Viewpoint Exhibit History

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.

Monday, August 4, 2014 to Friday, September 5, 2014

Viewpoint Photographic Art Center presents the photographs of David Gordon in an exhibition titled Reconfigured Architecture. In these mostly black-and-white images, Gordon has ‘reconfigured’ architectural patterns using a digital form of double exposure to produce stark constructions that are as confounding as they are intriguing, as alien as they are familiar, as unsettling as they are compelling.

As Gordon states, “My Reconfigured Architecture series investigates the patterns, rhythms, and geometry of buildings in urban settings. Inspired by the accidental symmetries found in reflections in glass, these digital composite images combine photographs with rotated versions of themselves to create unexpected juxtapositions. Inhabiting the boundary between abstraction and representation, they employ visual paradoxes to investigate the psychological process of association and suggest dreamlike, alternative realities.”

Monday, August 4, 2014 to Friday, September 5, 2014

RW Hawkins characterizes his project Industria, prints from which are on exhibit in Viewpoint’s Step Up Gallery in August, as “part ‘urbex’ [urban exploration], part world travel, part historical documentation, and part mechanical obsession.” It explores industrial “locales and equipment from the Machine Age, remnants from the 20th century that are rapidly fading.... It is a creative response to that ephemera, not an attempt to document the people or final products of that era.”

Befitting his subject matter, Hawkins works with a view camera using 4x5-inch film and makes traditional silver gelatin prints – photographic technologies that have been all but abandoned in favor of digital imaging. “For me,” he states, “it feels right to artistically explore the Industria of the 20th century with the photographic materials of the same time.”

Monday, July 7, 2014 to Friday, August 1, 2014

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.


Top row: Adrienne Scher, Judy Yemma, Bill Bryant, Alan Barnard.
Bottom row: Ron Yemma, Sern Kjellberg, Rhonda Campbell, Dolores Frank.


Monday, June 9, 2014 to Friday, July 4, 2014

In June, Viewpoint Photographic Art Center is pleased to present FEMME, an exhibit of photographs by Holly Renfro, Tracy Hymas, and Sylvia Gowrie. Their work explores the idea of what it is to be a woman through fantastical and surreal photographs.


Photos: Holly Renfro (left), Tracy Hymas (center), and Sylvia Gowrie (right)

Monday, June 9, 2014 to Friday, July 4, 2014

Viewpoint Photographic Art Center is pleased to present Henry Paine’s photographic exhibit Vintage Lace Designs of the Early 20th Century in its Step Up Gallery in June.

In a departure from his usual photographic subjects, Henry Paine recently revived a project begun in the late 1970s when he was using a 4x5 view camera. “At that time,” Paine explains, “I had access to scores of delicately handcrafted lace and cutwork tablecloths and curtains at a specialty laundering facility owned and operated by my wife’s grandmother. Once the curtains or tablecloths were washed and starched, they would be placed on stretchers and held in place by tiny pins that surrounded the wooden frame.… When I saw the tablecloths and curtains, I knew I had to photograph them. I sometimes focused in on small segments of the designs, and other times I backed up and photographed the entire piece.”

Tuesday, May 6, 2014 to Friday, June 6, 2014

This exhibit showcases new work by students currently enrolled in classes at the high school or college level. Submissions were open to the full range of photographic techniques (i.e., film, digital, alternative process, pinhole, mixed media, digital manipulation, montage, photogram, hand-colored, etc.).

Come see what the students in our region are doing!

Tuesday, April 8, 2014 to Thursday, May 1, 2014

The April exhibit at Viewpoint Photographic Art Center will be the prints available for purchase at Viewpoint's annual Art Auction Fundraiser and Exhibition.  Prints from local, regional, national, and international photographers will be exhibited, bid on, and sold in this year’s Auction.

Visit the Auction Home Page for full details on this event, including links to on-line galleries of images in the Live Auction (on May 3), the Silent Auction (until May 2), and the Drawing (also on May 3).

The annual auction of fine art photography is the centerpiece of Viewpoint’s fundraising efforts, enabling the organization to continue to build its outreach, education and exhibit programs.

Artists who have prints included in this year’s auction include Phil Borges, Mark Citret, Steve Dzerigian, Charles Farmer, Richard Garrod, Stephen Johnson, Kate Jordahl, Rick Kattelmann, Lewis Kemper, Stu Levy, Tom Millea, Margaretta Mitchell, Richard Murai, Ron Rosenstock, Merg Ross, Bill Schwab, Lou Stoumen, Jerry Takigawa, Brett Thomas, John Wimberley, and many more.

Click here for full details

Wednesday, March 5, 2014 to Friday, April 4, 2014

In its main gallery for March, Viewpoint Photographic Art Center presents the art of Raven Victoria Erebus and Gail Parris in an exhibition titled Avian Studies. While all of prints in the exhibit begin with photographs of birds, both artists employ sophisticated image-processing and printing techniques to create pictures with an intent much different from the description that is the dominate feature of “straight” photography.

“Beauty is all around us,” avers Raven Victoria Erebus; “it’s ordinary and stunning, secretive and fleeting, cold and struggling, singing down the sun.” In The Language of Birds, Erebus demonstrates the depth of her commitment to that beauty.

In The Artistry of Birds, Gail Parris emulates the look and feel of Japanese and other woodblock prints, attempting to capture the "spirit" of the bird in a way similar to Inuit stone prints. She photographs the birds against simple backgrounds, or uses various techniques to deemphasize the backgrounds when digitally processing the images.

Wednesday, March 5, 2014 to Friday, April 4, 2014

In September 2013, eminent Northern California photographer and educator Rick Murai led a Viewpoint-sponsored photography workshop in the Himalayan kingdom of Bhutan. Participants in the Sacred Festivals of Bhutan workshop enjoyed a fascinating twelve-day adventure documenting the stunning landscape, ancient architecture, and warm and gracious people of what many consider to be the Last Shangri-La. From photographing the daily activities in the cities and villages around Paro, Thumphu, and Bumthang, to mingling with the attendees at two colorful sacred festivals, the workshop provided a totally immersive experience with ample opportunity for discovery, image sharing, and introspection. This exhibit presents a selection of images created during the workshop.

Wednesday, February 5, 2014 to Saturday, March 1, 2014

In February, the Viewpoint’s main gallery features two photographers who seek to bring attention to parts of California that are generally overshadowed by the state’s urban culture, technology and entertainment industries, and spectacular geography. Both challenge us to look at and think about aspects of our society that we might know or care little about.

Photojournalist Max Whittaker's project In the Shadow of the Sun is a rebuttal to the typical representation of California as a land of wealth and beauty.” California “isn’t just Hollywood and Silicon Valley, Yosemite and Napa,” Max asserts. “It’s also the state with the highest rate of poverty in the nation.”

Jim Klein's project Wheatland Snapshots is inspired by Eugène Atget’s lifelong documentation of Paris, as well as by the work of later photographic documentarians such as Walker Evans, Robert Frank, and Stephen Shore. As his subject he chose Wheatland, a small town between Lincoln and Marysville. “I roamed the town with my camera,” he says, “in an attempt to capture its unique nature, spirit, and culture,” to “make a pictorial statement about the town and its people.”

Wednesday, February 5, 2014 to Saturday, March 1, 2014

Gary Wagner's exhibit, Sierra Mountain Wilderness is in the Step Up Gallery during February. “Wilderness, nature, and the world around me is the studio I use for my photographic work,” says Wagner. “I find freedom and inspiration to create my interpretations of the natural elements and scenic vistas that come to my view at these locations.”

“The wilderness landscape is an exciting and challenging environment to work in, for it is constantly changing with the light of the day and the changing seasons. On many occasions I have revisited my favorite locations repeatedly throughout the year and found them to be completely different ... the leaves on the trees, the depth of water in the streams, or the light striking the rocks. This environment and the many faces it reveals bring me endless excitement for creating my art.”

Wednesday, January 8, 2014 to Saturday, February 1, 2014

In January, Viewpoint’s main gallery features Robert Mackler and James Canning, two artists who use contemporary photographic tools and techniques to create striking abstract images.

Over the past forty years, Robert Mackler’s photographic activities have been divided between scientifically-oriented botanical studies and fine art images. Most of the latter would be classified as abstract, though Mackler prefers Ansel Adams' term "extractions" because the images are small, carefully isolated portions of the visual environment. “The aleatory nature of discovering beautiful images in an urban setting is very exciting,” Mackler states. “What formerly seemed irritating and unnecessary blight now generates fascination.”

A visual artist who has worked in many media, James Canning has always enjoyed photography and began creatively modifying his photographs long before Photoshop was invented. He discovered early on that patterns within nature are not only beautiful by themselves, but suggest structures and shapes that evoke other worlds as well. “Nature is filled with patterns we recognize and many that we don't,” Canning says. “Sometimes we seek patterns that may not be there; often we fail to see those that are, and we certainly see them where there aren't any!”

Wednesday, January 8, 2014 to Saturday, February 1, 2014

Viewpoint Photographic Art Center is pleased to present the exhibit Seeing Past Your Brain’s Filters by Bobbi Mercouri in its Step Up Gallery in January.

Bobbi Mercouri seeks to make photographs that transcend the medium’s ability to record a realistic interpretation of a scene. Mindful of scientific studies of perception and how the human brain filters visual information, she crafts images to communicate her feelings about what she photographs. “There’s magic in the light,” she says, “and magic in the details.” By finding and featuring the magic, she hopes “to enable the viewer to see past the brain’s filters and experience her personal creative vision, the emotional content of each piece.”

Wednesday, December 11, 2013 to Saturday, January 4, 2014

The 2013 theme for the fifth annual December juried exhibit is Twelve: Natural Magic. The title conjures the16th century Italian thinker Giambattisa della Porta's, writings on the nature of light. Because of his studies with projected light, della Porta was arrested for sorcery during the Inquisition! Since this is Twelve in 2013, Natural Magic carries the mystic of the number 13 clothed in the magical qualities of light, the wellspring of photography. Each year the Twelve show is characterized by creative and skillful interpretations of the theme of the exhibit. With Natural Magic, this well-established tradition continues as the interpretations appeal both to the eye and the imagination.

Wednesday, December 11, 2013 to Saturday, January 4, 2014

The 2013 theme for the fifth annual December juried exhibit is Twelve: Natural Magic. The title conjures the16th century Italian thinker Giambattisa della Porta's, writings on the nature of light. Because of his studies with projected light, della Porta was arrested for sorcery during the Inquisition! Since this is Twelve in 2013, Natural Magic carries the mystic of the number 13 clothed in the magical qualities of light, the wellspring of photography. Each year the Twelve show is characterized by creative and skillful interpretations of the theme of the exhibit. With Natural Magic, this well-established tradition continues as the interpretations appeal both to the eye and the imagination.

Wednesday, November 6, 2013 to Saturday, December 7, 2013

In November, Viewpoint’s Main Gallery features three photographers – David Ashcraft, Jimmy Fike, and Magnus Stark – who have three very different approaches to making photographic art.

David Ashcraft is a Californian whose work fits comfortably in the tradition of West Coast photography. He studied with many of the iconic West Coast photographers, including John Sexton, Richard Garrod, Alan Ross, and Henry Gilpin. His subject matter centers on the hallowed West Cost themes of the natural landscape, closely observed details, and abstractions.

Jimmy Fike’s exhibit comprises selections from his series, J.W. Fike’s Photographic Survey of the Wild Edible Botanicals of the North American Continent. “Within my system,” Fike explains, “the plant is excavated, arranged in the studio, photographed, then illustrated digitally in such a way as to render the edible parts in color while the remaining parts, less emphatically, read as photograms.

Magnus Stark, who was born in Sweden and resides in Bangor, Maine, makes film-based images without using a camera. “Like a chemist in a lab, I experiment with the raw film by sometimes treating it with a variety of common organic substances, before exposing it to extreme elements. What happens to film if you pop it in the microwave? Submerge it in a hot tub? Stick it in the freezer? And what happens if you do that for an hour, a week, a month or a year?”

Wednesday, November 6, 2013 to Saturday, December 7, 2013

Study. Learn. Teach. Share. Take. Give. The ten photographers in Wider Circles studied at Sierra College and then expanded the circle outward, each making a life while making a living in photography. The exhibit includes work by Tim Engle, Chris Fraser, Jeff Gros, Drew Herrmann, Michael Kirby, Gene Rodman, Jon Sadler, Daryl Stinchfield, Tee Taylor, Kathy Walker and Rebecca Gregg. Today they are studio owners, assistants, freelancers, commercial photographers, photojournalists, artists and professors. The show is a small sample both of their work and of the professionals who are engaged in the dynamic lifelong process of being students of photography.

Tuesday, October 8, 2013 to Friday, November 1, 2013

In Stu Levy’s Grid-Portraits, several negatives are contact-printed in a grid arrangement to create “a space and time scan,” function both as environmental portraiture and as explorations of how we perceive complex imagery. Referring to the phrase Henri Cartier-Bresson famously used to characterize his photographic ideal, Levy states, “this work gives a new meaning to ‘The Decisive Moment’, for the lattice-window view presents a maze of scrambled time and recombinant architecture.”

“Perception involves the visual synthesis of incremental spaces at finite points of time,” Levy explains. “These photographs of artists and craftspeople explore and challenge our perceptive processes by testing the limits of discontinuity, in both space and time, which our brains will accept in reading an image.”

Tuesday, October 8, 2013 to Friday, November 1, 2013

In the Step Up Gallery in October, Viewpoint Photographic Art Center presents the photography of Garrett Cotham in an exhibit titled On Trail: Images from Hiking Trails of the American West.

The images in On Trail are part of a large, ongoing project that reflects Garrett’s desire to explore the natural world, especially wild and undeveloped areas. “I have become an avid hiker,” he states, “and often find myself exploring these places alone, developing a sense of wonder, awe, and tranquility as I take in these scenes. I try to evoke a sense of quiet and solitude in my photographs, as well as inspire viewers to explore and learn as much about our world as possible. I hope that viewers will feel as though they are in the places that I depict in my photographs, experiencing the actual location with their own senses, and developing their own memories and emotions of that place.”

Tuesday, September 10, 2013 to Friday, October 4, 2013

Gary Cawood began his ongoing body of photographs, Excavation, in 2006. “Since the natural landscape is considered expendable in our culture, the surface scars we create seemed like an intriguing subject to explore,” he explains. “I selected sites that were excavated long ago, and at first I focused on the surprising forms and colors created by erosion. Soon I began adding throwaways to the compositions. Like the land, much of the stuff we buy is considered disposable and makes its way to sites like these. I utilized the scarred landscape as a context for the stuff we abandon.”

In the latest images in the evolving project, Cawood finds himself drawn to “the castoffs of the landscape itself rather than man-made stuff. By focusing more on the natural elements, the recent work emphasizes the ability of the landscape to recover and reinvent itself, even as we continue to disrupt its inherent balance.”


Thank you to our sponsors!

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Meyers Investment Group of Baird

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Viewpoint Photographic Art Center is the proud recipient of a SMAC Cultural Arts Award grant.

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