Eugene Richards, Snow globe of the city as it once was, New York, New York, 2001. Gelatin silver print. Collection of Eugene Richards. Eugene Richards, Grandmother, Brooklyn, New York, 1993.…
Like W. Eugene Smith before him, photographer Eugene Richards (b. 1944) used the photo essay as a means to engage with his subjects through the profound transformation that comes when human beings not only connect, but are seen, heard, understood, and able to share their lives in a holistic way.
The Call for Entries for the 2017 W. Eugene Smith Memorial Fund just ended for this year, and it happened on the same day the great Eugene Richards’ first museum retrospective and tour opened. The Eugenes, Smith and Richards, make for good company because they are both important photographic story tellers who shoot real people in desperate or, at least, trying circumstances.
Eugene Richards’s photographs speak to the most profound aspects of human experience: birth, death, and the grinding effects of systemic poverty. His style is unflinching yet poetic, and his photographs are deeply rooted in the texture of lived experience. Through his photographs, writings, and moving image works, Richards confronts challenging subjects with an impassioned honesty that can be simultaneously controversial, lyrical, beautiful, and melancholy. Ultimately, Richards’s photographs illuminate aspects of American society that might otherwise remain hidden in plain sight.
The George Eastman Museum in Rochester will open the first museum retrospective of the work of the photographer Eugene Richards on June 10. The exhibit, “Eugene Richards: The Run-On of Time,” covers his career as a photojournalist and documentary photographer from 1968 to the present and was produced in collaboration with the Nelson-Atkins Museum of Art in Kansas City, Mo. Curated by April Watson and Lisa Hostetler, the retrospective includes 146 photographs, 15 books, and selected videos. It is accompanied by a catalog distributed by Yale University Press.
Focusing on the theme of “Main Street: a Crossroad of Cultures,” the exhibition, curated by Jerome De Perlinghi and co-curated by Catherine Coulter Lloyd and Régina Monfort, features the work of 100 photographers from 31 countries with an equal number of men and women. Among the artists included in this years’ edition are: the late Marc Riboud, Olivia Arthur, Linda Bournane-Engelberth, Omar Havana, James Nachtwey, Martin Parr, Eugene Richards, Gaia Squarci and Jo Ann Walters.
Richards was aware of the clichés of poverty journalism—the posed portraits of dignified despair. He was looking for something else.
Thirty years ago, when Consumers Union, the publisher of Consumer Reports magazine, commissioned the photojournalist Eugene Richards to travel through fourteen American cities and towns to document poverty, he approached the project with the meticulousness of a policy analyst. “We read news articles and sociology texts, studied maps and statistics charts, searching for ways to address the issues of hunger, homelessness, and unemployment,”
When the Bronx Documentary Center opened five years ago, Manhattan-centric curators scoffed. Not anymore. From Eugene Richards to emerging talents, the B.D.C. has created a diverse and dedicated community of photographers.
When Eugene Richards opens his next exhibit, it will not be at a Chelsea gallery or a major Midtown museum. It will be at a location that he much prefers: the Bronx Documentary Center.
This video is part of our Exposure series, in which National Geographic photographers share the stories behind their images. Listen to photographer Eugene Richards talk about his assignment: looking for Lincoln’s legacy in our modern times. *** You may fi
This video is part of our “Exposure” series—where National Geographic photographers share the stories behind their images. Listen to photographer Eugene Richards talk about his assignment: Looking for Lincoln’s legacy in our modern times.
Documentary photojournalist and filmmaker Eugene Richards has been named as one of seven recipients of the 2014 Missouri Honor Medal for Distinguished Service in Journalism.
The other medalists this year are veteran editor Byron E. Calame; long-running NPR host Audie Cornish; The Guardian, a 193-year-old newspaper; advertising creative leader Steve Kopcha; the editorial staff of the Kyiv Post in Ukrainia; and the magazine WIRED.
There was almost a pleading quality to Reverend Landers’s voice when he asked if I would take his picture. “It will go right there,” he said, pointing to a patch of wallboard hung with angel wings made of crepe paper and a cross fashioned from scraps of cardboard. “I’d be proud to be so remembered and immortalized.”
With a recent announcement on the crowd funding platform Kickstarter, award-winning photographer Eugene Richards speaks to LightBox about his latest book, Red Ball of a Sun Slipping Down, and his motivation to self-publish the project. The following text is adapted from a recent email correspondence.
A couple of years ago I was photographing an annual report for a pharmaceutical company and ended up in a hospital in downtown Guatemala City, where I was privileged to witness one of those mostly unnoticed and un-newsworthy events that speak of how giving some people can be. Permit me to share this story with you.
In 2010 Eugene Richards published the book War is Personal, which documented the devastating effects that serving in Iraq has had on some veterans and their families. Now with the help of another Getty Images Grant for Editorial Photography, Richards plan
In 2010 Eugene Richards published the book War is Personal, which documented the devastating effects that serving in Iraq has had on some veterans and their families. Now with the help of another Getty Images Grant for Editorial Photography, Richards plans to continue the project, looking this time at soldiers returning from Afghanistan
Today I’m posting something new, a short video that in a sense is an interpretation of work that I completed for National Geographic in North Dakota. The story, titled “The New Oil Landscape,” in the March issue of the magazine, focuses on the changes that a nearly unprecedented oil boom brought to this once isolated farming state
After more than forty years as a photographer, I've been repeatedly told it's time to consider putting together a retrospective. But I remain hesitant. It's not the pictures, though there are a lot of ordinary ones. When you look back, you realize how many people you've lost touch with, how many people have either passed on or are unreachable.
By Stephen WolgastFor more than 40 years, Eugene Richards has held a mirror to society. Even his simplest images are packed with nuance, composed with a literary quality that pulls the viewer deeper. It’s a style that asks the viewer not to just see the p
Richards has cast aside the notion that photographs speak for themselves. Words make an increasingly significant contribution -- providing another dimension, telling the back-story, revealing his subjects’ motivations (and, sometimes, his own), creating complementary tales that are richer precisely because they diverge.