This series of 50 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.
Online entry registration begins June 3 through June 27. The delivery of prints to the gallery for the exhibit is June 16 to 27 during gallery hours.
Online entry link live on June 3.
Each year Viewpoint Photographic Art Center celebrates the outstanding artistic talents and creativity of its members by hosting an annual Members' Exhibit. All current Viewpoint members are invited to submit one of their photographs for display. New work that has not been displayed previously at Viewpoint or other galleries is preferred. Submissions are not limited to a particular theme or form of photography. The exhibit will showcase the wide variety of photographic interests among the members.
Submission is limited to one print per member. Exhibition display space in the Step Up and Main Galleries is limited; therefore, only the first 100 entries will be accepted. The submission period of prints for the Members’ Exhibit, 2020 is from Tuesday, June 16 to Saturday, June 27, 2020 during gallery hours.
Want to submit your work? See the PROSPECTUS for more details.
“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.
Growing up in Jerry Takigawa’s family, when anyone spoke of camp, they weren’t referring to a pine-scented summer retreat; they were referring to the WWII American concentration camps sanctioned by Roosevelt’s Executive Order 9066. Enlisting memory, old family photographs, and the history of the Japanese American diaspora, Takigawa gained a new appreciation for the struggles his family endured. Balancing Cultures represents his personal expression and interpretation of the emotions, insights, and deep collective acceptance of the political and social injustices unexpressed by his immigrant grandparents and American-born parents. In Balancing Cultures, he interprets how it felt to endure economic loss, the pain of prejudice and imprisonment, and the repercussions of re-integration into post-war America.
Takigawa’s early years were punctuated by parental admonishments to “be American!” It was critical to become educated so that he might protect himself from the injustices they experienced, although these experiences were not fully explained. At the same time, Japanese traditions and values were passed on to Takigawa and his brother who grew up between two cultures. They traversed the Japanese and the American cultures as best they could. This project’s title, Balancing Cultures, derives from Takigawa’s personal struggle to reconcile cultural attributes that were often contradictory.