Qunanbaiuli (poet, composer and philosopher ) and Shoqan Walikhanov (scholar, ethnographer, historian) dominating over Russian classic writers : Tolstoy, Dostoyevsky and Pushkin .

Obituary: Stanley Greene, 2004 W. Eugene Smith Grant

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Photojournalist Stanley Greene, whose coverage of war and social upheaval spanned the fall of the Berlin Wall, the war in Chechnya and the aftermath of Hurricane Katrina, died May 19 in Paris. He was 68. NOOR Images, the cooperative he co-founded, did not provide the cause of death, but Greene had been diagnosed with hepatitis C nearly a decade ago, and had been in declining health in recent weeks.

Greene, a dedicated film shooter, brought an artistic eye to stories he photographed over the course of several years. He described photography as “75 percent chance and 25 percent skill” and his own career as “an accident.” He happened to be in Berlin in 1989 when the border between east and west suddenly opened. “I heard the Berlin Wall was coming down so I drove to Checkpoint Charlie and started photographing demonstrators,” he told Jean-Francois Leroy, director of Visa Pour L’Image, in a 2012 interview before an audience at the LOOK3 photography festival. “The adrenaline got into me. I realized it was part of history.”

His photo of a young woman standing on the Berlin Wall in a tutu and passing a bottle of champagne, was published around the world. From there, Greene went on to cover conflict and suffering in Mali, Iraq, Somalia, Croatia, Kashmir, Afghanistan, Lebanon, and other countries. In a bio published on the website of NOOR Images, Greene said, “Sometimes I wonder if societies just lust for tragedies.”

In 1993, he was nearly killed while covering an attempted coup against Russian president Boris Yeltsin. Several months later, Greene began covering the war in Chechnya. He traveled to Chechnya about 20 times over the course of the next decade to document the gruesome brutality of the Russian invasions there. Greene sided unapologetically with the Chechens. In 2004, shortly after the publication of his book Open Wound: Chechnya 1994-2003, he told Newsweek magazine, “I have been accused of having lost my objectivity. But when you sit on a fence and watch genocide without doing anything about it, you are as guilty as those who are committing it.”

In the 2012 interview at LOOK3, Greene offered a more tempered reflection on his work in Chechnya: “When you watch someone on your left and right being killed, you become angry, and have this naive idea that pictures are going to stop it. You go back more and more to show proof, and you hope pictures that get published will make people stop it. But it’s not the case.” (See “LOOK3: Stanley Greene on Film, Luck and Helping Young Photographers.”)

Greene won numerous awards during his career, including five World Press Photo awards, the 2004 W. Eugene Smith Grant in Humanistic Photography, and the 2013 Aftermath Project Grant. Both grants were for his ongoing work in the Caucasus. Among his other notable projects were his five-year documentary of the aftermath of Hurricane Katrina, and his project documenting the trail of electronic waste and its impacts in Nigeria, india, China and Pakistan. In 2010, he published Black Passport, a memoir and scrapbook which combined images from throughout his career with meditative reflections.

Greene was known for his generosity, particularly toward young photographers. “I believe in the community of photography. I believe we have to give each other a helping hand,” he said during the 2012 interview. He added, “It’s important for all of us when we discover talent to try to help them.”

Born in 1949 and raised in Harlem by parents who instilled in him a commitment to social justice, Greene protested the war in Vietnam as a teenager, and joined the Black Panther Party. “I was stupid,” he said of his Black Panther membership in the 2012 interview. “I was a big fan of Che Guevara. I was attracted to the Panthers by the berets and leather jackets.”

He began his artistic career as a painter, and used photography to catalogue his work until W. Eugene Smith–whose assistant Greene happened to be dating at the time–began to mentor him and encourage him to pursue the medium seriously.

Greene studied at the School of Visual Arts, shot some freelance assignments for Newsday, then moved to San Francisco, where he photographed punk bands. In the mid 1980s he moved to Paris to shoot fashion. He told Newsweek, “I was a dilettante, sitting in cafes, taking pictures of girls and doing heroin.” Around the same time Greene had his first success with his Berlin Wall pictures, a close friend of died of AIDS, and Greene resolved to kick his drug habit and get serious about his photography career.

He was represented for years by Agence Vu, but he left in 2007 to co-found NOOR with Kadir van Lohuizen.

Despite health issues, on April 17, Greene gave a lecture at the World Press Photo Foundation festival in Amsterdam, where he had been honored numerous times.

Related
View Stanley Greene’s images that earned him the 2004 W. Eugene Smith Grant

LOOK3: Stanley Greene on Luck, Film and Supporting Young Photographers

tanley Greene Wins 2013 Aftermath Grant

By David Walker
Posted courtesy of PDNonline.com

Apply for the 2017 Grant

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The extended deadline for the 2017 W. Eugene Smith Grant in Humanistic Photography is June 10, 2017.

Apply for the Grant >

A Call for Entries 2017

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W. Eugene Smith Memorial Fund Announces Call for Entries Now Open
for its 2017 Grant Celebrating Humanistic Photography

38th annual memorial fund increases grant to $35,000 for photographers who display poignant, humanistic approach to storytelling

New York, NY – March 1, 2017 – The W. Eugene Smith Fund announced it is now accepting applications for its 38th annual Grant in Humanistic Photography. Since presenting its first grant in 1980, the Fund has awarded more than one million dollars to exemplary photographers whose works, created in the tradition of Eugene Smith, have brought light to contemporary issues that call for compassion and attention. The Smith Fund also announced it will increase its annual grant to $35,000, beginning this year. Photographers interested in learning more about the grant and fellowship, and submitting an application should visit SmithFund.org. The extended deadline for submitting applications is June 10, 2017.

About The Smith Fund Grant
The Grant is presented annually by The W. Eugene Smith Memorial Fund to photographers whose work is judged by a panel of experts to be in the best tradition of highlighting untold stories, as exhibited by W. Eugene Smith during his 45-year career in photojournalism. The grant, which honors the legendary photo-essayist, enables recipients to undertake and complete their proposed photojournalistic and documentary projects. Past recipients have included Sebastião Salgado, Maya Goded and Eli Reed.

“We continue to be overwhelmed and inspired by the quality of work submitted by photographers all over the world in the name of humanistic photography,” said Lauren Wendle, president of the Fund’s Board of Trustees. “Last year’s recipient, Justyna Mielnikiewicz, is a great example of the quality of work being submitted and the significance the Smith Fund has established internationally.” In A Diverging Frontier, Justnya looks at Russians living in the former soviet states, 25 years after the fall of the Soviet Union, and the role ethnicity plays in the political development of these countries and the formation of social identity.

The recipient of the 2017 Smith Award will receive a $35,000 grant to complete a current or future documentary project. In addition, one or more Fellowships totaling $5,000 will be given to photographers to fund worthy projects.

Each year, the Board of Trustees appoints a three-member international jury that meets twice during the adjudication process. Finalists are selected based on the substantive, photographic, and intellectual merits of their project. They are then asked to submit a comprehensive electronic portfolio, and write, if necessary, a more detailed and focused proposal to answer questions by the jury regarding their project.

 

The 21st Annual Howard Chapnick Grant

Applications for the annual Howard Chapnick Grant are also open through May 31, 2017. The grant is presented to an individual for his or her leadership in any field ancillary to photojournalism, such as picture editing, research, education and management. This grant is not intended for photographers, but for champions of photography. It was established in 1996 to honor the memory of Howard Chapnick who led the Black Star photo agency, and to acknowledge his enormous contribution to photography. The annual $5,000 grant may be used by the recipient to finance a range of qualified undertakings, which might include a program of further education, special research, a long-term sabbatical project, or an internship to work with a noteworthy group or individual. This grant is not for the creation or production of photographs.

 

The W. Eugene Smith Memorial Fund is supported by generous contributions from The Incite Project, and Canon USA. Additional support is provided by Photo District News, International Center of Photography (ICP), School of Visual Arts (SVA) BFA Photography, MFA Photography, Video and Related Media departments, MediaStorm, Brilliant Graphics, Synergy Communications, and Aperture.

 

“Awarding these grants each year is made possible through industry-wide support and by private donors,” Lauren Wendle explains. “As it is important that we continue the funding which allows these photographers to share their stories with the world, we invite any who are philanthropically minded and share our interest in this special form of photography, to contact us. The W. Eugene Smith Memorial Fund is a not-for-profit corporation qualified under Section 501(c)(3) of the Internal Revenue Code. Contributions to the Smith Fund are tax-deductible.”

Photographers interested in learning more or applying for either grant should visit SmithFund.org.

Media Contact

Lou Desiderio
Synergy Communications, Inc.
Tel: 917-627-0912
Email: lou@pr-synergy.com

2016 Recipient: Justyna Mielnikiewicz

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Justyna Mielnikiewicz was awarded the Grant for “A Diverging Frontier

See Justyna Mielnikiewicz’s winning submission >

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