In recognition of the 30th Anniversary of Viewpoint Photographic Art Center, the Crocker Art Museum is exhibiting sixty-eight photographs created by Viewpoint members. The photographs illustrate a range of interests, spectrum of subjects, variety in techniques, and creative explorations of photographic print media among Viewpoint members.
Images L to R: Casey LeClair "Renaming Renderville" | Marc Vayssieres "Hanging On the Wall" | Gary Wagner "Swirling Seas"
This work is a personal exploration of the work of Catalan architect Antoni Gaudí. Guadi was the principal practitioner of a architectural period known as Modernisme. My goal is not to catalog this work but to react to it and enjoy it.
Gaudi, 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.
Gaudi’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. Gaudi’s work is bizarre or whimsical or gaudy or eccentric or genius. You pick.
John Hennessy states his goal is to reduce a subject to its essence, or make a new thing of it. Correctly or completely showing a man-made object or a scene is not as interesting to him as using a subject’s structure, texture and space to emphasize one or two crucial elements.
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.
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.