Information coming soon!
Information coming soon!
Hindsight 20|20 is the theme of the 12th annual juried show, TWELVE. During a year of unexpected upheaval and startling adjustments at every level of society, Hindsight 20|20 provides photographers with the opportunity to look back at and explore a subject of interest from any time period. All photographs have a retrospective quality both for the maker and for the viewer. As Aldous Huxley said, “The more you know, the more you see.” Viewpoint welcomes your concepts, creativity and craftsmanship in interpreting the Hindsight 20|20 theme. All photographic techniques are acceptable for this juried open call exhibit.
Image Credit: © Daryl Stinchfield
Gary Wagner's Iceland project has come from many years of photographing the landscape and having taken thousands of images of the land, sea and mountains over the past forty years. After researching Iceland’s terrain Wagner felt confident that its landscape would work well with his image style and be an exciting location for creating art.
Iceland is often referred to as a, “Photographers Paradise” and that is exactly how he found it when he arrived at this island country located just below the Arctic Circle. Arriving at the summer equinox provided almost 24 hours of daylight for capturing images of this spectacular location. On several nights he was out past midnight with the sun was still present on the horizon and he said he found the light perfect for image making.
Landscape, seascapes and the world around him is the studio he uses for his photographic work. He finds freedom, and inspiration to create his interpretations of the natural elements and scenic vistas that come to his view at these locations.
In the exhibition, The Art of Birds, David Wong presents photographs of birds not just as beautiful animals in the avian world but as creatures naturally displaying artistic form and function whether in dynamic flight or in posed portraits. Wong shoots his birds in extremely high-frame rates of capture, looking for the minute changes in poses of the head, eyes, wings, and body position which gives the viewer the most artistic view of the bird or birds as they move through space. If Wong captures a beautiful photograph of a bird sitting on a branch, he considers that merely a nice snapshot instead of creating an impactful bird story. The way a particular bird is posed against its background or captured in its movement is as important to a successful bird photograph as are the details and colors of its wings and body. Sometimes Wong photographs his subjects with minimal detail to highlight the bird’s form, suggesting brush strokes in a portrait that a muralist might paint. Other times he considers the artistic relationship of the bird to the background and the composition even more important than the avian subject itself.
This year, Viewpoint will present its annual Collector’s Edition: Exhibit & Auction as an Art Sale Fundraiser both online and in-gallery. As many of our supporters know, this fundraiser is important to Viewpoint as it assists us with end-of-year expenses. Money raised during the exhibit will help us continue to pay rent and keep our current programming moving forward into 2021. We hope you will take a moment to review the Art Sale procedures (click READ MORE below), and participate by purchasing an image from the comfort of your home.
The 45 images in the exhibit include a beautifully curated selection from Viewpoint Portfolio Artists as well as a dozen "masters" prints or collector images. Pricing varies widely so there is something for everyone.
Please consider participating in this year's Art Sale Fundraiser to help Viewpoint and to introduce some beautiful new art into your living space.
Image Credit: Gay Kent © Shell Slice
Special THANK YOU to all the Portfolio Artists who donated a print to the sale--we couldn't do it without you!
Franka M. Gabler has been drawing her inspiration from subtle, moody, often intimate landscapes – compositions somewhere between detail/abstract and the wider view, beyond a mere record of a particular location. Such compositions allow for extracting unique scenes from otherwise well-known places, and often stimulate a viewer to think further.
The light and atmosphere in her photographs create sentimental and ethereal feeling. Photographing in misty and foggy conditions allows for making interesting compositions and interpretations by concealing distracting elements and revealing the essence.
In the series, A House, A Home, Bree Lamb isolates ubiquitous household objects as a way to investigate traditions of domestic American life. Lamb’s observations are rooted in her own personal indulgences, expectations, and questions, as well as how she sees herself existing within this larger system. Lamb is interested in revealing some of the complex layers of this shared cultural vernacular through pairing the familiar with the unexpected and creating anticipation that is never quite resolved. The interventions and commercial style of capture re-contextualize the objects as a way to challenge traditional domesticity, to pose questions about social conventions, expectations and stereotypes, and to highlight consumption and convenience as staples of American popular culture.
Domenico Foschi’s images in Tarnished Promises reflect both combined intent and chance. Foschi started Tarnished Promises as a need to express emotions that were tied to his childhood, a time in life when possibilities are infinite, and the world is an exciting playground full of promise. Once trauma entered Foschi’s young life, however, his outlook on the world became stained. Modern science informs us that trauma physically changes pathways in the brain with lasting consequences that can reshape perspective. Foschi’s images reveal what happens as the promise of a wondrous and rich life is tarnished. He wanted Tarnished Promises to be uncomplicated in form and content, as if a child had clicked the shutter of the camera. Simple compositions that give the objects photographed a kind of personification and/or anthropomorphism became an important component in the execution of his project. It was through an accident in the darkroom that Foschi discovered a way to convey feelings that he could not have expressed in any other way. In one of his darkroom sessions, while working on another project, he spilled potassium ferricyanide on one of his toned prints. Foschi was amazed to see how it changed the grays to reddish and rusty hues, displaying some caustic like effects on paper. It was this moment that gave way to the beginning of this project. It was time to tarnish his prints.
“The tree which moves some to tears of joy is in the eyes of others only a green thing that stands in the way. Some see nature all ridicule and deformity, and some scarce see nature at all. But to the eyes of the man of imagination, nature is imagination itself.” Many have tried but, few can put it better than William Blake. John Sikita’s love affair with trees began like most, as a child. There wasn’t a tree not climbed within his neighborhood, and there was always some kind of construction going on high up amongst the branches, leaves, and squirrels. It wasn’t until he got his first look at a Sequoia though, that he really understood that trees are to be celebrated, not conquered. And this is when he first trained his lens on them. John finds that minimalist compositions suit him best giving order to what sometimes, can be construed as utter chaos. “That, coupled with changes in seasons, and or weather can really transform Mother Nature into a work of art,” says John.
The Members' Exhibit officially opened on July 9th featuring 100 images. The diversity and artistic quality of this year's entries is outstanding.
We hope you will come by and check it out for yourself during our new gallery hours: Thurs., Fri. & Sat.--12 noon to 5 p.m.
Each year Viewpoint Photographic Art Center celebrates the outstanding artistic talents and creativity of its members by hosting an annual Members' Exhibit. The exhibit will showcase the wide variety of photographic interests among the members.
Image: Strings Attached © Kelley Palmer
This series of 25 images focuses on a specific aspect of the Urban Landscape, exteriors of multiple grouped buildings, mostly commercial, with minimal surrounding context. These compositions intend to transform stark geometries into abstract surfaces revealing new and unexpected perspectives. The mathematical relationships among the buildings, the collisions of lines, the confusions of space and depth, the visual interactions of several structures at once, all are spellbinding.
Richard Greene's background as a musician has him interpreting architectural forms and their intersections as music, full of harmonies, counterpoint, fugue and cross rhythms, all captured in steel, brick, glass and concrete. Often this subject is shot as far back as possible to get the whole object in the frame. His abstractive approach hopes to create a temporary optical illusion of captivating lines and patterns, the image being only part of the world it extends into after the eye leaves the photo. His favorite images are the ones that at first the viewers don’t quite know what they are seeing.
This work is a personal exploration of the work of Catalan architect Antoni Gaudí. Guadí was the principal practitioner of a architectural period known as Modernisme. Hennessy’s goal is not to catalog this work but to react to it and enjoy it.
Gaudí, who died almost 100 years ago, worked in Catalonia, mostly in Barcelona. Modernisme largely died with him except for a large church which is not yet finished. Many did not mourn Modernisme; others pine for it. Millions visit Barcelona just to see it.
Gaudí’s work is very organic with many obvious references to bones, plants etc. Those who lived in his houses (some still do) must need an infusion of Dramamine to stay upright. The floors are the only things remotely in a plane. Gaudí’s work is bizarre or whimsical or gaudy or eccentric or genius. You pick.
After many years photographing building exteriors and interiors at Bodie, Tim Messick felt there wasn't much new or different to capture there. Then he realized that by embracing the window reflections he had been struggling to exclude from his images, he could bring surprising new depth and complexity to his compositions. That was a breakthrough for Messick, not just in image-making, but also in how he explores and experiences the place. Now he looks for reflections to include in his images deliberately — by carefully composing them in-camera, then balancing light, shadow, and contrast in post-processing. He hopes that these moody "found collages" — with multiple layers of foreground, background, and reflection — may provoke a different kind of reflection, on the past, present, and future of this once famously boisterous mining town.
OVERVIEW: Throughout its history, picture making technology has made photographic equipment increasingly faster, smaller, lighter and more portable. But no picture technology can compare to the cultural impact of the smartphone placing a camera in the hands of people all over the world.
For this juried competition, over 70 photographers from six states submitted their cell phone creations for Phoneography: Beyond the Selfie. Juror Betty Sederquist reviewed over 300 images to select a diverse exhibit that will entertain, amuse, impress, and inspire viewers with the artistry of the phoneographers.
1st Place: Mule Drivers Carry Supplies, Anita Rama
2nd Place: X Marks a Great Photo Spot, Hayata Takeshita
3rd Place: Fisherman at Dusk, Victoria Ruderman
Honorable Mention: Enter, Greg DeLory
Honorable Mention: Blossoms, David Ruderman
Honorable Mention: Phantom Bell of St. Francis, David Ruderman
© Anita Rama
Marco Pinter’s work explores the underlying mechanisms of perception, creating situations of conflict between our higher level consciousness and lower level perception. He typically uses materials that explore a fusion of physical movement with visualizations in the virtual world. He finds inspiration in dance and sculpture, but also in cognitive psychology, neuroscience and mathematics.
In installation form, Mr. Pinter works with robotic sculpture and computer graphic forms. At the same time, he pursues similar themes in performance through the use of dancers, sensors and projected forms. This process becomes cyclical, wherein his observations of public participants with an installation, on the one hand, and his experience with performers and audience, on the other, create a feedback loop of cross-influence in his ongoing exploration.
With his work, through a dialog between dynamic material forms (live participants and/or sculpture) and virtual forms (e. g. via screens and projections), he seeks to challenge our cognitive perceptions of what is real and what is imagined. Ideally, this may inspire a viewer to reflect on the illusory realities which our senses create, and how those constructs impact perception and behavior.
OPEN SHOW Alumni catalog for sale HERE.
What better way to celebrate Photography Month Sacramento, than with an event that embraces the artistry of photography in its many forms. Welcome to: Open Show Sacramento: Alumni Collection.
The way Open Show Sacramento comes together is through an Open Call for photography projects that includes a body of work, which has been completed or is in process. Once submitted, the program coordinator, Juliet Haas selects five presenters to share their work. The build up to the presentation is labor intensive, but Haas handles it like a pro. First she secures presentation venues, and then, working with the established Open Show brand, she creates the marketing outreach and social media posts. Finally, she organizes and presents the show.
This exhibit represents images from the Alumni of the past 11 Open Shows over a three-year period of time. Each of the 44 photographers will be exhibiting one image representing their current work or project.
Image by: © Dan Herrera
When photography began its shift from chemical/metal-based processes to digital, Jeff Redman began to fear that manufacturers like Kodak and Ilford would stop making the common black and white papers he had used for decades. So, Jeff began to consider adopting one of the more “hand-made” processes that had been used in the early days of photography. After a bit of research he came to love the look of the few “carbon prints” he was able to see in museums and collections and began to seek information about the process.
A mutual friend introduced Jeff to Vaughn Hutchings, who kindly spend a day teaching him the basics of the carbon process. Under Vaughn’s tutelage Jeff made three very nice small prints that day. He went home and began trying to make carbon prints in his own environment. Jeff states that It would be almost four years before he made another “very nice small print”.
In Jeff’s ongoing efforts to make engaging, compelling, and beautiful images he has grown to love the “look” of carbon transfer prints. Their lush tonalities, their openness, and the surface “relief” they have that imparts a subtly three-dimensional “feel.”
Thanks to the Crocker Art Museum's amazing staff, the student exhibit is up on their web site!
Viewpoint's 2020 Student Exhibit, Voices: Speaking with Your Photographic Eye, is a collaborative effort with the Crocker Art Museum and Viewpoint Photographic Art Center and is part of Photography Month Sacramento taking place throughout the month of April. photomonthsac.org
The exhibit features 68 images selected from over 300 total submissions. Student entries came from 11 high schools and colleges in Sacramento County as well as four neighboring counties. Exhibit juror, Tom Blackburn, selected the images as well as the award winners, who will be announced at a special reception on April 19th at the Crocker. The reception is open to students, their families, friends and faculty as well as Viewpoint members. Students selected for the exhibit will also receive a one-year membership to Viewpoint.
© Sanchez Robinson
A Circle of Bluebirds re-imagines the history of the artist's family in Armenia and Italy through three different lenses: a telescope, a microscope, and the artist's imagination. Photographs of the sun, Saturn, and the north star are infused with other-worldly images overlaid onto landscapes as themes of love, happiness and connection absent from the stories of Harruthoonyan's past create visions of a new earth.
On this other earth, bluebirds, an ancient symbol of love and happiness, take the place of distant stars. A young girl swallows a star, and, butterflies weave through constellations and space dust. The Van Allen belt, a protective field between the realms of astronomy and biology, is the invisible circle holding the artist's vision together. In this belt, the creation, destruction and re-creation of energy is constantly occurring - not unlike the memories of the places where our families are born, and reborn, throughout generations.
While it cannot be seen with the naked eye, when the movement of this energy is translated into auditory waves, it sounds like a circle of birds chirping - proving that it is, perhaps, only our limited mentalities or methods that keep us from experiencing the new worlds awaiting just beyond the stories that defined our past.
Ann Mitchell is an artist who uses photography to explore space and place, actively en- gaged in creating worlds of poetic experience. After completing a BFA in Photography from Art Center College of Design, she worked as an award-winning advertising and edi- torial photographer for over a decade. She then returned to school to complete a MFA in Art from Claremont Graduate University. While there, in addition to producing her own work, she also curated several large art projects and has continued that commitment to community through the organizing of photo-related events. Shortly after graduation she joined the Art & Photography Department (now Visual and Media Arts) at Long Beach City College, where she has served as Chair and now as Digital Media Program Coordinator.
Ann Mitchell’s mother is a painter and her father was a film-maker. Over time, she’s come to realize that her photography...and her thoughts about the medium in general has been deeply influenced by both those artists. She’s always seen photography as an expressive medium that plays with the “real” but is not bound by it. She wants to create images that people can get lost in, that give the essence of a time or place in a way that speaks to the heart.
Typically, Gordon Reynolds does not preplan his photographs, nor does he work on projects, though he has several series that are constantly expanding. Mainly, he relies on luck, and a good bit of walking around. The subjects that interest him most are things from the man-made world, especially those that seem odd, mysterious, and/or timeless. While he has come to enjoy making photographs in the landscape it’s really the urban setting he most likes to explore.
These photographs were taken a week apart on two days in January, 2015. He has been to the area, Discovery Park, many times before and since, usually during the fall and winter months. On these two occasions the American River was low and flat with barely a ripple on the water, making a fine reflective surface. He felt like he was walking among finely preserved monuments from the past. They are hulking things, these pillars, and he wanted to capture a sense of serene ageless grandeur.
Michael Radin grew up in Los Angeles. As a teenager he became interested in photography. His first teacher was the family’s professional photographer. He went on to get his Master of Fine Arts from UCDavis in the 70s and studied with Robert Frank, Bob Arneson, Wayne Thiebaud, and Harvey Himelfarb. Other influences on Michael’s work include Marcel Duchamp, Man Ray, and Moholy-Nagy.
Michael’s process is to play with the camera until some idea intrigues him enough that he embarks on a project that may last for many years. His work reflects his fascination with images that bend reality and challenge the way we have traditionally looked at things.
His work has been shown in various galleries, both nationally and internationally, and it was published in the 100th Anniversary issue of Lenswork. Robert Frank included Michael in his 1996 book Thank You.
After a many years traveling the US as a programming consultant, Michael came back to Davis and is involved in the local art community.
Claude Duplat has been a photographer all of his life. He owned The Black and White Photo Lab in Sacramento for twenty-five years (1979-2004). During that time, he had many photography shows. Always pushing limits with his photography, manipulating his photos with an artistic eye. After years of owning The Black and White Photo Lab and his own studio he experienced burnout and stepped away from photographic projects. However, in retirement he found his way back to his passion and love for photography.
In his 30’s (mid 1980-1990’s) he had multiple shows of his photography. During those years he also had photography in the KVIE Art Auction, the Crocker-Kingsley Art Completion and photographed art for the Crocker Art Museum. His last exhibition of his 4’x5’ black and white woven photos was 30 years ago at Chan Elliot Gallery in Sacramento, CA. Most recently, his work was exhibited at the Viewpoint Photographic Art Center and Blue Line Art. This one man show includes his current work pushing boundaries with photography and photos reflecting movement through daytime time exposures. Claude feels that he has come full circle; having created large woven photos in his darkroom, and now creating his images digitally at home in his lightroom.
When Laszlo Bencze’s brother-in-law, George, was a kid in New Hampshire his father, fed up with life, would threaten the family by saying, “I’m going to Roseville.” Everyone understood Roseville, California as the end of the line, as far away as you could get. Those words always scared little George.
In 2010 Bencze moved to Roseville. He looked around and noticed that other than the giant Union Pacific rail yard, it was not much different from the little Ohio town where he had grown up. There were old buildings in the tiny downtown area around which circled neighborhoods dating from early to mid 20th century. As a teenager Bencze had photographed his hometown and exhibited the results in the local library. He decided to do the same for Roseville.
Judith Monroe believes that we are often overstressed and too busy in our modern world, numbing our senses and making us feel disconnected. She sees the natural world we live in as an amazing place full of potential for refreshment and connection. As she goes through her daily routines, Judith endeavors to focus on the natural elements she encounters, whether taking a walk through nearby woods, walking her dogs in a local park, or stopping to view an insect. She collects natural objects, takes photographs and makes artworks to surround herself with the nature that energizes her. Judith finds solace and peace and reminders of her faith in nature. She says, “A breeze is God’s caress across my face, a leaf is a symbol for growth, a butterfly is a reminder of our potential for transformation into something better than we are today.”