Viewpoint Exhibit History

Tuesday, October 6, 2015 to Saturday, November 7, 2015

The October exhibit in the Step Up Gallery will feature the work of Viewpoint student photographers.  Working in partnership with the Sacramento Metropolitan Arts Commission (SMAC), Viewpoint Photographic Art Center has challenged students of photography to explore and photograph Sacramento’s public art.  The result is a series of images, which capture Sacramento’s public art in both playful and dramatic compositions utilizing a variety of techniques and styles. In addition to student’s images, the exhibit will include information on Sacramento’s extensive public art collection as well as personal statements by each of the exhibiting artists.

 

Tuesday, September 8, 2015 to Friday, October 2, 2015

Landscape photographer Geoff Fricker has selected images from his book, Sacrament: Homage to a River, to exhibit as large format, black and white prints. The book documents the natural and cultural forces influencing the Sacramento River region. Fricker's images capture the river’s powerful and often ephemeral nature and explore the watershed’s importance in California’s economy and environment. The images reveal how all Californians, from farmers and ecologists to fishermen and household consumers, have a vested interest in the watershed’s future.

Growing up on the bluffs of the American River, Geoff Fricker developed a fascination for human presence in the land and the stories surrounding the river. He now lives in Chico and uses photography as a way to further understand the voices behind narratives on the Sacramento River watershed. Being naturally curious about his community, he has used photography as a vehicle for investigating stories and celebrating their beauty. The images in this exhibit are essentially about the often slow but always certain voice of the river to press its natural meander against our history to control it. For him, these photographs are a way to slow the pace and contemplate water — to reflect on our connection to the land and the contradictions of our condition with it.

Tuesday, September 8, 2015 to Friday, October 2, 2015

The September exhibit in the Step Up Gallery features New Traditions in Landscape — photographs by Alan Barnard. The tradition of landscape photography is closely tied to the desire to record and preserve the natural world for future generations. However, in this era of increasing environmental degradation, the validity of travel-based landscape photography—with its requisite carbon footprint—is being called into question. Among environmentally-conscious landscape photographers, a new mantra of "shoot locally, share globally" is beginning to emerge.

Tuesday, August 4, 2015 to Friday, September 4, 2015

Jim West has had the opportunity to travel to Europe more than a dozen times over the last 25 years. During that time, he has built a body of work that has been published in many venues, but has never taken the time to do a photography exhibition. The images in this Summers in Europe show represent his vision of what Europe feels like to him. They are an eclectic mix from many countries, including Italy, Greece, and France. As a photography educator, he uses these images to teach from and to share with his students as a tool to help them improve. Jim hopes that you enjoy these images as much as he enjoyed taking them.

Tuesday, August 4, 2015 to Friday, September 4, 2015

A photograph begins with the not so simple act of seeing, but the full realization of the creative process often involves looking at images more objectively and listening to the reactions and responses of fellow photographers – all with the desire to learn.

With the motivation to look, listen and learn, Viewpoint holds two open critiques each month, Print Night and Portfolio Night. The images in the Step Up exhibit were part of these monthly critique sessions. Some represent ongoing projects and are part of a cohesive portfolio. Others are individual images that reflect the photographer’s interest and variations in style. Thirteen local photographers are in the exhibit. Thematically, the work ranges from landscape to cityscape, figure studies, abstractions, photomontage, color, and black and white as digital prints and alternative photographic processes.

Tuesday, July 7, 2015 to Friday, July 31, 2015

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 9, 2015 to Friday, July 3, 2015

Gordon Hutchings has been making photographs for “nearly 60 years now.” That is a long time and this exhibit shows that Gordon is indeed “Still Looking After All These Years.” 

In the 1960s when Hutchings began making photographs, all photography was film-based and “wet.”  Gordon continues to process his 8 x 10, 5 x 7, and 4 x 5 sheet films using the Pyro film developer he created and to print his images on traditional silver-gelatin papers. He says he simply prefers the materials and processes with which he is familiar.

Which is not to say that the way Gordon works has remained unchanged over the years. Gordon has recently begun changing his printing technique. As he explains his new approach to printing “I used to take days or weeks working and reworking every inch of my prints. Now I take a more impressionistic approach.” 

Almost all of the works in this exhibit are from recently made negatives, hand printed on gelatin-silver paper and shown here for the first time.  Expect to be surprised.

Tuesday, June 9, 2015 to Friday, July 3, 2015


The June exhibit in the Step Up gallery presents Sacred Festivals of Bhutan and the Three Kingdoms of Myanmar, Cambodia, and Laos. The exhibit includes images by twelve photographers who joined Northern California photographer and educator Rick Murai on two Viewpoint-sponsored travel workshops to southeast Asia during the past year.

Participants photographed the Sacred Festivals of Bhutan in October, 2014 and the Three Kingdoms of Myanmar, Cambodia and Laos in January, 2015. They enjoyed a fascinating journey documenting the stunning landscape, ancient architecture, and the warm and gracious people of these diverse Asian countries. They had access to diverse subjects in local markets and villages and amid renowned UNESCO World Heritage sites. They were also able to mingle with devotees at monasteries, temples and sacred festivals. This exhibit represents a visual diary of their experiences and discoveries during their journey.

Twelve artists are contributing to this exhibit:  Louise Berry, Peter Berry, John Bridge, Tom Eaton, Jim Faria, Don Goldman, Nicolle Goldman, Diane Hovey, Kevin Levesque, Vicki Rich, Dennis Scott, and Adrienne Sher.

Tuesday, May 5, 2015 to Friday, June 5, 2015

Paul Kitagaki Jr.’s exhibit Gambatte! Legacy of an Enduring Spirit, juxtaposes historic photographs of Japanese Americans interned during World War II with his contemporary portraits of the same individuals. After the attack on Pearl Harbor, President Franklin Roosevelt issued Executive Order 9066, leading to the forced removal of almost 120,000 ethnic Japanese to ten desolate internment camps away from the West Coast. Two-thirds of those interned were native-born American citizens.

Dorothea Lange photographed Kitagaki’s grandparents, father and sister in 1942 as they awaited a bus in Oakland to begin their journey into detention. Upon finding Lange’s photograph in the National Archives, Kitagaki realized that each photograph represented an untold story buried in the past. For a decade he has searched for the identities of internees photographed by War Relocation Authority photographers.

 

Tuesday, May 5, 2015 to Friday, June 5, 2015

The May exhibit in the Step Up Gallery will feature photographs by Jodie Hooker in a series titled Desert Glyphs. Landscape images have been used to represent spiritual ideas since the advent of Art. During the Pictorial photography movement, landscape photographs conveyed such spiritual ideas and concepts of the sublime. Pictorial photographers favored gum dichromate printing for its painterly, ethereal qualities.

The gum dichromate landscapes, chemigrams, and other alternative process photographs in the Desert Glyphs series are also representative of spiritual inklings and sublime beauty. These desert images from Capitol Reef National Park are symbols of retreat and spiritual seeking. When camping, hiking, painting, and photographing in nature Jodie Hooker often recalls a line from The Private Banquet by the poet Rumi: “The sense of sight is too weak to take in this reality.” For this artist, the quirks and flaws in alternative process photographs are an integral part of each image and a way of visualizing the spiritual unseen all around us.

Tuesday, April 7, 2015 to Friday, May 1, 2015

One of the most significant photographers of the mid-20th century, Wynn Bullock (1902-1975) worked in the American modernist tradition alongside Edward Weston, Harry Callahan and Ansel Adams. More than 50 black-and-white and color works by Bullock will come together for the exhibition at the Viewpoint Gallery.

A close friend of influential West Coast artists Ansel Adams and Edward Weston, and a contemporary of Minor White, Harry Callahan, Aaron Siskind, Imogen Cunningham and Frederick Sommer, Bullock created a body of work marked by a distinct interest in experimentation, abstraction and philosophical exploration. His images Let There Be Light and Child in Forest became icons in the history of photography following their prominent inclusion in Edward Steichen’s landmark 1955 exhibition at the Museum of Modern Art, The Family of Man.

This exhibit will be celebrated with several activities … (see the "Read More" link for details).

Tuesday, March 10, 2015 to Friday, April 3, 2015

In its Main gallery in March, Viewpoint Photographic Art Center presents the photographs of Ann Mitchell in an exhibition titled Meditative Spaces Found While Traversing The Razor’s Edge.

Ann says this body of work is dedicated to exploring the essential characteristics of change. "While my first inspirations were based on my own experiences, I’ve worked to go beyond the specifics through the use of archetypal elements such as water, nature and the occasional human character. At the core of each image is also an exploration of the strong push and pull of longing: whether it’s the longing to find a safe place, or even to feel that we are grounded in some manner. Inspired by a love of surrealist painters, such as Magritte, these images often come to me through meditation, dreams, memories and intuitive explorations. With each image I’m pushing into the feelings that we experience when life changes radically. Fear, happiness, confusion, insight, joy…all of these are on the path we are often forced to take."

Tuesday, March 10, 2015 to Friday, April 3, 2015

The March exhibit in the Step Up Gallery will feature Roger Lieberman's exhibit, Dogpatch and Environs. Dogpatch is an historic neighborhood in eastern San Francisco. It is rather small, stretching from 18th Street to 25th Street and from the Bay to Indiana Street (5 Blocks).  The area has been home to the shipbuilding industry and slaughterhouses. Feral dogs obtained their food from the refuse of the slaughterhouses, hence the name Dogpatch.

Today the area is being transformed by new development, but the community has been actively and successfully involved in being certain that the historic buildings retain their intrinsic character. These photographs are my attempt to document these structures before they are lost. My hope is that you will be stimulated to come to the area before it is fully “modernized”.

Wednesday, February 11, 2015 to Saturday, March 7, 2015

Renée C Byer’s exhibit, Living on a Dollar a Day, depicts the heroic struggles of people in ten countries worldwide who live in extreme poverty. The title for the exhibit is inspired by Renée’s recently release book: Living on a Dollar a Day, The Lives and Faces of the World’s Poor.

Byer’s explains in her book that one person in every six lives on less than $1 a day. A startling statistic and the impetus for the book and the compelling photography. The text of Living on a Dollar a Day by Thomas Nazario balances extensive research on the plight of the world’s poor with Byers’ poignant images bringing the stories to life. Byers’ photographs, many of which will be displayed in the Viewpoint exhibit, create an unforgettable impact showing day-to-day details of courage, love and survival. The images themselves are brilliant and quite startling in bold living color.

Wednesday, February 11, 2015 to Saturday, March 7, 2015

In February, the Step Up Gallery at Viewpoint Photographic Art Center presents an exhibit by member photographer, Jonathan Mumby. The black and white exhibition is entitled Flowing Fantasies and it captures the intense force and beauty of water in nature.

The Flowing Fantasies photographs were made over a period of several years, but the subjects required ages to form.  “Finding these subjects under the right conditions is what makes photography rewarding and exciting for me,” says Mumby.  “Flash floods move boulders and logs to redecorate canyons.  Thunderstorms cause waterfalls to appear one day only to vanish within hours.  I return to the same locations again and again to experience these changes.”

Wednesday, January 7, 2015 to Saturday, February 7, 2015

Photographs by John Hennessy will be exhibited in the Main Gallery at Viewpoint Photographic Art Center in January, in an exhibition titled Essential Aspects.  This is an exhibit of  two themes: “Time & Tideˮ and “Architectural Aspects.ˮ Usually John’s themes are architecture or the landscape, though the actual subject is interesting to him only if it can be taken apart and put back together is some other way. Showing a man-made object or a natural scene correctly or completely is not as interesting to him as using a subject’s structure, texture, and space to make a new thing out of it or to emphasize one or two crucial elements.

Begun in 2010, the “Time & Tide” photographs attempt to transform immovable objects, like boulders, and the inconstant sea into something ephemeral, but captured. These photographs are from all times of day or night, in quiet light or moonlight. Exposure times are from several minutes to half an hour. Technical and aesthetic results are unpredictable and success is uncertain. Pre-visualization is only a fond hope. The second theme, “Architectural Aspects,ˮ is only a bit more tangible. "Sometimes, the ostensible subject can be left unidentified if the light plays its role well," says John. "Light after all is permanent, but the things it falls on may not be."

Wednesday, January 7, 2015 to Saturday, February 7, 2015

In the Step Up Gallery in January, Viewpoint Photographic Art Center presents Viewpoint Field Trips, a group exhibit including photographs taken by numerous photographers during several field trips sponsored by Viewpoint. Field trip destinations ranged from the streets and alleys of Sacramento and San Francisco to Bodie State Historic Park, California Aerospace Museum, and a motorcoach restoration business in Williams.

Photographers participating in this exhibit are: Diana Coleman, Lawrence Coleman, Joseph Finkleman, Stephen Fischer, Susan Hennessy, Mark Howell, Tom Laffey, Tim Messick, Joy Nieslony, Steve Nieslony, Dennis Scott, Jeanne Snyder, Diane Tempest, and Rick York.

Viewpoint field trips are very informal. They are open to Viewpoint members and non-members alike. The field trips have been great fun and current interest in them ensures they will be even more so in the future. Destinations for 2015 are being planned and will be announced on the Viewpoint web site. Come along and shoot with us!

Friday, December 12, 2014 to Wednesday, March 4, 2015

Viewpoint is pleased to announce that an exhibit of 33 images selected from the 2014 Members’ Exhibit will be shown at the SMUD Art Gallery, at 6301 S Street (near 65th Street), in Sacramento. The exhibit will run from December 12, 2014 through March 4, 2015. The SMUD Art Gallery is open Monday – Friday, 8:00 a.m. – 6:00 p.m.

Seeing Through the Lens: Viewpoint Photographic Art Center, features the work of 33 members of Sacramento’s Viewpoint Photographic Art Center. The public is invited to meet the artists and view their work at a FREE reception on Thursday, December 11, 2014, from 4 to 6 p.m. A wide range of photography highlighting diverse techniques, approaches and personal visions is featured.

Viewpoint Photographic Art Center is a nonprofit organization, which promotes the art of photography through exhibits of original photography by contemporary and historic photographers, lectures, workshops and educational programs. Though the Members’ Exhibit has shown a general shift from traditional to digital photographic techniques over the years, 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.

Tuesday, December 9, 2014 to Saturday, January 3, 2015

TWELVE: Small Wonders, Viewpoint’s sixth annual December juried show, features small works by photographers from throughout Northern California and across the country. From over 500 entries, juror Daniel Kasser, a noted photographer and Professor of Art at University of the Pacific, selected nearly 100 images by over 60 photographers. While all prints are no larger than 36 square inches, they represent an extraordinary range of photographic approaches. Subjects include still lifes, abstracts, cityscapes, portraits, composites, and landscapes. Print types range from nineteenth-century processes such as tintypes, ambrotypes, and salt prints; through twentieth-century techniques such as gelatin silver prints, platinum prints, and image transfers; to twenty-first-century cell phone captures and pigment inkjet prints.

The six photographs singled out for awards epitomize the diversity of the exhibit. Juror Danial Kasser chose Jim McMahen’s semi-abstract close-up, Curtain Pull, for the First Place award. Donald Satterlee’s Grain Tower, a black-and-white celebration of rural architecture, won the Second Place award, and the Third Place award went to Kansas photographer Thomas A. Gibson for The Chimney Sweep, a digital print from an original ambrotype. Honorable Mention awards went to Mark Howell’s color study, Theatre Wall, Roseville; Rick Murai’s surreal composite, Dangerous Journey; and Dianne Poinski’s gently-colored still life, Poppy.

Tuesday, November 4, 2014 to Saturday, December 6, 2014

Underwater photographer Alexander Semenov is chief of the Diving Team at Moscow State University's White Sea Biological Station, a remote research facility in the far northwest of Russia. He specializes in the study of marine invertebrates, is accustomed to diving in cold and dark northern waters, and after years of practice with underwater cameras and lighting, is now producing truly remarkable images of some of the world's least known creatures.

Alex's photographs have been seen on the Discovery Channel, BBC, National Geographic, Science News, and elsewhere. Alex’s current major project is the  "Aquatilis Expedition", with an international team of divers, scientists, sailors, photographers and videographers on a proposed three-year-long, 30,000-nautical-mile sea trek to find new species and photograph sea creatures as never before.

Tuesday, November 4, 2014 to Saturday, December 6, 2014

Richard Halliburton’s lifelong relationship with Yellowstone National Park began in the summer after his high school graduation. A midwesterner who had never been west of Kansas City, he drove with a companion to Yellowstone’s Old Faithful Inn for a summer job. “It was not love at first sight,” he relates. “The weather was cold and rainy. I knew no one; I had no friends. After a week, I was on the verge of quitting my job and going home.”

“Then the sun came out and my life changed forever.... I began to understand the idea of wilderness and why it matters. I discovered photography.”

Monday, October 6, 2014 to Friday, October 31, 2014

In October, Viewpoint Photographic Art Center features retrospective collections by Robert Taylor and Charles Farmer, two contemporary masters in the West Coast tradition of beautifully-crafted black-and-white photographs.

Robert Taylor has photographed for four decades  within a few hours’ drive of his home in Ukiah, concentrating on the landscapes he has known all his life (he was born in Mendocino County in 1946). First introduced to photography by a friend in Vietnam, Taylor later refined his knowledge through careful study of the technical manuals of Ansel Adams. He has drawn inspiration from the work of many past and contemporary photographers including Ansel Adams, Edward Weston, Brett Weston, Wynn Bullock, and Paul Caponigro.

Charles Farmer describes himself as “a large-format photographer of the inner landscape.” As another West Coast master, Richard Garrod, puts it, “Charles has developed an ability to surrender to his subjects and to his creative inspiration in order to capture the inner light that we all seek in our images.... His images are a result of the reverence and deeper intent that Charles brings to his work and to his life.”

Monday, October 6, 2014 to Friday, October 31, 2014

In October, the Step Up Gallery at Viewpoint will feature an exhibit of color photographs by Scott Norris, Transience – Notes from Northern Europe.

“Some things, some moments, we tend to think of as fleeting—others enduring,” Norris observes. “Yet I sometimes find that while traveling—perhaps because of my own transitory and ungrounded state—a sense of the ephemeral seems ever-present. I think photography, as a mode of seeing, can be particularly instructive in helping to reveal the contingent, transient nature of our perceptions, and our world.”

The images in this series were taken during two extended stays in Amsterdam, Copenhagen, and parts of southern Norway. “In their varied subject matter,” says Norris, “they depict a singularity of mood or feeling which accompanied me on my travels—a sense of ongoing revelation and disappearance. From the ebb and flow of urban life to the brevity of the northern European summer, or from the palpable transience of history to the uncertain trajectory of our climatologic future, the same quality of impermanence balances on the fulcrum of the present moment.”

Monday, September 8, 2014 to Friday, October 3, 2014

Millee Tibbs is interested in surfaces and their relationship to what lies beneath – the discrepancy between what we see and what we know. “I am drawn to photography,” Tibbs states, “because of its ubiquitous presence in our culture and its duplicitous existence as both an indexical representation of reality and a subjective construction of it. It is a slippery medium that easily shifts from scientific documentation of a moment in time to a subjective construction of reality. I am interested in the space where these qualities contradict each other and coexist simultaneously. Mountains and Valleys uses images of the American West as a starting point to interpret and confront cultural myths surrounding our relationship to that landscape.”

The work displayed in Ernest J. Zárate’s exhibit Apparent Realities represents two bodies of work: a collection of still photographs in the form of backlit transparencies, from an on-going project also called Apparent Realities; and a three-minute series of projected photographs of a single vista called Time/Flux. The still photographs from Apparent Realities, Zárate states, examine but do not resolve the two opposed meanings of apparent: “plain, clear, and obvious” as well as “appearing to be real or true on the basis of evidence that may not be valid.” For the projected sequence Time/Flux, Zárate used a tripod-mounted camera to take several 30-second exposures of the same view during one night.

 

Monday, September 8, 2014 to Friday, October 3, 2014

“The human figure is exquisitely beautiful,” states Debra Small about her body of work, Nudes: A Romantic Encounter, “and it was my intention to have that beauty resonate from the images.” Stylistically, she strove to create “picturesque romantic imagery similar to the nudes of the pictorial period.” Two key techniques employed in the crafting of these images were light painting and salt printing. While making the exposures, Small used diffused flashlights “to paint light onto the model’s body, giving a lovely soft glowing light to the skin.” She then converted the digital camera images to black-and-white digital negatives and then made salt prints. Salt printing, which dates back to the early 1800s, is considered the first photographic printing process on paper.

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