Viewpoint Exhibit History

Tuesday, October 10, 2017 to Saturday, November 4, 2017

The Family of Mannequin is a group exhibit by members of “F/8”. These are some of our photographs of mannequins that are current or past residents of Continental Display, a business in Sacramento that sells used furnishings and paraphernalia from department stores and clothing shops that have either closed or replaced their old fixtures. Continental Display has mannequins—lots and lots of mannequins—retired now after years of service, or biding their time between jobs. The mannequins are waiting quietly (at least during the times we have seen them) for repairs and perhaps new homes. However, Continental Display will itself be closing this year, so the fate of the remaining mannequins is at best uncertain. Sadly, the demand for mannequins like these has diminished greatly in recent years.

F/8 is a group of photographers from Davis, Woodland, and Sacramento, formed in 2011. We spend a few quality hours together each month sharing our printed images and critiquing each other’s work, encouraging each other to be better photographers. We are also all members of the Viewpoint Photographic Art Center. The group and its members have participated in many  group, solo, and juried photography exhibits and publications locally, nationally, and overseas.

Current and past F/8 members represented in The Family of Mannequin are: Joseph Finkleman, Rob Floerke, Richard Halliburton, Dennis McCoy, Tim Messick, Anne Miller, Michael Radin, David Robertson, and Rick York.

Tuesday, September 5, 2017 to Saturday, October 7, 2017

Considered a blueprint for urban parks across the U.S., the 4,900-acre American River Parkway extends along the Lower American River for 23 miles, from Folsom Dam to Discovery Park at the confluence with the Sacramento River. Combining conservation with scenic beauty, abundant wildlife, and a wide range of recreational opportunities, the Parkway hosts more than 5 million visitors annually. The Parkway also provides a wealth of photographic opportunities in all seasons of the year.

The exhibit will be open to all photographers and all photographic techniques. Visit the Call for Entries for this exhibit for details on how to submit (Entry Period: June 1 to July 29, 2017).

Tuesday, September 5, 2017 to Saturday, October 7, 2017

Mother Earth is a photographic exploration of the natural world through a woman’s eyes. This exhibit is Charlotte Gibb’s latest collection of photographs that celebrate the delicate and ephemeral nature of Mother Earth — her rages, her quiet contemplation, her dignified poses.

Inspired by the constant change of nature, these images depict heartbreakingly beautiful moments, both fleeting and powerful—giant pines weathering a raging snow storm which momentarily reveals a massive wall of granite; ghostly white Aspen trees in the final throes of Autumn; reflections in still water that play tricks on the mind.

Charlotte writes, “This body of work is meant to convey my deep emotional connection to Mother Nature, and to invite the viewer to listen in on my intimate, woman-to-woman, visual conversation with her.”

Tuesday, August 8, 2017 to Saturday, September 2, 2017

The Surrealists believed the creativity that comes from deep within a person’s subconscious is more powerful and more authentic than any product of conscious thought.  They sought a revolution against the constraints of the rational mind.

Lorraine Castillo relies on her intuition when she makes a photograph.  She feels “this ultimately results in images that are a mirrored reflection of my emotions. My subconscious is my compass, seeing for me.” Her series, No Butterflies was created while she was caring for a loved one battling alcoholism. She describes the series as follows: ”Darkness is the uncertain place we all go before light seeps in, and before butterflies can fly.”

Tuesday, August 8, 2017 to Saturday, September 2, 2017

Born in Chongqing, China, Jing Zhou is an interdisciplinary artist, designer, and Associate Professor in New Jersey, USA. Her award winning work, from digital print to animation, from visual design to interactive project, has been widely shown and collected internationally.

As a Chinese woman artist living in the Western world, Jing Zhou is aware of art, literature, philosophy, and mythology from both cultures. Her understanding of Chinese philosophies has shaped her thinking and conduct. The prudent and contrary-minded Taoist beliefs, the attached-to-the-earth reality of Confucianism, and the sudden enlightenment and intuitive insights of Zen are the foundation of her life. On the other hand, Western culture has inspired her and opened new ways of thinking.
Developing a personal visual language that expresses universal ideas, she creates artworks for the stories and aesthetics of each image, and for making visible those concepts which reflect her personal experiences. She wants her viewers to look at her images through magical windows into deep secondary spaces.

She describes her work as “Inspired by nature and multiple cultures, my artwork explores our common humanity, diverse society, and my inner voyage. Creating artwork required me to realize my nature, re-study my culture, and adapt new thinking, which resulted in a new perspective on life. It has also challenged me to constantly solve visual problems, learn new techniques, and explore the splendid human heritage. My images form a visual communication that interacts in several collective dialogues. These dialogues are between eternity and transience, oneness and variety, existence and emptiness”.

Tuesday, August 8, 2017 to Saturday, September 2, 2017

Ten Eyes is a group of Sacramento women photographers who began meeting monthly in 1983 to show new work and to critique each other’s work with the goal to grow as photographic artists. Originally five in number (hence the name Ten Eyes) the group has grown to include more women who share a passion for creating photographic art. Informal in nature, the monthly meetings are also opportunities to share information and experiences on all matters photographic. A passion for and committed support of the art of photography are the underlying elements that bind the group together.

The members of the group strongly support each other’s creative explorations and individual artistic development. The group celebrates the women of Ten Eyes’ distinct styles and approaches to photography. While some work in black and white and in color, hand coloring and alternative processes are also mediums of choice. All have incorporated digital processes into their workflow. 

Ten Eyes – Independent Expressions is a collection of small portfolios of new work from each member. While the images shown in this exhibit illustrate the group’s individual interests and styles, independence of expression is the group’s underlying common theme. 

The women of Ten Eyes are: Liz Welsh Abad  •  Roberta Bailey  •  Karen Connell  •  Anita Frimkess Fein  •  Dolores Frank  •  Francine Moskovitz  •  Judy Yemma

 

Wednesday, July 5, 2017 to Saturday, August 5, 2017

The annual Viewpoint Members’ Exhibit, a long-time tradition at Viewpoint, is always exciting for the quality and range of photographic art it showcases. Because it gives all Viewpoint members an opportunity to showcase one image of their choosing, the exhibit highlights the diversity of techniques, approaches, and personal visions in our photographic community.

Over the years, the Members’ Exhibit has reflected the general shift from traditional to digital techniques, but Viewpoint members continue to explore methods such as traditional black-and-white darkroom printing, alternative processes such as platinum/palladium and van dyke printing, hand coloring, digital compositing, and hybrid traditional/digital processes as methods for their creative expression through photography. The overall quality of the work makes the Members’ Exhibit an inspiration for photographers and a testament to the vitality of Viewpoint Photographic Art Center.

 

 

Tuesday, June 6, 2017 to Saturday, July 1, 2017

Jane Olin’s childhood years were spent in Steilacoom, a tranquil village overlooking Puget Sound in Washington State. Her introduction to photography came in high school where she fell in love with the darkroom experience. To her regret, she did not pursue an arts education and it was many years before she rediscovered her passion for photography. During the interval, she traveled widely for business. Japan, of all countries she visited, had the most profound impact, and its aesthetics and its Zen Buddhism resonated deeply with her.

The cultural emphasis on beauty found in nature, and in simplicity, in the imperfect, the transient, and the values of grace and subtlety suited her own. She maintains a mindfulness practice today, and present moment awareness is imbedded in her photographic process.

Like the Surrealists before her, Olin has a deep respect for the fortunes of chance.  So when a strong impulse to photograph an ordinary scene of dried plants falling against a wall came over her, she followed her intuition. The resulting images became the genesis of her new series On the Edge of Chance.

Tuesday, June 6, 2017 to Saturday, July 1, 2017

Jerry Berry’s inspiration for these images comes from his interest in Zen, Asian culture, and painting.  Koi have been an inspiration for artists for millennia; especially in the Asian traditions. The beauty of color, form, and movement of these fish bring much joy to the viewer. Berry’s interpretations of Koi have been developed based on his growth as a photographer and artist.  He says that “as photographers we are taught that our camera is the perfect tool to capture the ‘defining moment’ and is unequaled at reproducing finely focused images of sharpness and detail. We subsequently strive to perfect our craft with this in mind.” 

He feels that the story of time and motion could be lost if the photographer freezes an image defining that moment. The spontaneity of movement and life can be lost when it is defined as an instant of time by the fast shutter speed of a camera. By allowing his camera to capture a longer portion of time/life and letting the koi become his brush stroking the canvas of his camera sensor; he blends the strengths of photographic art with those of a painter. Alan Watts in The Way of Zen, best describes Berry’s approach to his subjects as he describes Zen in the following passage: “…for Zen there is no duality, no conflict between the natural element of chance and the human element of control.”

Tuesday, June 6, 2017 to Saturday, July 1, 2017

What happens to us when we travel?  If we are lucky, we become transformed.  We do this by leaving the comfort of our home and making ourselves available to unfamiliar cultures and amazing new landscapes.  The adventure and the challenge of putting ourselves, however temporary, in another place or way of being, can transform any person who makes themselves available to such opportunities.  It can often invigorate our own way of seeing just how wonderful, precious and often times sad, life can really be.

Anna Skacel writes: “As a photographer, I am interested in expanding my horizons on this level.  There are few things more gratifying than stripping away the expectations of the day and replacing them with the unknown experiences of being immersed in another society’s existence… As a photographer, and fellow human being of planet Earth, I feel that if I can help to open up people’s eyes and minds to the amazing and different things that surround us, then I have managed to do some good in this world.  If I can pique the interest of the viewer as to what is happening in other cultures, and as a result, influence them is seeing the world as one diverse but amazing planet, then I have had a good day!

Tuesday, May 9, 2017 to Saturday, June 3, 2017

From the time she was a child, Susan Turner has enjoyed being with people different from her. It thus strikes her as perfectly natural that she spent most of the period from 1982 to 2009 living and photographing in Papua New Guinea, a large, distant country with more than 800 languages. Her personal endeavor during this time was to record, in the most honest and beautiful way she could, the daily and ritual life of this beautiful, diverse, and fascinating place.

Ms. Turner was inspired by participating in the lives the local people—tending gardens, fishing, caring for children, helping to settle disputes, and contributing to bridewealth payments and mortuary feasts. She lived in villages for long periods, returning to some year after year, and was adopted into several cultural groups. This close relationship to the people was always satisfying to her, as well as the only way to photograph as a member of the group, rather than as a casual observer.

Susan says of her experience, “Whatever depth and significance my pictures may have is largely due to the patience and generosity of friends and adopted relatives, who graciously accepted me into their lives.”

Albert Camus said that writers are obligated to speak for those who cannot speak for themselves. Susan believes this is true for all artists, and in particular for the photographers who work among people with few, if any, means of expressing themselves to the outside world.

Tuesday, May 9, 2017 to Saturday, June 3, 2017

For this year's Student Exhibit, Viewpoint offers a juried exhibit titled Street Stories. Street Photography is all about telling a story. “The decisive moment” was a phrase coined by Henri Cartier-Bresson, one of the earliest practitioners of street photography. “The decisive moment” is when everything comes together in a perfect moment, and you hit the shutter. The essence of street photography is about documenting everyday life and society on the streets.

 

 

Tuesday, April 4, 2017 to Saturday, May 6, 2017

Please join us for a special Artists Reception and Fundraiser on Friday, April 7, 6 p.m. to 8:30 p.m.

Guests will enjoy an array of Italian appetizers, luscious desserts, wine and beverages and live music. 

Tickets ($20) may be purchased online at the Viewpoint Store, or at the door.

There will also be a drawing ($5 per ticket, 5 for $25, 30 for $100). Prizes include: Bella Italia donated prints by Donald Satterlee and Michael Dunlavey and two gift certificates for 3 half-day Viewpoint Workshops of your choice.

In April, Viewpoint presents a stunning exhibit of images by Donald Satterlee and Michael Dunlavey entitled: Italia Bella.

Michael Dunlavey has been enthralled with Italy for a long time. He is drawn to the rich patina, textures, and reflections found at every turn in the backstreets and canals of Venice. Whether shooting intimate details or capturing the power and magnificence of ancient buildings, the contours of century old vinyards, or the landscapes of Tuscany, Chianti, and Umbria, he has created lasting images that convey the haunting beauty of the country. “Searching for something new to shoot on early morning walks energizes all my senses and makes me feel alive.”

Donald Satterlee’s images were taken in Venice, Tuscany, and many small villages around Northern Italy. In 2008 Satterlee started a personal project entitled Fogscapes. “Shooting photos on a drizzly foggy morning is a very peaceful and ethereal experience. It is my hope that viewing the images conveys that peace and calm.” After researching when Italy was most likely to have fog, Donald made two trips there in January in 2013 and 2014. “There were very few tourists, and securing a room was easy and better yet, several mornings were very foggy.” In an effort to create an “old postcard” feel, many photos have been converted to black and white, split toned, then textures and faint borders composited over the images.

Tuesday, April 4, 2017 to Saturday, May 6, 2017

In April, member photographer, Frank Francis shares his private view of Southeast Asia through a series of story telling images, which are both emotionally compelling and stunning in composition. His process includes seeking out remote places, which provide access to people who are not so much a part of our modern digital world, who therefore tend to react differently to the camera. He finds capturing the right moment easier when people have been minimally exposed to other photographers.

Frank Francis says, “My goal is to seek lives within lives, the undertones, the fragments of lives bathed in mystery—an exceedingly difficult task. Another goal is to combine light, composition and moment to tell a story with truth and some drama in it. The long trips on waterways in Assam, Bangladesh, and Myanmar have allowed a silent platform to witness the unchanged rhythms of lives where daily tasks can take on memorable beauty enhanced by the water and the sky. Another goal has been to photograph the intensity and beauty of spiritual life often amplified by transcendence and symbolism.”

Tuesday, March 7, 2017 to Saturday, April 1, 2017

Sara Friedlander has created a series of three-dimensional mixed media visual narratives to honor courageous women, who left their homeland and their families, often under great duress, and traveled to America to start a new life. Most of them spoke no English; holding steadfast to their hopes for a brighter future, they faced daunting challenges in order to establish themselves in this new world. She has collected vintage portraits as well as images in the public domain (taken either in photographic studios or on the street during the first quarter of the 1900's) and then, using Photoshop, digitally combined them with her own photographs (landscapes, birds, trees, architecture) and tied them together with paint.

Tuesday, March 7, 2017 to Saturday, April 1, 2017

Kendall Isotalo’s body of work Quietude examines the emotional space that can occur during a time when a perceived threat of loss and transition coexists with feelings of gratitude and hope. She has found that in his attempts to be fully present and aware, she is able to experience profound moments of stillness, quiet, and tranquility.

Isotalo’s photography is about capturing the balance and difference between moments that she perceives as tranquil and mysterious, versus those she finds more melancholy or uncertain. “I’ve always been aware of how these two very different ways of perceiving and responding can trigger emotions on a multi dimensional level,” she says. “I’m also interested in negative space in the sense of what is invisible or unknown and how that can create imaginary or altered realities. I combine old family photos, as well as other photos that I may find at thrift stores, with new images, placing myself in most of them. I use old images not as a way of staying stuck in the past, but rather as a way of honoring, understanding and preserving it. In many ways, I feel that I’m breathing new life into old photographs, keeping the past alive.”

Tuesday, March 7, 2017 to Saturday, April 1, 2017

Jan Manzi enjoys photographing a range of man-made and natural subjects — often abstracting or isolating them in a way to bring attention to things that might not ordinarily be noticed. As she says, “I find myself responding to the wonderful play of light and shadow that can transform the appearance of a building, a forgotten object, a plant, or a rock.” Sometimes the results are a bit quirky, which can cause viewers to say “what is that?”… followed by surprise at how there can be a quiet beauty in so much that surrounds them, if they only take a little time to look and see.

Jan Manzi first became interested in photography in college when she was able to learn the basics of working in a traditional darkroom and photographing a wide range of subjects. She began large format work after attending her first photography workshop, the Owens Valley Photography Workshop with Ray MacSavaney, John Sexton and Bruce Barnbaum as instructors. Inspired by the work of the instructors and Brett Weston, who welcomed participants to his home, Jan began to see things differently. Using a view camera helped her slow down and to pay more attention to how light can change textures and shapes. Most of Manzi’s work is with a 4x5 view camera and some with a 6x7 medium format camera.

Tuesday, February 7, 2017 to Saturday, March 4, 2017

Street photographers Casey LeClair and John Hernandez share the Main Gallery for this candid and striking exhibit of street photography. Casey’s images are in black and white, contrasted by John's color photos. Together they provide a broad spectrum of what street photography can be. Each photographer has a distinct style and way of looking at their surroundings. From the ironic to the gritty, this exhibit offers a slice of reality from two distinctly different viewpoints.

Tuesday, February 7, 2017 to Saturday, March 4, 2017

Mark Coggins is both an author and photographer.  His images have been used to illustrate his own novels as well as the books of other writers, notably Patricia Cornwell’s Red Mist (end papers) and Roland Barthes’s A Lover's Discourse: Fragments (cover photograph). Most of his photographs are street scenes from cities throughout the world. “I seek to capture people interacting or engaged in a representative activity,” he says. “I hope my work conveys the energy, communal bonds, and in some cases, inherent mystery and alienation of urban life.”

Originally, Coggins used photography to document places he wanted to describe in his books. Then he hit upon the idea of including the photos he was taking in the books. Later, he began to alter the plot of his books to have an excuse to include photos he liked that didn’t have a reference to an existing scene. Now he “moves fluidly between writing and photography, doing both pretty much at the same time.”

Look at his image Zoltar Gets a Shove.  Why is the woman in the photograph pushing the fortune-telling machine through the street?  What brought her to that instant in her life? If Zoltar were to talk, what would he say? These are questions that the viewer asks and then finds herself creating a story to explain.  Coggins’s images portray more than just an instant in time. Somehow, with his writer’s sensibility, he is able to capture a moment that evokes a bigger story—a story redolent with humor and compassion.

Tuesday, January 10, 2017 to Saturday, February 4, 2017

The term that most accurately describes Don Manderson’s current work is Simultaneity. This refers to the simultaneous and insistent nature of the daily sensory experience in an increasingly technical society. This phenomenon is exemplified by society’s constant efforts to leverage the human capacity for concurrent processing of a range of sensory stimuli within social interaction, advertising, entertainment and journalism. Simultaneity is employed in Don's digital montage and video pieces for delivery of personal commentary and aesthetic expression in a manner congruent with the observer’s daily sensory experience.

Tuesday, January 10, 2017 to Saturday, February 4, 2017

Utility wires span fields where a neighborhood disappeared. Gutters and garbage pile knee high in front of a burnt-out duplex. A fire hydrant serves a lonely house on a city block. The residential streets of Detroit are in the midst of rapid change with no end in sight. At night, photographer Bill Schwab travels areas in a fast state of flux, finding large swathes of ruralization and deterioration against a backdrop of skies dramatic in color and mood. Street lights, porch lights, window lights, bridge lights, moonlight shine quietly. During the day, the most aggressive blight removal program in the nation bulldozes its way up and down the streets. In its tracks: ghosts of what was and a spirit that hangs on.

Wednesday, December 7, 2016 to Saturday, January 7, 2017

This year marks Viewpoint Gallery’s 25th anniversary. For this milestone year Viewpoint’s annual juried exhibit, TWELVE, invites submissions that express the relationship between photography and time. Time, of course, is in photography’s tools. Shutter speeds that split a second into amazingly small fractions and “B” – the 19th century carry over abbreviation that puts the photographer in control of the length of time the shutter is open. Time is also in the language used to express photography’s ideas like the much sought “decisive moment” and memories that are held suspended in time like visual fossils. Time for photography is the frozen collision of the instant and also the on-going ooze of long exposures of traffic or wind or the Milky Way. In fact, all photographs are time exposures of longer or shorter durations. Photography is the record of seasons, growth, decay, memories, the past always present yet always past, and dreams. And what of the time spent planning a photograph, then waiting, watching. Or the time after making the initial exposures spent editing, combining, reimagining. Chair time. Time is certainly ever present in photography. This year's TWELVE: It’s About Time.

► Click here to view and purchase images

Wednesday, November 9, 2016 to Saturday, December 3, 2016

Hans Gindlesberger's exhibit I’m in the Wrong Film is a consideration of our troubled relationship to the marginal places that exist in the national landscape. The title of the series is a colloquialism used to indicate a speaker’s disorientation in regard to physical surroundings that have taken on a disconcerting, fictitious quality. In this series of staged and performative photographs, the experience of individual dislocation the phrase describes is applied more broadly, in articulating the collective loss of identity that permeates the rural and post-industrial landscape of America.

Presented as a constellation of narrative fragments, each photograph manifests the shared psychology between a transient character and constructed environments suggestive of Middle America. The character, wandering with alternating senses of desire and reticent detachment amid his surroundings, is an extension of a place no longer able to sustain itself.

Wednesday, November 9, 2016 to Saturday, December 3, 2016

Saying “hola” (‘greetings’ in Spanish) causes your face muscles to move upward in an openly welcoming manner. “Baja” is the land of the beating sun where dust clings to your body like a cheap price sticker and the colors vibrate to distract you from the surrounding hardships. Ingrid Lundquist’s images capture the inner strength of the people as they go about their daily lives, under challenging circumstances, in a less than pristine environment. Hola Baja speaks to the rich texture of this land and the spirit of its people

Tuesday, October 4, 2016 to Friday, November 4, 2016

Probably for the majority of people the word warrior evokes images of the male gender. Yet throughout history women have been thrust into positions of leadership and conflict, rising to the challenge, either alongside men as equals, or in many cases, even better than their male counterparts. Generally it has been men who have written the histories of the world. The heroic actions of women, with rare exceptions, have been inadvertently or intentionally omitted or diminished.

This photographic project seeks to remind all of us that what makes a warrior is inner spirit and strength, not outward gender. Rocky Bull’s subjects are not new heroes, but instead individuals from history who deserve to be recognized alongside and with the same reverence as their male counterparts.  “The photographs of the women that I have chosen are not meant to be imitation portraits of the real persons involved as the actual figures are long deceased. Rather, my work is intended to invoke the collective as well as the unique aspects of the warrior spirit of each of the women shown.”

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