America at Hunger’s Edge

We spent months photographing dozens of families across the country to understand what food insecurity looks like today.

A shadow of hunger looms over the United States. In the pandemic economy, nearly one in eight households doesn’t have enough to eat. The lockdown, with its epic lines at food banks, has revealed what was hidden in plain sight: that the struggle to make food last long enough, and to get food that’s healthful — what experts call ‘food insecurity’ — is a persistent one for millions of Americans.

When Hunger Is on the Doorstep

The photographer Brenda Ann Kenneally traveled across the country to highlight the prevalence of food insecurity among families. To her, the images only begin to tell the story of struggle.

This weekend, the entire issue of The New York Times Magazine is devoted to the topic of families and food insecurity, the lack of consistent access to healthy meals that affects millions in America. The issue features 18 images by the photographer Brenda Ann Kenneally, who, in the spirit of Dorothea Lange’s Dust Bowl journeys, took a 92-day trip from New York to California in a camper to document those who were struggling. The pictures are part of a collaboration between the magazine and the National desk that includes an online multimedia package.

A Portrait of Love Among the Ruins of Post-Industrial America - Feature Shoot

October 23, 2010 birthdays Tony in the dark bedroom, looking out the window Dana nursing KyLanne the day before she took her baby home In the dystopian mythos that fuels…

Artist Brenda Ann Kenneally knows how the game is played better than most, and uses her knowledge and wisdom expose the truth — rather than perpetuate the lies told and sold. In 2002, she and author Adrian Nicole LeBlanc began collaborating on a magazine assignment in Troy, New York, a once-thriving city whose fortunes have gone dark.

A Chronicle of Life and Pain in Upstate New York

Among young women in Troy, N.Y., the photographer Brenda Ann Kenneally captures a spiral of aimlessness and trouble.

Brenda Ann Kenneally’s masterful new photo book, “Upstate Girls: Unraveling Collar City,” is a deep study of a group of girls from two or three extended families in Troy, N.Y. Most of them live in the same neighborhood, even on the same block. “Upstate Girls” begins in 2004, when Kenneally is drawn to the story of 14-year-old Kayla, who is pregnant. Kayla’s partner is Sabrina, also 14. The baby daddy is Sabrina’s cousin Joshua, and the pregnancy is a result of a casual encounter between Kayla and Joshua while Kayla and Sabrina were on the outs. But with the baby almost due and Joshua in prison, Kayla and Sabrina are back together, determined to be co-parents.

A New Way to Talk About Poverty in Troy, New York

Brenda Ann Kenneally takes photographs, but to call her a photographer isn’t quite accurate. She prefers the term “digital folk artist,” and when you...

Brenda Ann Kenneally takes photographs, but to call her a photographer isn’t quite accurate. She prefers the term “digital folk artist,” and when you hear how she interacts with her subjects—families living below the poverty line in Troy, New York—and tells their stories, it seems an apt description

11 Photographers Among Winners of 2014 Guggenheim Fellowships | PDNPulse

The John Simon Guggenheim Memorial Foundation announced the recipients of their 2014 fellowships today. Eleven photographers are among the 178 recipients. They are (links direct to their bios and image galleries on the Guggenheim site): Robert Dawson LaTo

They are (links direct to their bios and image galleries on the Guggenheim site): Robert Dawson LaToya Frazier Jason Fulford Phyllis Galembo Gregory Halpern Brenda Kenneally Andrew Moore Lori Nix Matthew Pillsbury Mark Ruwedel Rachel Sussman

In Drug-Riddled Bushwick, Revisiting a Steadfast Friend

Brenda Ann Kenneally moved to crime-ridden Bushwick, Brooklyn, in the ’90s, and befriended a troubled but sweet boy named Andy, whom she photographed for a time. Now an adult, he is her subject once again.

When he first saw the book “Money Power Respect,” it was a source of pride. He enjoyed the recognition. Now, when Andy looks at the photographs of him as a child, he mainly thinks of his daughter: “I see all the troubles my family went through,” he said. “I don’t want my daughter to go through that.”

The Boy from Troy by Brenda Ann Kenneally

There was an uneasy identification between the two of us that grew into friendship over the next eight years while I continued to document Kayla, Sabrina and their friends who lived as a family on the same block. A family, I discovered, that was formed largely in response to increasingly punitive legal, moral and economic shifts within their working class community. I watched, as school either became the interface between the justice system and a disengaged teenager or a lifeline thrown from an involved teacher. At year six, I began to agonize about the utility of this monster story and when Donny began school, it became evident that he was the story. Donny is the proverbial child that this neighborhood raised

Photoville 2012: Noorderlicht | La Lettre de la Photographie

A gripping look behind prison walls. By request of Noorderlicht, guest curators Hester Keijser and Pete Brook have brought together work by eleven women photographers, presenting quite unexpected photography of great variety, revealing life behind bars. 
Artists include: Araminta de Clermont, Amy Elkins, Alyse Emdur, Christiane Feser, Brenda Ann Kenneally, Jane Lindsay, Deborah Luster, Nathalie Mohadjer, Yana Payusova, Lizzie Sadin, Lori Waselchuk.

Upstate Girls: What Became of Collar City – Brenda Ann Kenneally

As a journalist and activist I have dedicated my life to exploring the how and why of class inequity in America. I am concerned with the internalized social messages that will live on for generations after our economic and social policies catch up with the reality of living on the bottom rung of America's upwardly mobile society. My project explores the way that money is but a symptom of self-worth and a means by which humans separate from each other. Poverty is an emotional rather than physical state with layers of marginalization to cement those who live under them into their place. The economic crisis as it is called has done some to take the moral sting out of being poor, though the conversation remains centered on economic rather than social stimulus relief. Thus indicating that the crux of the crisis is for those that are recently without money rather than Americans whose ongoing struggles left them unfazed by the headlines.

Behind the Scenes: Silence at a Festival – Lens Blog

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Behind the Scenes: Silence at a Festival – Lens Blog – NYTimes.com:

Most shows were the result of the dedication of individual photographers to the telling of a single story. Several of the most talked-about exhibits were by photographers whose projects were driven solely by passion, often with no assignments to sustain them.

Among the highlights were Eugene Richards’s powerful photographs of the effect of the Iraq war on Americans, Brenda Ann Kenneally’s exceptional images of upstate girls in her hometown of Troy, N.Y., and revealing photographs of the Afghan people by Zalmaï Ahad, known professionally as Zalmaï.

PDNPulse: Getty Announces September 2009 Grant Winners

PDNPulse: Getty Announces September 2009 Grant Winners:

Getty Images today completed its fifth annual photojournalism grants program by announcing that Krisanne Johnson, Brenda Kenneally (both from the United States) and Zalmai (from Afghanistan and Switzerland) have been selected to each receive $20,000 grants, as well as collaborative editorial support from Getty Images, to pursue their documentary photography projects.

Perpignan Saturday: David Douglas Duncan, Brenda Ann Kenneally, and a heated photoj debate

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The final conference Saturday was probably the most interesting (and inflammatory) of the week. It focused on a photo that was made in South Africa by photographer Kim Ludbrook, who sent it to his agency, European Pressphoto Agency, which in turned pushed it to the wires. Jean-Francois Leroy explained that the photo had made it into one of the “year in pictures” slide shows for Visa before he found it and removed it. He reacted strongly against the image because of its content

Check it out here.