As always, Maine photographer and master printer Jim Nickelson keeps a running list of competitions worthy of your time to consider. Check it out by this link, and better yet – sign up for his blog:
Archive for the Maine Category
I’ve used the Maine Historical Society‘s vintage image division several times in the past couple of years to find just the right images for clients. It was easy to use and the staff is very accommodating. The low cost per image provides a resource of real value. Created in 2004, Vintage Maine Images‘ purpose is to showcase historic photographs from the Maine Memory Network that are available for purchase by the public.
An announcement just came to my IN BOX that Vintage Maine Images is celebrating a re-designed website with two events – this Friday, 5/3, is their launch party and it ties in with First Friday, so an easy opportunity to stop in and see what’s what, including an exhibit of cool images. Food, beverages, AND a vintage photo booth are also part of the celebration!
If you’re a business owner and/or a member of the design community, there’s an invitation-only cocktail party: “A Vintage Maine Evening” on May 22 from 5-7 to introduce you to this wonderful treasure and answer your questions about how you can take advantage of it. Want an invite? Write to email@example.com.
There are currently 21,000 images available for purchase and more added every day. Not only photographs can be had for the money: maps, postcards, paintings, broadsides, daguerreotypes, drawings, architectural plans, and letters are there at your fingertips. If you want, VMI will make a print for you, but I always order the image electronically and have my gallery printer (Jim Nickelson) print it for clients. We’re often asked to add location and date as a caption layered on top of the image, and if there are multiple images we neutralize the tones to match if wanted.
Another great development is in the Museum store on Congress St. in Portland – merchandise will feature photographs from Vintage Maine Images and that will be fun to check out.
Many of the works available come from “partners” of the project – historical museums, libraries and museums in Maine and they get half the fee when an image is sold, so…your purchase is a great way to support the preservation of Maine’s past.
Frankly, it’s really fun to troll through this website and I’ve never failed to find what my clients need while having a rather good time doing it.
The camera speaks a universal language, and in Maine no place confirms that quite like Maine Media Workshops in Rockport. Students and instructors come from all over the world to take pictures together. No interpretation necessary.
Sujata Khanna lives in New Delhi, India, but since the summer of 2012 has been a Rockport, ME resident and participant in the Professional Certificate Program at the Workshops. Three other students are in the program: Collin Howell, Adam Pitula and Jourdan Selkowitz. We’ve spent many hours together since September, 2012 in Brenton Hamilton’s History of Photography course learning about those who have shaped photography since 1839.
So, always interested in seeing photographs, and curious about what these four young photographers are up to in their other Certificate Program classes, last November I went to the showing of their fall 2012 documentary studies projects, a course led by Workshops Vice President of Academic Affairs Elizabeth Greenberg. “For many students, that project in the fall is their first experience working on an extended project. A point I emphasize is that the subject of their photographs is not only what is in front of their lens, but rather what is behind the camera – their “concerns” if you will – what it is they are curious about and want to share their unique vision and voice of through their photographs.” she says.
Well. I came away from that humble scene of four projects spread out neatly on re-configured tables in the dining hall kind of unable to blink. I spent a considerable amount of time with the images and their creators, and still feel a little thrill whenever I think of how extraordinary these projects are. These were young, unseasoned photography students? I couldn’t quite believe it.
Besides pricing their work, one of the most common concerns I hear from photographers is their inability to edit their own work – honing, winnowing, chucking until only the very best – the A++ images – are left. Sujata told me she had taken almost 2500 photographs and had edited them down to these…EIGHTEEN. Adam told me a similar story (500 taken, 17 shown), as did Collin (3000 taken, 23 shown). (Jourdan wasn’t able to attend the event.)
But it’s not just about numbers, okay? Most important, they are terrific photographs – and that’s always the priority no matter what is cool about process, content or anything else. Second, these groups of photographs told the stories resulting from weeks of work (Adam tells me he spent about 3 days a week over 6 weeks with his subject) and they told them so well – succinctly, and at same time, very completely. Stories with a beginning, a lot of middle, and a wrap up.
Sujata’s project is titled “Being a Teenager” and she focused entirely on a group of rebellious teens who hang out together in the amphitheater behind the Camden Public Library (see first photo at top). Collin’s project developed down a different track than she had originally thought it would, she told me – she was documenting a woman who is resurrecting a 40 acre farm that had long been dormant. But it was 6 yr. old Sage who became the story instead. Collin says “Sage and her siblings are schooled at home and spend many hours of their day outside helping to run the farm. Sage plays and explores with the wonder of a child, but works with the strength and maturity of an adult. What is it like to be this six year old farmer?”
Adam documented the life of a local hermit. He told me he gradually gained Dave’s trust and was let further and further into his life as the weeks went by. “I remember the first time I saw Dave. He was slowly making his way up the small hill from Camden Harbor towards Elm Street. Groups of tourists moving around him quickly, I watched as he took his time seemingly unaware of the people around him. He stuck out visually in comparison to the other people out on the streets that day, almost like he was from a different time. Dave Conray grew up here, this has always been his home and he was not out of place in the least. Yet he has become somewhat of a stranger in his own habitat. He lives on the outskirts, and spends his days in the heart of town. Just beyond the gaze of society, he occupies the spaces in between.”
Now, just to make things even more interesting, I’m including a couple of photos from Sujata’s winter project – 3515 images taken, 7 selected – and the group of 7 images is perfection – but that perfection you’re not going to see with me isolating these two out of the pack*. She questions, “whether we are aware of the amount we consume, whether we are mindful of the volume of material we throw away that can be reused – are we conscious of the footprint we are creating on the earth?”
And finally, you too, can see the newest work of these students: right now at Zoot coffee shop in Camden Sujata is showing 11 (mostly Portland) photographs taken for a social landscape project in their Visions & Themes class led by Brenton Hamilton. As well, the class will be showing their work in Rockport at the MMW Gallery opening May 30, and at PhoPa Gallery in Portland opening June 12. They deserve your attention.
*But MMW needs to create a link online so these projects can be seen in their entirety. It’s how they were meant to be viewed and I want to get them in front of more people and share their success.
Elizabeth Greenberg says it best: “…it was a major achievement for each of them to refine and develop their ideas and connect those ideas to how they see photographically. There were many “aha” moments.“
If you want to know what 23 years looks like, visit the Portland Museum of Art before 5/19/13 to see the exhibit “Blueberry Rakers: Photographs by David Brooks Stess”.
If you want to see and understand what real, worthwhile lyric documentary photography is, see this exhibit. About 60 images are on view, and yes, Stess has taken 1000′s over the decades. But Susan Danly did such an insightful job curating the work, I can assure you it’s all there. The respect, the trust, the knowledge. Not “insight”. Knowledge. That’s what working from the inside out is. Observers observe. Experts have insight. Stess knows.
In 1989, David Stess was driving around in downeast Maine taking photographs when someone told him he should check out the blueberry rakers, and gave him directions to a local barrens. As he tells it, after what seemed like days on a rocky track, eery figures emerged from the fog.
And in that instant… he knew.
As only Dave Stess can do, he jumped right in – and stayed in – with everything he’s got. Frankly, the project still isn’t quite over, but it’s very close. For the rest of us in the photography community, the portraits he made of the rakers over the last two plus decades say it all: here’s a person who understands what it takes to create something of importance. Ingredients: intimate knowledge, love, respect and trust.
For Dave learned how to rake blueberries. He raked and raked and raked and photographed. He became known as “Super Dave” for his amazing speed. He not only raked next to them, he went home with the rakers after the long, backbreaking, sweaty days to share their food, their living quarters, their games, their talk.
Think Josef Koudelka (Gypsies) and Danny Lyon (The Bikeriders), both early inspirations for Dave. Think Richard Russo (Mohawk, Nobody’s Fool, Straight Man, Empire Falls and most recently the autobiography Elsewhere) who wrote the catalog essay introducing David’s exhibit to the public. Russo knows firsthand: he kicked off his rise to literary stardom writing about the upstate NY towns and culture he grew up in. Russo gets it right – and the reading public knows it.
David Stess earned the trust of his subjects by entering their world without reservations. He “got it” – what they do and why they do it. How hardscrabble and uncertain such a life is. Weather, bosses, machines, bad crop – you are a pawn in the very tough and unforgiving world of harvesting.
It’s okay to take photographs of others who live differently, but more often than not, taking photographs as an outsider is closer to invasive voyeurism on the part of the photographer and the viewers. When young writers are told “Write what you know.” this is no rhetoric. Photographers need to make an investment of time and psyche to their subjects to earn their trust, but just as important, so they take photographs from the inside out, from what they know, not just what they see. There’s a difference and it’s a big one.
I honor David Brooks Stess. We are very different people, he and I. But I know the real thing when I see it.
(David’s photographs are in the collections of the Portland Museum of Art, Farnsworth Art Museum and many private and corporate collections. He was the first artist I took on to represent work when I started VoxPhotographs in 2007. He is still represented by VoxPhotographs.)
Update! April 15: Tim’s a cool guy. You’ll like him. He’ll be talking about this collection on Sunday, April 21, at 2 p.m. at PhoPa in Portland. His talk is titled “The Inside Story.” I love behind-the-scenes insider stuff. If you do too, head up the hill on Sunday and enjoy yourself.
Tim Whelan doesn’t know it, but he changed my life. Back in say, 2005, after I had sold my publishing company, I was self-studying photo history. But I wanted more. I went online to locate a college-level course, but had no luck: anything available required studio work courses.
One day I dropped into Tim’s bookstore in Rockport. It was mecca for anyone in the midcoast area interested in photographs, especially the staff and students at Maine Media Workshops around the corner. I complained to him about my lack of success in finding an accessible course anywhere in the country on the history of photography. Tim looked at me and said, “But the best course is right here in Rockport.” Hello? Yep, the photo world’s best kept secret is Brenton Hamilton’s History of Photography course at Maine Media Workshops, part of the Certificate Program offered there. I signed up and five minutes into the first lecture I was on the edge of my seat with excitement. Here was someone who understood art is tied into everything! Thus began many happy hours and years at Brenton’s feet soaking up how we got to where we, in the photography community, are today. And because of Brenton’s inspiring teaching, I started VoxPhotographs to represent Maine’s fine art photographers. So, Tim Whelan was vital to me, my artists, and countless students and instructors at Maine Media Workshops over the decades. He was the hub of a community wheel.
Tim was, among many things photographic, a student at the workshops from time to time, and tells me the tradition was to trade your work with the other students in your class and the instructor. So, since his first purchase (thanks, Mom!) – Ansel Adams’ “Clearing Winter Storm”, a whopping $25 per print at Yosemite National Park almost 50 years ago – and through several different means, Whelan has built a collection of perhaps 1,000 prints and thus, we have a glimpse into that collection on view through May 4 at PhoPa Gallery in Portland. The show is curated by Bruce Brown and Jon Edwards.
The exhibit starts off with four sweet landscape photographs by Tim himself, and then immediately kicks into high gear with two Joyce Tenneson images, including the gorgeous “Dasha, Russia”. Circle around the 38 works from the collection to see who you know and who you don’t, and then go around again to focus on the images.
Besides Tenneson, Maine is well represented with Paul Caponigro, Jon Edwards, Dave Stess, Olive Pierce (an exhibit of her work is part of the summer exhibit schedule at PhoPa), Tillman Crane, and Madeleine de Sinety. Oh, and Gary Briechle, that elusive and brilliant Camden photographer who, Tim told me, just launched a website.
What I like about this exhibit is seeing old friends, yes. But I also like learning about photographers I’m not familiar with but who have definitely made their mark. There is bio info. available on each photographer and it’s a resource to spend time with.
So this exhibit is a great antidote to cabin fever and feeds our mud-season need for a change of scenery. You can explore the work of artists like Arno Minkkenen, Lary Wiese, Ted Orland, John Isaac and others who deserve our attention, and feel like you’ve experienced a glimpse of spring – fresh, unexpected and beckoning.
Here are some happenings that will really perk up your February – don’t miss any of them:
University of Maine Museum of Art – Dog Run: Michael Crouser – on view through March 3.
Bowdoin College Museum of Art – The Fixed Image: History and Process in American Photography – on view through March 3.
PhoPa Gallery – BAD ASS – Photographs by Melonie Bennett – on view through March 30. Opening Reception, February 14, 5 p.m. Artist talk: Sunday, March 17, 2 p.m.
Maine Museum of Photographic Arts – Terrain Vague (Part I): 1998-2010. Photographs by Gary M. Green, University of Southern Maine, Glickman Family Library. Through May 3, 2013. Opening Reception, February 7, 5-7 p.m. Artist talk: March 15, 2-3:30.
And to while away a few hours in a highly productive way – connect with Jim Nickelson’s latest blog posting for a list of Calls for Entries! Get the word out about your work!
If there’s anything else going on that I’m not aware of, please make me aware!
Desert Island©Dave Wade. All Rights Reserved
Dave Wade has installed two huge, beautiful prints unframed for you to stick your nose right into, along with a very generous selection of small images simply framed in black. Anyone who knows Dave knows he’s got a good sense of humor and you’ll see that clearly in many of these images. Yes, he enjoyed creating these photographs, there’s no doubt about it. So take advantage of this opportunity to see some skillful objects portraits by an old pro and you’ll also have a good time appreciating his content, composition and lighting choices. Dave’s work is also represented at VoxPhotographs.
The other side of the Addison-Woolley gallery features a very successful body of work by Alan Sockloff who has chosen to render these still lifes entirely via the cyanotype process. With the terrific impact and success of digital darkroom for any artists, it’s interesting to see many also including historic processes in their oeuvre. These floral still lifes are simply lovely, and also are the result of excellent content and composition decisions-making.
Aging Alone©Alan Sockloff. All Rights Reserved
“Something Old, Something New” opens Dec. 7 with a reception for the artists and continues through to Dec. 29, 2012.
Speaking of “something new” – I believe change is afoot for this gallery space for 2013, so stay tuned.
If you want to mess with your head a bit, attend the opening on Friday, November 2, 5-8 of “Relevant Histories” up at Addison Woolley gallery on Washington St. in Portland.
Devoured (platinum metals and gum bichromate), 2012©Brenton Hamilton. All Rights Reserved
This show of Brenton Hamilton’s wonderful and weird works is a beauty, as co-curated by Bruce Brown and Jon Edwards, and the 22 works on display cover about 8 years worth of fearless mixing and matching of historic process picture-making: from cyanotypes to platinum with black gum bichromate to salted paper toned with gold, and everything in between…
Brenton teaches at Maine Media Workshops in Rockport and makes most of his works in the summer months, partnering with the sun. He loves gum bichromate washes, and I can just picture him, in another time, sitting on a stone bench under a tree on a summer day conversing eagerly with Edward Steichen, a master at using similar techniques to define his pictures.
The reason this will be a fun evening, along with Brenton’s talk about this show on Sunday, November 11, at 2, is you can try and pry the meanings of these works out of him. You’ll want to try, just because he so stubborn about giving that information up. They are eerie, honestly, for the most part. They are not random montages of this, that and the other. Brenton clearly has a train of thought about life that I’ve never experienced, and this is one time when I wish the artist would explain every piece in the show! Generally, I hate written explanations of visual art (what’s the point?), but in this case I sure would like to know the intricate references to mythology, history and the bizarre so I could get beyond the immediate impact of the images and their processes, to the next level of understanding. Dreams? Favorite texts? Life experiences? It’s all there, I bet you, in the headless statues, one-eyed portraits, and fairly recently, the inclusion of…birds.
Bottom line is, Brenton calls himself an inventor. He also admits he is deeply interested in the surrealists, as well as how history and fable collide, and where all of that takes his head. So jump on the train with him and see where you end up.
Spend some time pondering these works – the processes as well as the meanings. See if you can connect with the inspirations behind them. With a couple of glasses of wine at the opening, your insight may deepen. And a chat with Co-curator Bruce Brown is sure to provide enlightenment as well. However you approach it, it will mess with your head, guaranteed!
“Relevant Histories” opens November 2 and runs through December 1, 2012.
I attended the opening of the five artist exhibit of “Between Past and Present: The Homer Studio Photographic Project” at the Portland Museum of Art on October 5 (through February 17, 2013). The PMA has almost always got a significant photography exhibit going, and this one is a cool way to tie into the huge, international attention-getting Winslow Homer “Weatherbeaten” exhibit (through December 30, 2012). All of the photographers in “Between Past and Present” are adept at creating works using photographic processes that were prevalent during Homer’s time, often mixing the latest digital technology into the process. This exhibit is the current CIRCA exhibit at the Museum – exhibits that feature contemporary artists.
I take issue with how the exhibit is installed for a couple of reasons: depending on where you begin viewing the exhibition, Brenton Hamilton’s works are either invisible, or all you get as an introduction to it. If you take the elevator from the lobby/entrance of the Museum, you see nine of Brenton’s gum bichromate inspirations right off the bat. Of any of the bodies of work in the exhibit, Hamilton’s most closely tie in with the iconic paintings in the hugely successful Winslow Homer “Weatherbeaten” exhibit across the hall and so from that standpoint, it works. As you step out of the elevator on the 4th floor, there are two more Hamiltons once again introducing elevator-users to this exhibit.
If you enter the exhibit using the stairs up to the 4th floor you would never know Hamilton is even included. Not one of his works is visible. Several people have commented they couldn’t find his works in the exhibit or when they did, they are so darkly lit and in such narrow areas they can’t see them well. Having lived for 4 decades with an artist, I know how disappointing it can be for artists when they feel not as appreciated as others in a group show. While no curator is ever maliciously taking this approach to installing an exhibit, it happens a lot.
My second issue is that there are too many works by Alan Vlach and Tillman Crane so that the value of the sum total of their contributions is somewhat diluted in the repetition of subject and style. A tighter approach to curating these artists’ offerings would have allowed room in the main room of the 4th floor exhibit for some of Hamilton’s lively and unusual pieces and in so doing, contributed a much-needed aesthetic break from a long line of black and white works. An alternative would have been a mix of works in the downstairs elevator hall, allowing a more democratic showing of all five artists invited to participate. Too, a mix of works in that narrow hall would perhaps have offered a broader introduction to the five-person exhibit to snag the attention of diverse museum-goers.
Tent-Camera Image on Ground: View of the Sea from Winslow Homer’s Backyard, Prouts Neck, 2012©Abe Morell. Courtesy of the artist and Bonnie Benrubi Gallery, New York, NY. All Rights Reserved
The biggest name in the exhibit is Abelardo Morell, who gave a lively and well-received lecture on his work at the Museum’s Annual Photography Fund event on October 18. His tent-camera image is a mental puzzle that you either get right away or have to work at and then, hopefully, as it did for me, you have a visual epiphany and there it is: the view of the ocean from Homer’s studio, but superimposed on the grass of the back lawn. Morrel has been using camera obscura techniques for over 20 years, but came up with this tent-camera which allows him to take it all with him. At his lecture he showed us some breathtaking works taken of New York City’s bridges and skylines, many of them created in the same way as the Homer exhibit work, but instead of grass, showing the pebbly surface of the rooftop of the building he was working from.
Tillman Crane introduces the exhibit if you enter from the stairway. His platinum prints are beautiful, while mostly documentary in approach. There are three exceptions in my mind – the lovely, pictorialist “Detail, Staircase, Homer Studio” and the visually arresting and unique “Roof Corner, Homer Studio.” His very lively “Lobster Pot, Cliff Walk, Scarborough, Maine” makes me wish he had taken more chances in his approach to this project.
Alan Vlach’s salted paper prints are also beautifully made, and some of the works have been embellished digitally to connect more directly with Homer’s engravings (for Harper’s Weekly, for example). I would have preferred that this had not been done, frankly, and will leave it up to you to decide for yourself whether the approach makes the works seem tarted up and un-genuine or really contemporary and stylish. I love the “Day Marker, Ferry Beach, 2012″, and the “Two Chimneys in Silhouette” is a unique and welcome take on things. The quintet of “rocky shore” landscapes featured on the main wall of the exhibit could have been bettered served by a trio, as the brain tends to stop “seeing” when the visual stimuli is so similar from piece to piece. The “Cliff Walk, near West Point” is gorgeous and should have been the main squeeze here in my opinion. I wonder if it could have been printed larger as a salted paper print or if the artist is limited size-wise when using this technique. I’ve heard that the technique is not limited in size capability but it may have more to do with the digital negative.
We get a relief from all this similarly sized black and white somewhat when we turn and see the 24-piece tin-type installation by Keliy Anderson-Staley. She also has three black and white rocky shore prints scanned from original tintypes, but one of them is a welcome change in that it is taken from the rocks looking up at Homer’s studio. Anderson-Staley is a smart and fearless professional and it’s always a good feeling to welcome her back into the fold of Maine’s fine art photography community.
Lastly (or firstly, depending on how you approach things!) Brenton Hamilton’s gum bichromates comprise the most unique vision with respect to this project. No camera is used and digital montage is the foundation of most images. This was a way of making photographic works that was introduced in 1855 and was a huge hit with the turn-of-the-century pictorialists as well. Hamilton has mastered the technique, but his works are so modern in style, they exude tension and these are no exception. Actual imagery from Homer’s paintings are layered into the series, best evoking the power of the coast that so moved the painter. Hamilton uses red, purple, brown and black/gray tones through the series.
The Museum has done an interesting thing with respect to this exhibit: they are making available 100 portfolio sets of 5 digital reproductions – one from each exhibiting artist in “Between Past and Present”. These are all printed by Nickelson Editions and the boxes are printed and constructed by David Wolfe of Wolfe Editions in Portland. They are available in the Museum Store and are $500.00.
Here’s what’s come across my desk lately for October – if you know of a new photography event I’ve missed, please let me know.
PORTLAND MUSEUM OF ART – Between Past and Present: The Homer Studio Photographic Project. Opening is 10/5, 5-8 p.m.. Five Maine artists were asked by PMA Curator Susan Danly to visit the newly renovated Winslow Homer studio and create photographic works using processes in use in Homer’s day. Exhibit is up through February 17, 2013.
LYCEUM GALLERY – Lava Flows: Photography and Words by Meg Weston. Opening is 9/28, 5-7 p.m. On view through 10/26.
ADDISON WOOLLEY – Paris Walls re/con/figured – Ruth Sylmor. Opening is 10/5, 5-8. On view through 10/27.
BRENTON HAMILTON FEATURE: “Into the Blue”/MAINE HOME +DESIGN – October Issue
ARTIST NEWS – VoxPhotographs - updated every month. Exhibitions, Competitions, Workshops, Publications for VoxPhotographs gallery artists.
Pear©Felice Boucher. All Rights Reserved
Crescent©Luc Demers. All Rights Reserved
BOWDOIN COLLEGE MUSEUM OF ART – Making a Presence: F. Holland Day in Artistic Photography. On view through Dec. 23.