Tag: Brenda Ann Kenneally

11 Photographers Among Winners of 2014 Guggenheim Fellowships

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

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


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


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.