VoxPhotographs Weblog

I read Dan Kany’s terrific article in the Maine Sunday Telegram about the Warhol polaroid exhibit at Bowdoin College Museum of Art and stopped in a couple of days ago. I learned much more from Dan’s article than the actual work and only spent a couple of minutes in the Warhol exhibit room.

Mostly because on the way to that exhibit, I passed through the other exhibit of photography on the walls at the Museum…I hadn’t known about it because I’ve had a terrible time, with the personnel changes at the Art Museum, getting on any mailing list. Kevin Salatino, new Director at the Museum, assures me at long last I will be informed.

In Focus: Photographs from the Permanent Collection will be on exhibit until March 14, so here’s something really worthwhile to do for rainy day fun if you’ve looked at the forecast for the next eternity. For me, falling over dozens of photographs to look at unexpectedly was a big high.

My favorite in the exhibit was the Burtynsky – “Silver Lake Operations #1, Lake Lefroy, Western Australia, 2007.” Seemingly taken when Mr. Burtynsky hovered over the mine like a bird, it is a stunning example of his work. The clarity is something you need to take some time to study.

Just as unforgettable is the chromogenic print by Shai Kremer: “View of a Minefield, Abandoned Syrian Base, Golan Heights, 200?”. If you’re as tired of abandoned building shots as I am, here’s the ultimate panacea. Look at the photograph a while before you re-read the title. Be prepared to be stung by what you perceived vs. the reality of the scene. Isn’t this what photography is all about? No other medium, no words could say it like this. The lovely view out of the “picture window”. The ugly reality. Amazing.

Photograph copyright Shai Kremer. All rights reserved.

Another chance to study a complex photograph is provided by the Sally Mann image Untitled (Georgia), 1996. Almost next to it is a powerful ektacolor print by Richard Misrach – Diving Board, Salton Sea, 1983.

Photograph copyright Richard Misrach. All rights reserved.

You’ll see some wonderful classic images like Weegee’s Children Sleeping on Fire Escape, 1938, and images by Abbott, Bing, Cunningham, De Carava, Kertész, Strand, Sherman and R. Capa. Shore and Morell are there too. Two beautiful photogravures will stop you in your tracks: Alvin Langon Coburn’s The White Cloud, 1911, and one of my favorite Stieglitz images: The Hand of Man, 1902. I really appreciated seeing a color print from 1917 – a Hess-Ives color print by Karl Stuss – Untitled, from the Series The Female Figure, 1917.

Children Sleeping on Fire Escape, 1938 © Weegee. All rights reserved.

While you’re at the Museum, take the time to enjoy the “Learning to Paint” exhibit on the same floor. The forecast is rain, remember, so plan on spending a while to soak up everything the Museum has to offer these days.

It’s over, but I got there just before it closed. I’m talking about the New Acquisitions 2009: In Black and White exhibit at the Portland Museum of Art. I’m sure many of my readers saw this, so I’m not telling you anything new here, but I was really tickled to see some of these acquisitions/gifts before they go back into storage.

Chansonette Stanley Emmons’ archive is at the UNE Maine Women Writers Collection (MWWC), I think, but I’ve not been able to get an appointment to see it. So, I was glad to see this set of six small images gifted by Earle G. Shettleworth, Jr. to the PMA. Five of the images are landscapes and lovely ones.

Chansonetta Stanley Emmons
United States, 1858 – 1910
Dorothy [Emmons] on the Rocks at Ogunquit, Maine, 1910
gelatin silver print
4 x 5 1/2 inches
Gift of Earle G. Shettleworth, Jr.

The sixth Emmons is an interior titled “Shelling Corn, Kingfield, ME, 1901″ as only Ms. Emmons could do an interior. The picture is as sweet as the corn they were shelling.

—–

Paul Strand
United States, 1890 – 1976
Tailor Apprentice, Luzzara, Italy, 1953, 1994
platinum print
8 x 6 1/4 inches
Gift of Owen W. and Anna H. Wells

Another big winner was the exquisite Paul Strand “Tailor Apprentice, Luzzara, Italy 1953″. I am a big fan of Strand’s work. Diane Arbus’ “Mrs. T. Charlton Henry in an Evening Gown, Philadelphia, PA 1965″ was a joy to see and we went back to look at it again – what a great image to have in the Museum’s collection. Can you honestly look at this without grinning?

Diane Arbus
United States, 1923 – 1971
Mrs. T. Charlton Henry in an Evening Gown, Philadelphia, PA, 1965
gelatin silver print
14 1/2 x 14 3/4 inches
Gift of John S. Ames, III

There’s a really good set of Jon Edward’s work as well as a Cartier-Bresson, Todd Webb, and images from the Vernon Reed series “Operation Potato”. And so the collection grows – and nicely.

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There are two gems in the Museum these days and I didn’t expect to see them. I should have seen them at the Committee of 100′s pre-opening gathering for the Objects of Wonder exhibit a couple of weeks ago, but I was too busy gabbing to spend serious time in the exhibit, I confess. However, I’ve been back twice this past week to give the exhibit my full attention and was rewarded especially by the two gelatin silver photographs (of about 8 photographs included in the exhibit) by Lilo Raymond and Robert Mapplethorpe.

“Peony”, 1984 by Raymond is one of those perfect photographs – always fresh, and just what you want to see sometimes when everyone is complicating their work to the nth degree: simple. Lovely, perfect, wish I owned it. In my ignorance, I’ve never heard of Raymond and her website is very spare. There is bio info. on the card next to the photograph and you can read more about her and see a few more like images here as well. (2/25 update: I just noticed while flipping through the Jan/Feb PHOTOGRAPH magazine that Raymond passed away last year.)

When I look at Mapplethorpe’s “Carnation” 1982 I just marvel. How he did he do it time after time – giving us totally unique images of whatever he chose to photograph? This photograph is worth studying – he was a fanatic about everything when setting up a photograph I’ve read, but the result is like a Sargent portrait – these geniuses make it look so easy, the viewer sees none of the tension and utter mastery behind the final product. “Carnation” – it’s wonderful to have it there to visit again many times before this exhibit ends on June 6.

I do like to be thrilled about something. And I’m thrilled about this:

In August, the Friends of the Farnsworth Collection of the Farnsworth Art Museum in Rockland, a group formed to donate to a purchase fund and then decide which piece(s) to purchase, selected a simply amazing image by Eliot Porter – “Maine Forest”. Why is it “amazing”? Several reasons:

It is a stunningly gorgeous photograph.

It was taken in 1958 of the woods right outside the photographer’s home in Great Spruce Head Island, Maine.

At the artist’s request in 1973, Ansel Adams made a print of Porter’s 4×5 negative.

THAT PRINT IS 51 X 40.5 INCHES. Let me repeat that: In 1973 Ansel Adams made a print of Eliot Porter’s 1958 “Maine Forest” negative and that print is 51 x 40.5 inches.

And where is that remarkable print? On view, right now, at the Farnsworth Art Museum. I just found out about it by reading the Farnsworth’s Winter 2010 news magazine and I’ve got to say it was a swooning moment when I saw the image reproduced on p. 17!

Please remember back to 1973: as the magazine says, “[the] large-scale print of the image…is a remarkable technical achievement.” This is not 2010 when 1) every photographer is addicted to BIG prints whether or not their work is supported well by BIG prints, and 2) this BIG print was made in the darkroom. Remember those? Porter had the right instinct on this baby – this image is a stunner as a BIG image.

Well, due to the Museum’s cautious approach to intellectual property copyright concerns, I couldn’t get a reproducible jpg from them to share with you. And I’m glad, because this is one photograph that HAS to be seen to be loved.

So work in a nice trip to Rockland, take in the Museum’s other exhibitions from their permanent collection (finally we get to see some of this buried treasure!): The State of Printmaking since 1940 and Real and Abstract – Contemporary Art from the Farnsworth, and enjoy the city’s vibrant main drag. See you on Saturday!

Make plans to go to Rockland at the end of March. The Farnsworth Art Museum is kindly scheduling the opening of an exhibit that will be perfect timing to preserve our sanity during the last weeks of Maine’s lingering winter.

On March 27 ARNOLD  NEWMAN opens in the Craig Gallery at the Museum and it’s up for viewing until August 8. So we can go and soak it up several times and take summer visitors, too.

Arnold Newman sure had something special when it came to photography, and in particular, portraits. Some of his images are join the list of the most iconic photographs of the 20th century. Who doesn’t know the one of Igor Stravinsky or Picasso, or one of my favorites, Yasuo Kuniyoshi?

All photographs by Arnold Newman © Getty Images. All rights reserved.

The Farnsworth Art Museum exhibit will celebrate Newman’s entire career, but with a special emphasis on his Maine connections: his students at Maine Media Workshops over the years and his portraits of a who’s who list of Maine artists.

Newman attended the University of Miami as an artist but couldn’t afford to continue after two years there. So, he moved to Philadelphia and started making 49-cent portraits. And well, the rest is history. It’s good to remember the often humble struggles of photographers who have worked hard to become the best in the business.

“Influences come from everywhere but when you are actually shooting you work primarily by instinct. But what is instinct? It is a lifetime accumulation of influence: experience, knowledge, seeing and hearing. There is little time for reflection in taking a photograph. All your experiences come to a peak and you work on two levels: conscious and unconscious.”- Arnold Newman, Interviews With Master Photographers

At the Farnsworth Art Museum, Craig Gallery, March 27 – August 8. (207-596-6457) As you know by now, I really appreciate NOT having to travel to NYC to see terrific photography exhibits. Thank you to the Farnsworth for a little trundle up or down the coast of Maine to see something world-class.

Mary Harding, longtime Director at the George Marshall Store Gallery in York, has curated her first photography exhibit and it’s a terrific viewing experience. (disclosure: Mary Woodman, exclusively represented by VoxPhotographs is one of the participating artists.)

There are 36 artists included in the show and that’s a feat in itself to pull it all together and stay sane, but I gather Mary Harding is an old hand at that. The end result makes the process look seamless.

Aroostook Song © John G. Kelley

My first impression of “PHOTOGRAPHY” was the WOW one. Walking in the front door on a sunny day, the gallery is full of reflected light and the show is so well presented it’s hard not to feel pretty delighted. I really appreciated two things – the variety of work styles, and the fact that Mary didn’t take the easy way out in selecting participating artists – there are many with whom I wasn’t familiar and should be, and the artists start as young as 17 years old, so she did her job and got digging, not skimming the obvious off the top. Yes, you’ll see work by Jeffrey Becton, John G. Kelley (you MUST see John’s photograph “Aroostook Song” in the bathroom -one of my favorites in the show!) and Sean Alonzo Harris, but I bet you’ll enjoy work by artists you don’t know yet as well.

I was immediately struck by two Corey Daniels images: one is on the right in the first room and the other beautifully “framed” by two doorways that lead into the back room. I e-mailed Corey and he has a website in progress, but here’s the image in the back room at George Marshall Store Gallery (note its size). I’m sorry no reproduction of these two images will do them justice. You have to go and see them in person to understand how successful they are:

Untitled II © 2000 Corey Daniels (44×34.5)

To your left in the front room is a huge image from Denise Froehlich – 4′x6′? I really like what Denise did with this and would love to see a group of her images similarly presented. I don’t see “Old Port Road, Kennebunkport” on her website, but sure had fun looking at everything else – some terrific work there.

Old Port Road, Kennebunkport © Denise Froehlich

A discovery is Nancy Wilson Fulton – she is doing some different things and her two images “Two, but not a pair” (very painterly when you see it at the gallery) and “Cloud Study” are strong testaments to her talent and eye.

Cloud  Study © 2008 Nancy Wilson Fulton

Two, but not a pair © 2009 Nancy Wilson Fulton

I first saw Elizabeth Cecil’s work this fall at Aarhus Gallery in Belfast – the Bug Jars (canning jars with gum bichromate images of bugs on vellum slips of paper inside) and they are again on display (perfectly) in a sunny window on the lower floor of the gallery. However, close by are four exquisite 4.25″x4.25″ “Tomatillo” printing-out-paper (POP), gold toned pieces. I would love to have these on my own walls. They are beautifully presented as a group of work.

Tomatillo #6 © Elizabeth Cecil

One of the best things in this show is Mary’s willingness to include young photographers who deserve the limelight. Elizabeth Ellenwood, a photography student at the New Hampshire Institute of Art has a couple of original urban landscapes on view that show a maturity and design sense that is unusual in a young artist. They are quite powerful.

Two of my favorite images in the show are by 17 year old Cameron Karosis. Check them out in the lower gallery room. I think they are beautifully rendered pieces and I hope he keeps working at his craft. (Cameron’s dad is also in the show with two beautifully rendered black and white landscapes…)

Coral Weed © Cameron Karosis

Sea Lettuce © Cameron Karosis

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Before I reproduce the entire show in this posting I’ll talk about two more artists and button up.

I was delighted with Sara Gray‘s two square format images – have seen much of her commercial work in Down East magazine and elsewhere, and figured her work leaping across commercial photography lines in such a show as this could possibly be dismissed. Uh-uh. Take the time to read them closely – they’re gorgeous and well-deserving of the inclusion. I’m just surprised I haven’t seen more of her fine art photography work around.

Open Gate, Morristown, VT © Sara Gray

And finally, Jay Goldsmith’s two 10″x10″ pinhole platinum/palladium images are to die for. This type of work really gives me the ol’ “art endorphin rush” and the one below is perhaps my favorite image in the show. Jay is a commercial photographer who is making successful leaps over the fence into fine art photography by the looks of these images.

American Slide © Jay Goldsmith

The images reproduced in this review are a mere whisper of the real prints on the wall at the gallery. So treat yourself – GO. Tell Mary I sent you…

Until Sunday, January 31, 2010, you have an incredible opportunity. At the University of New England Gallery, 716 Stevens Ave. in Portland, is a 24 artist exhibit of historic processes. These artists are currently making photographic images using 19th century photographic processes – they live in CT, MA, NH and Maine. The exhibit was curated by Steve Halpert. Anne B. Zill is the Director of the Gallery.

At the opening reception of GOING FORWARD, LOOKING BACK – Practicing Historic Photographic Processes in the 21st Century – on Nov. 21, several people said they thought this exhibit may be the biggest of its kind ever mounted. With over 150 images and approximately 16 processes represented, it certainly is “making history”!

There’s no doubt these artists are pushing the limits to find out as much as they can about their chosen process. Several of the artists are experts at more than one process.

On Saturday, Dec. 5, the Gallery will hold some of the artists captive: they are traveling up to 4 hours to talk with you one-on-one about their work  – how it’s made, and why they do it. From 3-5 that day, they will be stationed in front of their work with their cameras, props, mistakes (!) and materials to answer your questions. Why would anybody miss this?

Many of these artists show their work all over the world and they are coming to YOU on 12/5. (A second ARTISTS DAY is scheduled for January 30.)

So….whether you are a person with a curious mind, a photographer, an art student or teacher, there’s only one event to put on your schedule that day – the ARTISTS  DAY at Univ. of NE Gallery, 3-5. Totally free. Totally fantastic.

The University of New England Gallery is located at the back of the campus at 716 Stevens Avenue in Portland. Hours: Wed – Sun, 1-4. Thursday, 1-7. Call: 207-221-4499.

For months I’ve been working with Anne Zill, Director at Univ. of New England Gallery in Portland, and Curator Steve Halpert to create an amazing exhibit: Going Forward, Looking Back: Practicing Historic Processes in the 21st Century. 24 New England photographers are featured, exhibiting over 150 photographs from ziatypes to salt prints to palladium prints and many, many other processes from the 19th century. The exhibit runs through January 31, 2010 and then travels to three other locations, two in MA and finally winding up at Maine Media Workshops in October, 2010.

Rooftop View, Queens, New York © 2008 Keliy Anderson-Staley

It opens Nov. 17, but the Opening Reception is not to be missed on Nov. 21, from 3-6. Here, from 3-4 France Scully Osterman will be lecturing  – a real treat to have this illustrious artist and teacher come to us to talk about her work and others’ work. Her lecture will be “Serendipity and the Exquisite Manipulation”. Miss this and you will be missing a real gift to photographers in Maine.

Your Braid © Dan Estabroook

AND – on Dec. 5 (3-5) and Jan. 30 (3-6) many of the artists will be at the Gallery just to talk one-on-one with you and show you the materials and cameras they use. On January 30 from 3-4, famed photographer and history of photographer lecturer Brenton Hamilton will lecture “19th Century Photographers and Their Processes.”

Circa 1480 Redrawn © Brenton Hamilton

Both lectures (Nov. 21 and Jan. 30) are open to the public and are $10 at the door.

The whole shebang is an opportunity not to be missed. Go early and often. If you really care about photography, you’ll need several visits to soak up this amazing opportunity.