Come check out Salon Sunday's Open Studios...
I have always been enchanted by our fethered friends, therefore Im especially happy to have a piece hanging in this show! 'Common Pigeons' is an image that exemplifies to me that when one may least expect it, nature can surround the senses and captivate one's imagination.
As I prepare to submit to another call for a juried show at PhotoPlace Gallery, I came across this statement from Brett L Erickson, fine art photographer and juror of the Man in the Landscape exhibit. I greatly appreciated the time taken to share such a thoughtful insightful point of view. Perhaps you will too...
Robert Adams, in his excellent essay called “Civilizing Criticism,” asks, “What are legitimate bases for the judgment of photographs?” Perhaps an equally intriguing question might be, “In an emphatically subjective process such as a juried show, what is the meaning of successes or failures?” I will not attempt such a Quixotic endeavor as forwarding a universal answer, for any cursory survey of history will show critics have nearly always been lost to time, in comparison to many artists now immortal who were judged errant in earlier days.
Photographers also brave risk in shows. Conversely, jurors toil little, and risk less, in comparison to the emotional vulnerability and personal sacrifice photographers trade for revealing images. All a critic can offer is an explanation of his or her process, the method of reconciling one’s internal sensibilities with the selection of a set of resonant images from the stock at hand. Here, then, I explain my own methodology of selection, and suggest caution in any inference of success or failure. I have witnessed, and have been party to, groups of selectors who, upon reviewing a body of work, found little commonality in the photographs each deemed “best.” The lesson: Keep shooting, take each show result with a healthy dose of salt, and be bold.
Ultimately, a juror’s job is one of exclusion by way of questions. I prefer to ask six, in order. Does the image fit the theme? Is it technically sound? What was the photographer trying to do? Was it successful? Does the work ask good questions? Is it New and Poetic? Elements such as these aid in how photographs can both resonate—though seldom universally—and challenge.”
A group photography show is thematic, because there must be a cohesive vision among the images to be displayed, and thus necessitating the question of “Does it fit?”. Similarly, a show should be unified in a standard of technical achievement. A first-year art student’s painting may seem disjointed and weak next to a Pissarro. But while the subtleties of expression and technique are still developing, it does not mean the art student is without skill or merit (Cézanne thought of Pissarro as a father). But the two works are at different points of development at that point in time.
Strong photographs must also find, ask, and suggest answers to questions. Such interrogations of the visual and physical world can be complex or simplistic, profound or superficial. Good photographs expose metaphors, chide us with doubts and wonder, or make us ponder the nature of our existence and purpose. They compel us to reconsider our place in the world.
Novelty is self explanatory. No photograph is new, so I ask, “Has it been done before in the same way?” The poetic is more elusive. On its face, a visual poem is simple, elegant; upon closer scrutiny, the complexity and tension begin to emerge. Is there more than a tension between a protagonist and antagonist? Are light, shadow, and Form players in this poem? Is it beautiful, even if it is also Terrible? Does the image stay with us long after we have left its physical presence? Moreover, are we compelled to return to it?
In a world where photographs are becoming even more ubiquitous, more fleetingly present, I find images that haunt in their Form, beauty, questions, and metaphors even more necessary. Numerically, in the proliferation of iPhone and Android snaps which inundate the digital landscape, they are becoming an increasingly minute percentage of the visual chaff we perpetuate. As photographic artists, we reject this trend.
Joyfully, many of the images submitted to this show were in that fraction of the whole, for they moved me deeply; selecting the show, online gallery, and best in show image was extremely challenging. A good deal of them will stay with me forever. The best in show image, that of four boys trapped in the geometric wasteland of fecund runoff and concrete, their gazes trapping me within the image, haunted me most. It asks questions of humanity and progress, of inheritance, and of exclusion. And yet it is beautiful in its balance, its forms, and its color. It is truly Poetic.
I congratulate all those selected, and offer my thanks and deepest appreciation to everyone who submitted. In closing, I return to my initial question of success, and offer an answer: Keep creating, for our only failure in photography is when we silence our voices.
Brett is considered one of Nebraska's finest artists. His work featured at NationalGeographic.com, National Public Radio, American Public Media, and Nebraska Educational Telecommunications.
Great reason to get to the Santa Fe Photographic Workshops to learn more from this guy...
... where the west side of the island levels out and moseys out towards the beach.
Developed in the New Mexico labs of Bostick and Sullivan and named for and ancient Anasazi symbol for the sun, Ziatype are a variation of the platinum/palladium process.
Prince Rogers Nelson June 7, 1958 – April 21, 2016
The Curated Fridge, brainchild of photographer extraordinaire, Yorgos Efthymiadis, brings in guest curators to select fine art photography to be shown in a fresh and clever way. Exposing, promoting and connecting artists through bimonthly exhibits online and occasionally on location, Yorgos and his Refridgecurators reinforce community and creativity in this often formal world of fine art.
Within the constant movement of life, one must take moments to reflect, regroup and maybe recommit. Im doing that this January and am very excited and motivated. What better way than to open the year with a clean studio and 3 person ehibit. I do hope to see my Boston friends out at SOWA tonight. Ill be in two places at once, so to speak!
"In surfaces, perfection is less interesting." Canadian poet, Anne Carson.
Sunday morning got better as I came across this engaging photo-eye post. Marina Black shares her process, emotionally and artistically. Tragic loss of life and then a loss of words to articulate her feelings, brought about a deeper exploration of her dark side. Authenticity, embracing both despair and hope and fracturing the restrictive perfect polish we put on, are some of the ideas she explores so beautifully here in black and white film.
Go to The Interview
What an honor this image was juried in by Susan Nalband of the Gallery 555, Boston.
Please come join us at the Lawrence and Rosenberg Galleries from September 9–December 6, 2015
Im still enjoying the view from afar as my images Cake Psycho and Penn's Mildred Pierce were juried into EXPRESSIONS the Longford Art Photography Portrait Competition and Exhibition, 2015.
Im thrilled to have been selected to partake in the 21st Annual Juried Show, Peter Urban Legacy Exhibition @ the Griffin Museum of Photography. Thank you to all the powers that be including Jim Casper of Lensculture fame and Paula Tognarelli, Executive Director of the Griffin.
Opening reception July 9th, 2015. 7 pm
& Congratulations to all the participants of the exhibit...
“The 2015 Griffin Awards attracted remarkably diverse, sophisticated and refined submissions from photographers who explore their art across many genres. The 54 photographs in this selection represent a delightful range of approaches — each of which somehow celebrates the idea and the medium of photography itself — as well as the wild worlds we live in physically and in our imaginations. It’s a joy to discover so many creative people who are so fluent in the visual language of photography.”
Jim Casper, founder and editor, LensCulture
I hope you have a fabulous and prolific year.
Back in October of last year, I had the opportunity to get involved with the Human Rights Campaign of New England via a silent auction at their Annual Gala Dinner. Their vision is an American society of equality in which all individuals, families, and communities are secure, authentic, and empowered. As a Canadian living in Boston with the same values in my heart, I was really happy to contribute. The event was inspiring and energizing and Im looking forward to doing more with them in the future.
...Meanwhile, Im doing my thing as a fine art photographer, shooting, editing and entering images into group exhibits... I was so pleased to get notified this morning that the same image, Art and Architecture, NYC is going to be hanging in Darkroom Gallery's Lines Exhibit at the end of February. Thank you, Rebecca Senf, Juror and Curator from the Centre for Creative Photography in Arizona and Darkroom Gallery for the selection!
We had a fabulous turnout for the opening of not #Selfies. All the individual work hangs so well together and offers an interesting visual trip through so many personas.
Thank you to everyone who made it out! I was grateful that my epic cold-turned-sinus-infection let up for the evening and I was able to patch myself together, be there and not scare people off. It will be up until March so I hope you can pop over to see it.
Thanks NESoP for the photos of the event...
and a special thanks to you!
Put a little more into the game... in creating and in viewing.
Jason Landry, of Panopticon Gallery, has brought together a diverse group of artists who truly share of themselves. The perspectives and products are as unique as the people that create them. I am honored and excited to be included!
Opening night is Friday, 16th of January, 2015. Come celebrate Self Portraits, not #Selfies.