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photo-eye Gallery Thomas Jackson
Behind the Image: Tutus no. 4
by Juliane Worthington Juliane Worthington speaks with represented artist Thomas Jackson about making his image Tutus no. 4. Work by Thomas Jackson is currently on view in our 2019 Group Show.
by Juliane Worthington

Thomas Jackson, Tutus no. 4, San Francisco, California, 2018 Archival Pigment Print, 20x25" Image, Edition of 4, $2500
Whether it’s straws, translucent plastic plates, or rainbow colored tutus, Thomas Jackson’s intent is to confuse our senses by making objects appear in mid-air in scenes we would never expect to encounter them.

I asked him how he imagines and executes these images without the use of photomontage. Jackson says he begins by finding something everyone can relate to, “I love how the tutus are something we’ve all encountered in some way. For me, it’s a reminder of my daughter’s whimsical, childhood days.” His happiness comes when he can juxtapose an ordinary object into an extraordinary scene.

Represented artist Thomas Jackson stages over 200 tutus on a seaside cliff in San Francisco in preparation 
for his image Tutus no. 4.

“I scouted out the location and fell in love with the vast, rugged cliffs, covered in ice plant,” Jackson remembers. He went on to recall the challenge of getting all his equipment and supplies out to such a remote location. Listening to him describe his process, I could hear how much he loves the puzzle of figuring out how to execute his idea as much as the result. With the help of his assistant, and after a lot of factoring and trial and error, Jackson staged the hillside with over two hundred multi-colored tutus zip-tied to thin, green, wooden garden stakes. The effect was, to Jackson’s delight, a way to “see the wind.”

Jackson’s message with his work, like Tutus no. 4, is to make us feel disoriented, confused and even a little unnerved by seeing normal, everyday objects in unusual places. He feels these images make our brains sort of jump out of our thinking ruts and really take a look at the elements of our world. In this photograph, the tutus become a voice for the wind, a way for us to see how playful the Earth is, even on the remote cliffs of Northern California.

Thomas Jackson – Straws no. 4, Mono Lake, California, 2015,
 Archival Pigment Print, 30x38" Image, Edition of 5, $4000
Currently, Jackson’s Straws no. 4, Mono Lake, California, 2015  is on view at photo-eye Gallery in our 2019 Group Show.


» View the 2019 Group Show

» View Additional Work by 
   Thomas Jackson

» Read More about 
   Thomas Jackson



Jackson is also releasing two new images this week, Kool-Aid no. 1, Muir Beach, California, 2018 and Kool-Aid no. 2, Montara, California, 2018.

Thomas Jackson – Kool-Aid no. 1, Muir Beach, California, 2018, Archival Pigment Print, 
20x25" Image, Edition of 4, $2500
Thomas Jackson – Kool-Aid no. 2, Montara, California, 2018, Archival Pigment Print, 20x25" Image, Edition of 4, $2500

• • •
For more information, and to purchase prints, 
please contact Gallery Staff at 
505-988-5152 x202 or gallery@photoeye.com

All prices listed were current at the time this post was published. 
Prices will increase as the print editions sell.

2019 Group Show
on view through April 20, 2019

» View work from the exhibition

Select Included Artists:

» Julie Blackmon
» Kate Breakey
» Mitch Dobrowner
» Michael Kenna
» Clay Lipsky
» Beth Moon
» James Pitts 
» Reuben Wu 
» Brad Wilson 


photo-eye Gallery – 541 S. Guadalupe Street, Santa Fe, NM 87501 | VIEW MAP


Book Of The Week The Island Position Photographs by John Lehr Reviewed by Jake Bartman In The Island Position, John Lehr explores the facades of American commercial spaces that are threatened by the emergence of e-commerce. In a rush to remain relevant, storeowners emblazon their windows and walls with anything that will grab attention.
The Island Position. By John Lehr.
https://www.photoeye.com/bookstore/citation.cfm?catalog=ZH778
The Island Position 
Photographs by John Lehr

Mack, London, England, 2019.
Unpaged, 8½x11½".

It is easy to take for granted the kinds of commercial environments that John Lehr aestheticizes in his new collection, The Island Position. Here are the run-down facades of pawn shops and hair salons and payday loan-places, stores with windows blocked out by advertisements or cracked signage. One business is walled in by sun-bleached boxes; its neon signs advertise cell phones, electronics, and video games for sale. Another’s windows and doors are covered with handwritten signs that repeat the words “We Buy Cans ¢10 Plastic ¢30,” as if by force of enthusiasm to attract customers.

In the context of Lehr’s work these spaces are arresting, due in part to the urgency of the photographer’s project: an exploration of the existential threat brick-and-mortar businesses face from the rise of e-commerce. His achievement is to capture his subject in a way that’s neither naively sentimental nor unreflexively critical, at the same time as he eschews any claim to objectivity.

Devoid of people, Lehr’s images are lit with a flat, noon-like brightness that suggests the bleak future many traditional businesses face. There is wry humor at play throughout — as in the image of a fast food drive-thru, inverted via the mirrored window through which it’s viewed, or in another of two life-sized vinyl decals that depict the shelves of a well-stocked supermarket.

The book’s title is a term from print advertising — the “island position” is an ad slot surrounded by editorial content — and one of Lehr’s images is of a wall adorned with an oversized tropical beach scene, with several islands situated on the horizon. But these self-referential aspects are handled skillfully enough that the collection’s focus doesn’t stray into a meditation on the photographer’s role. Instead, Lehr maintains his focus on the human stakes of the shift to e-commerce.

That aim is bolstered by the inclusion of a short story from George Saunders, one of the country’s foremost authors of literary fiction. Saunders’ work often centers on characters who must fight to retain their humanity in the face of dystopian capitalism. His story “Exhortation,” from the 2013 collection Tenth of December, takes a darkly absurdist approach to that theme. Written in the form of a corporate memorandum, the piece asks the employees of an unnamed company to better discharge unspecified duties in the mysterious Room 6. The story goes on to explore certain moral trade-offs inherent to modern labor.

Alongside Lehr’s images, the idea of Room 6 as a space in which certain activities are permissible receives added emphasis. The reader is left to consider the role of space in commerce, and to wonder: how does the presence of a physical environment in which to conduct business obscure, or remind us of, the ethical trade-offs that capitalism compels? How will we, as human beings, be changed by the absence of such places?

In e-commerce there aren’t handwritten signs, or faded advertisements, or even other people — at least, not that we can see. By effacing the presence of people from his images, Lehr’s collection compels us to forget the proprietors of such businesses. In that sense, we’re made complicit with the effects of e-commerce’s rise: we don’t perceive those who suffer from the shift, but only their absence. We’re left to wonder at what they, and we, have left behind.

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Jake Bartman is a writer and journalist living in Santa Fe. You can contact him at jbartman15@gmail.com.

photo-eye Gallery 2019 Group Show
Beth Moon Interview:
The Savage Garden
Gallery Associate Juliane Worthington interviews represented artist Beth Moon about her series The Savage Garden. Prints from The Savage Garden are currently on view in our 2019 Group Show.

Prints from Beth Moon's The Savage Garden installed at photo-eye Gallery for the 2019 Group Show.
When I got hired at photo-eye Gallery, I knew I’d be surrounded by photographic inspiration on a daily basis, what I wasn’t prepared for was how much personal inspiration I’d find talking with the artists we represent. From my first day on the job, Beth Moon has been a source of mystical connection for me. Her deep love of trees, and the calling she feels to document them in such profound ways, struck a cord in my heart immediately. Having the chance to talk with her about her work and why she does what she does, left me feeling hopeful and encouraged as an artist, a mother, and a human being. I hope you enjoy this heartfelt interview with Beth on her body of work The Savage Garden, a study of carnivorous plants. Six works from The Savage Garden are currently on view in our 2019 Group Show.



Beth Moon, Nepenthes Bicalcarata 
Platinum/Palladium Print, 
12x8" Image, Edition of 15, $1200
Juliane Worthington:     What inspired you to work with carnivorous plants?

Beth Moon:     I was living in California at the time, and about an hour’s drive away from my house I found a nursery—my son had this mad interest in carnivorous plants—which was huge! They had so many types from all over the world; they had a special room they kept at Amazonian temperatures for some of the more exotic species--that was just my beginning of learning about these plants. I found them fascinating, with all their intricate cups and pitchers and ways of trapping their prey. The owner of the nursery allowed me to take certain plants home.

JW:     The way you’ve processed the photo is very complimentary to the subject—could you talk about how you made these images? 

BM:     Thank you! Yes, I think anytime you can take the background away, you can really focus on the subject. I made a make-shift studio space in front of a large window (the plants need a lot of natural light). I draped linen behind them, with the natural light coming in, and spent hours with them, with my macro lens, in various stages of light.

JW:     The platinum and palladium process you’re so well known for is not something that’s commonly used anymore. Could you share some of the steps involved in developing these photos? 

BM:     Sure—it’s captured in camera, scanned, and then a digital negative is made. Paper is really important to me! I use 100% cotton watercolor paper which has been made in the same mill in France for the last 400 years. I have equipment set up in my garage (you don’t need a completely dark room like you do in silver printing—there’s a lot of ambient light). I brush onto the paper a liquid combination of platinum and palladium metals and let the paper dry. And then I have this huge 5000-watt bulb housed in this contraption with a vacuum frame that keeps the negative on top of the paper very tight. I expose the paper and then I run it through a number of trays of washing out the residuals, and let it dry!



JW:     I love your work with ancient trees, and am finding equal fascination with this series on carnivorous plants. What is it about nature that inspires you to take the time and energy to document it so passionately?

BM:     I think you put your finger on it, I just find so many aspects of nature so intriguing and interesting. Usually, I approach these subjects wanting to learn more about them. I think for me personally, photography is a great way to learn and explore. By the time I’m done with a series, which usually takes a couple of years, I’ve lived with that subject long enough I feel like I know it inside and out. The trees, the carnivorous plants are all an extension of my love of nature. The ravens even—you look a bird and just have to wonder, “What is this process? What does it mean to be a bird?” It’s got to be something that really grabs me in order to put that much time and energy in.

JW:     I think you’re really good at communicating your humble appreciation of everything you photograph. The time you spend with your subjects really comes through in your work. It’s clear these are not random captures, but that you’ve really seen each individual life. Thank you for sharing.


Beth Moon, Nepenthes Albomarginata
 Platinum/Palladium Print, 7.5x5" Image
Edition of 9, $900

2019 Group Show
For more information, and to purchase prints, 
please contact Gallery Staff at 
505-988-5152 x202 or gallery@photoeye.com
All prices listed were current at the time this post was published. 
Prices will increase as the print editions sell.



Book Of The Week Rafu Photographs by Michael Kenna Reviewed by Collier Brown For over thirty years, Michael Kenna has photographed temples, shrines, gardens, seascapes and landscapes, in black and white, throughout Japan. Ten years ago, he also began to photograph female nudes in various locations in Japan. A selection of these photographs were unveiled to the public for the first time at Paris Photo in November 2018.
Rafu. By Michael Kenna.
https://www.photoeye.com/bookstore/citation.cfm?catalog=TR484
Rafu 
Photographs by Michael Kenna

Nazraeli Press, Paso Robles, CA, USA, 2019.
64 pp., 41 duotone plates, 8x12".

Michael Kenna. Some free associations: water/no dragonflies, snow/no skis, tree/no sparrows, windmill/no wind, temple/no bell, wharf/no beginning, fence/no end. Absence. Tranquility.

I feel uneasy with the word “tranquility.” Then again, I can’t sleep without a turbine in my ear; I can’t focus without a little commotion at the back of the café, and as for Headspace, well, it’s an on-again-off-again relationship. I suspect tranquility exists only in art. And it’s Kenna’s photography (thankfully) that makes me suspicious.

As a boy, Kenna often lingered in old church ruins and abandoned train stations—“oases of calm,” as he describes them. It’s a phrase worth recalling, given the fact that Kenna has been leading us to oases for years—in books like France (2014), for instance, with its extraordinary musings on Mont St. Michel, or Tranquil Morning (2012) with its fencepost haikus.

Which is what makes Kenna’s new book, Rafu, so surprising. While previous publications give us the impression that solitude and landscape have been, for Kenna, unbreakable obsessions, Rafu is the result of a decade-long side-excursion into other subjects. In 2008, during one of his many visits to Japan, Kenna started photographing female nudes. “Rafu” (裸婦)means nude, or undressed, female. No mountains, no forests, no seas. Just the body behind the silk screen.

The book, even by design, invites us behind that screen. When you open the purple silk cover, you find the photographs bound separately inside. Remove the photographs, and the cover stands on its own, trifold, with Japanese cranes, a cherry blossom, and a woodpecker brushed in ink, just as you’d find on any Byōbu, or traditional Japanese folding screen.

Rafu wasn’t a book project, not initially. More like a detour from the main road. Neither did Kenna have a particular type of model in mind. Friends, or friends of friends, would stop by and pose. Some were dancers, some office workers. The decision to use only Japanese models was a matter of poetic self-constraint. There’s a sonnet-like quality to Kenna’s practice: a single interrogation that may resolve itself or not. But either way, it keeps you in one place, in one moment, still.

If anything about the nudes echoes the scenic work, it has to be that stillness, that need to be with the subject in the moment and to follow the meditation through. But there’s more to it than stillness. “I approach photographing the female nude, very much as I approach the landscape, with absolute respect and admiration,” said Kenna in a recent interview. And like the landscapes, “I look for the individual characteristics in bodies, their shapes and uniqueness.”

In some ways, Kenna’s nudes seem inevitable. Having worked with Ruth Bernhard, one of the most accomplished photographers of the female nude in the twentieth century, I can’t imagine Kenna not wanting to try his hand at the genre. The surprising thing is that unlike so many apprenticeships, the work of the apprentice, in this case, resembles the master’s only by way of attention, not style. I see in Rafu an eye toward elegance and form that puts me in mind of Bernhard, but I see a rawness too—a mortality in the bones that reminds of me Eikoh Hosoe and the choreography of Japanese Butoh. There’s also a substance in the darkness, a depth, a “praise of shadow” that writers like Junichiro Tanizaki have described as essential to Japanese art.

Kenna’s monuments and landscapes rise up from the mists. But the nudes are hewn from harder stuff. Sculptural, Klimtian. No angelic down or wisp of incense. No Grecian symmetries. The female nude in Rafu is exactly what the body wants to be: not the dream of itself, not the paradigm or archetype, but the self-containment of its own mystery.

Mystery is important to everything Kenna has done. The hills and long horizons of his previous books draw us beyond the human shape of things. Oddly enough, that much is still true in Rafu, but in reverse. A photograph, even a print, says Kenna, should be “deliciously unpredictable.” It’s an ambition achieved in Rafu, where each image is a beginning and end unto itself. There’s no way of knowing what the next pose, the next expression, the next mood will be. Rafu is an exceptional addition to the nude genre in photography, living up, in its own way, to Bernhard’s insistence that artists try new things, that they be “consistently inconsistent.” She would have been proud.

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Collier Brown is a photography critic and poet. Founder and editor of Od Review, Brown also works as an editor for 21st Editions (Massachusetts) and Edition Galerie Vevais (Germany).

photo-eye Gallery Gallery Favorites
2019 Group Show
This week Gallery Staff has selected their favorite images from our 2019 Group Show including works by Reuben Wu, Michael Kenna, and Beth Moon. The exhibition remains on view through April 20, 2019.

2019 Group Show installed at photo-eye Gallery
With only a few weeks before the dawning of a new spring, we’re taking a pause to reflect and share with you the images we feel connected to, inspired by and grateful for. Many of you have had the pleasure of visiting the gallery throughout its various exhibits—each show carries with it a unique sense of energy and communication. Our current exhibit, The 2019 Group Show, is a sort of mixed tape of some of our favorite photo-eye photographers. Gallery Director, Anne Kelly, has selected a collection of pieces for this exhibition, spanning many genres of subject matter, but somehow all seem to be asking us to take moment to be quiet with them and listen. Whether carnivorous plant, a faraway landscape outside of time, or the delicate curve of femininity, each gives us space and reason to get quiet and deliberate with our movements. We hope these favorites of our favorites help you slow down and embrace the changing of the season with calm, peaceful intentions.



Anne Kelly selects  LN 0309 by Reuben Wu

Reuben Wu, LN 0309, Archival Pigment Print, 15x20" Image, Edition of 5, $950
This summer I’ll be celebrating thirteen years with photo-eye Gallery. During that span I’ve had the opportunity to see a lot of inspiring photographs--but it’s certainly not every day I get to experience something I've never seen before! Our newly represented photo-eye artist, Rueben Wu is doing just that. Wu’s images are simply a joy to experience visually, even without the inside scoop of how the work is made, but learning his revolutionary process and dedication to image making moves me that much more. Wu approaches both landscape and night photography with a fresh and innovative approach. Traveling to remote locations, Wu frames his subject matter, often expansive geographic formations, against the inky night sky—but his light source is neither natural or traditional studio lighting. Wu affixes lights to drones using them to illuminate select parts of the landscape occasionally drawing Saturn-like rings and other precise geometric marks in the night sky.  This is certainly a feat, but I get the sense that it comes naturally to Wu--or rather the work just flows from him.  Though he has since continued to come up with powerful and unique images, there is just something pure and perfect about this first image I encountered. The composition is relatively simple, but complex at the same time: almost symmetrical, but not quite. I also love the color palette of this particular image. Over 15 years ago I took a field experience geology class that inspired my fascination with the striations of colors that appear naturally in rock formations. Wu has perfectly framed this scene with his light which only highlights the natural beauty of the scene. Though the Saturn-like ring was painted in the sky by Wu’s drones--it feels like it could also be a result of natural phenomena.  Simultaneously primordial and post-apocalyptic, this image makes me ponder the acts of mother nature that resulted in this formation. I feel myself breathing in a sense of awe and gratitude for this amazing body of work.

Reuben Wu's work will be on display at our booth in The Photography Show, presented by AIPAD, in New York, NY April 4 - 7, 2019, Opening Preview: April 3rd.



Juliane Worthington selects 
Mina, Study 7, Japan, 2010 by Michael Kenna

Michael Kenna, Mina, Study 7, Japan, 2010, Gelatin-Silver Print, 8x8" Image, Edition of 25, $3000

In the Buddhist tradition, the white lotus flower is said to symbolize the womb of the world--the awakening that unfolds like petals as one attempts to strive towards enlightenment. Kenna’s image of Mina, Study 7, speaks on a very personal level for me about the relationship of femininity and rebirth resounding in my own life. The fragile edges of the delicate flower seem almost tattered in their unfolding, yet are somehow at perfect ease in union with this beautiful, womanly figure. The blooming light of the lotus plays like yin and yang off the long, dark hair it’s nestled in, reinforcing the concept of interconnectedness between all things. The effect is dramatic, breathtaking, and a reminder of the fragility of life. Michael Kenna’s image reminds me of the importance of slowing down to listen and breathe, and how essential it is to be open and vulnerable with my heart and life so love can be born through me.




Lucas Shaffer selects Nepenthes Bicalcarata by Beth Moon

Beth Moon, Nepenthes Bicalcarata, Platinum/Palladium Print, 12x8" Image, Edition of 15, $1200

Lucas Shaffer
Special Projects / Client Relations
lucas@photoeye.com
505.988.5152 x114
As an avid lover of platinum prints, it may come as no surprise to readers of our Gallery Favorites articles that I'm choosing to highlight Beth Moon's exquisite Nepenthes Bicalcarata from our 2019 Group Show. Rendered in black-and-white with soft, raking light against a flat background, Moon's treatment of this curiously carnivorous plant is descriptive and sculptural. Removing the subject from its natural context aids in the investigation of its unique form, and Moon's use of large-format materials allows us to delight in the plant's intricate textural details. Beth Moon is a portrait artist for the natural world. Whether she's photographing ancient trees, heritage chickens, or carnivorous plants, time and time again Moon chooses to accentuate and elevate the individuality and survival instincts of life on this planet. I adore her approach as I find it both dignified and romantic. Nepenthes Bicalcarata is perfect for collectors interested in gorgeous printing, flora portraiture, and earthly wonder.


• • •

All prices listed were current at the time this post was published. 
Prices will increase as the print editions sell.

For more information, and to purchase prints, please contact Gallery Staff at 
505-988-5152 x202 or gallery@photoeye.com



2019 Group Show
on view through April 20, 2019






photo-eye Gallery 2019 Group Show
Julie Blackmon's Fixer Upper
In this profile, we speak with represented artist Julie Blackmon about creating her new imgae Fixer Upper. Blackmon's Fixer Upper is currently featured in our 2019 Group Show, on view through April 20, 2019.

Julie Blackmon's Fixer Upper, 2018 (right) installed in the 2019 Group Show at photo-eye Gallery.
photo-eye Gallery's 2019 Group Show highlights a diverse collection of contemporary photographic work created by select represented artists, including Julie Blackmon's new image Fixer Upper. Fixer Upper is the latest work in Blackmon's ongoing series of wry and satirical images commenting on American life in the 21st Century. Lately, Blackmon's work examines social and economic trends, as well as political ideology, through the domestic lens of home and family. Based in Springfield Missouri, Blackmon uses her immediate surroundings and extended family as inspiration for her imagery, often photographing on location in her hometown and employing friends and family members as models in her complex and intricately composed tableaux.

In the statement below, Blackmon shares some insight into the process and intention behind creating Fixer Upper.

Julie Blackmon, Fixer Upper, 2018, Archival Pigment Print, 22x29" Image, Edition of 10, $4000

"When I set out to photograph a dilapidated home in our neighborhood, in the process of a "make-over," I started thinking about why I was drawn to it. And I wasn't the only one intrigued. Every person I watched driving by would slow down and crane their necks out to see what was going on. It was like HGTV "live." But I don't think it's a coincidence that the popularity of the home-makeover craze is at an all-time high during this chaotic period of national politics, and the frantic pace of our cellphone-driven lives. I feel it myself. Every trip to Lowes or IKEA is a chance to "improve" my life when other areas might seem out of my control. But I think we're all feeling that kind of anxiety. It's like a collective consciousness. To watch HGTV, and see them take a home that is in complete disarray, and create order and beauty out of it ... no wonder we're all completely sucked in. On a larger level, I think it might be a reflection of a common urge to get America's house in order."
– Julie Blackmon
• • • • •

All prices listed were current at the time this post was published.  Prices will increase as the print editions sell.


photo-eye Gallery's 2019 Group Show is on view through Saturday, April 20th 2019.



For more information, and to purchase prints,  please contact Gallery Staff at 

Book Of The Week Showcaller Photographs by Talia Chetrit Reviewed by Rowan Sinclair-Gregg Showcaller is the first book exploring the work of emerging artist Talia Chetrit. It brings together a broad range of her work made between 1994 and 2018. The title Showcaller is a theatrical term which references the performative aspects of Chetrit’s work, the power dynamic between subject and photographer, and, ultimately, between the photographer and her audience.
Showcaller. By Talia Chetrit.
https://www.photoeye.com/bookstore/citation.cfm?catalog=ZH776
Showcaller  
Photographs by Talia Chetrit

Mack, London, United Kingdom, 2019.
Unpaged, 8¾x11½".

Showcaller is a book of images taken between the years 1994 and 2018 by Talia Chetrit. Chetrit explains the title, Showcaller, as a person “who calls out cues, someone in an authoritative position but who ultimately is not in control.”

The book opens to a self-portrait: white painted eyebrows, red lips and the narrow line of her bust. The first impression this image made upon me was one of a fashion photograph, with its grainy and cold coloring. This would not be a mistake. A few of the images in Showcaller are in fact outtakes from fashion campaigns, and one wouldn't be entirely surprised to find Celine or Helmut Lang written across the bottom of Chetrit’s images.

There is an undoubted cohesiveness to Showcaller, and, because of the scope, to organize Chetrit’s photographs linearly is a natural impulse. Somehow, her images pass by together, even as technique, subject matter and equipment invariably change. The book is composed of a few series, or more appropriately, eras of Chetrit’s photographs and pieces from her personal archives.

The early group is portraits of family, herself, and young friends, often in mundane settings: outdoors on porches, in the woods, basements, and bedrooms. Intermingled are scenes from staged crime scenes that Chetrit created as an older teenager with a friend, the backgrounds of these images are a bit more constrained. We see a teenage girl doused in fake blood and posed, one shoe strewn across the subway floor. Later we see another staged murder of a teenage girl who is slumped against a white blood-smeared door, her hands and white t-shirt drenched. A boot, carelessly? purposefully? left alone in the foreground.

Questions of selfhood, autonomy, artifice, performance and subjecthood arise with Chetrit’s images. There is, of course, the photographer, the subject of the photograph, and the viewer of the work. In her later photographs, Chetrit herself is all three. Here I think back to the title. In her self portraits, the question of who the showcaller is becomes most pronounced. The artist’s own nude body is on show, her legs opened, or her body bent over, or posed on a space heater — she wears black jeans, all but removed save their outline, and see-through bodysuits. She places her naked body behind a clear ashtray.

There is something distinct about these photographs that makes it hard to maintain the authority we think we have as observers. In revealing so bluntly, something escapes us: the image is both unclothed and clothed. The background of her nudes is sparse and controlled: a white-walled studio, with concrete floors, empty and isolated. There is purpose and a sense of self-containment in Chetrit’s dual gaze, and in her holding of the camera’s cable release, but we are not quite privy to it.

The authority of viewing, and not in being viewed has always easily been flipped, who has more command: the viewer or the actor? Chetrit seems to focus on both concave and convex, on both artist and audience as ultimately not in control, and we are given up to something outside both these things in their seamlessness.

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Rowan Sinclair-Gregg is based out of Santa Fe New Mexico, where she completed a degree from St. John's College. She works doing freelance writing, editing and proofreading. You can email her at Rsinclairgregg@gmail.com.

photo-eye Gallery 2019 Group Show
Opening Friday, February 22nd, 5–7pm
photo-eye Gallery's 2019 Group Show features a diverse collection of contemporary photographic work created by select represented artists. The exhibition highlights new work from Julie Blackmon, Michael Kenna, James Pitts and Mitch Dobrowner alongside works previously unexhibited at photo-eye by Kate Breakey and Beth Moon.



Announcing
2019 Group Show
On View: February 22 - April 20, 2019
Opening: Friday, February 22nd, 5–7pm

photo-eye Gallery
541 South Guadalupe Street, Santa Fe, NM, 87501
– View Map –


photo-eye Gallery's 2019 Group Show features a diverse collection of contemporary photographic work created by select represented artists. The exhibition highlights new work from Julie Blackmon, Michael Kenna, James Pitts and Mitch Dobrowner alongside works previously unexhibited at photo-eye by Kate Breakey and Beth Moon.

The 2019 Group Show opens Friday, February 22nd from 5–7pm during the Last Friday Art Walk in Santa Fe's Railyard Arts District.

Included Artists: 


Exhibition Preview – Selected Works from the Upcoming 2019 Group Show


Julie Blackmon

Julie Blackmon, Fixer Upper, 2018,
Archival Pigment Print, 22x29" Image,
Edition of 10, $4000
Fixer Upper is the latest work in Blackmon's ongoing series of wry and satirical images commenting on American life in the 21st Century. Lately, Blackmon's work examines social and economic trends, as well as political ideology, through the domestic lens of home and family. Based in Springfield Missouri, Blackmon uses her immediate surroundings and extended family as inspiration for her imagery, often photographing on location in her hometown and employing friends and family members as models in her complex and intricately composed tableaux.


» View Julie Blackmon's Latest Works
» Books Available by Julie Blackmon


Mitch Dobrowner

Mitch Dobrowner, Fly Geyser, 2018
Archival Pigment Print, 20x30" Image
 Edition of 25, $2500
Mitch Dobrowner's Fly Geyser is the most recent addition to the artist's continuing series of Western landscapes and landmarks. Captured using the artist's signature hand-modified DSLR with a long exposure, Fly Geyser is photographed with the reverence, awe, and humility we've come to expect from Dobrowner's landscapes. The image truly evokes a sense of natural wonder.

» Read More about Fly Geyser
» View Work by Mitch Dobrowner
» Books by Mitch Dobrowner



Thomas Jackson

Thomas Jackson, Straws no. 4, Mono Lake, California, 2015
Archival Pigment Print 30x38" Image
Edition of 5, $4000

Straws no. 4 is one of many playful installation-based images by Thomas Jackson from his series Emergent Behavior.

"The hovering installations featured in this ongoing series of photographs are inspired by self-organizing, 'emergent' systems in nature such as termite mounds, swarming locusts, schooling fish and flocking birds. The images attempt to tap the mixture of fear and fascination that those phenomena tend to evoke, while creating an uneasy interplay between the natural and the manufactured and the real and the imaginary." – Thomas Jackson

» View the Emergent Behavior Series


Michael Kenna

Michael Kenna, Mina, Study 3, Japan, 2011
Gelatin-Silver Print 8x8" Image
Edition of 25, $3000

Ten years ago, after a particularly tumultuous period in his life, Michael Kenna quietly made a decision to expand his photographic practice to include the human form. Kenna is well known for his minimalistic landscapes, and has been vocal in the past about the absence of the human figure in his photographs stating, "I feel they gave away the scale and became the main focus of the viewer’s attention." But, believing "fixed dogma is not a creative tool," Kenna has created Rafu, a series of female nude portraits made in Japan, highlighting form, uniqueness, and the interplay between the body and human-constructed environments. We are proud to feature six images from Rafu in the 2019 Group Show.

» Read Zoé Balthus' in-depth interview with  
   Michael Kenna about Rafu
» View the monograph published by Nazraeli
» See Additional work by Michael Kenna 

Clay Lipsky

Clay Lipsky, Atomic Overlook: 02, 2012
Archival Pigment Print, 16x16" Image
Edition of 10, $1000
Clay Lipsky's Atomic Overlook re-contextualizes a legacy of atomic bomb tests. In an attempt to keep a nuclear threat feeling contemporary and omnipresent, Lipsky introduces archival images of atomic explosions among casual scenes of vacationers. He imagines an era where tourists gather to view bomb tests from "safe" distances. The surreal images speak to a voyeuristic culture where catastrophe is viewed as entertainment by increasingly desensitized masses.

» View additional work from Clay Lipsky's 
   Atomic Outlook series

» Purchase the Atomic Outlook book




James Pitts

James Pitts, Dried Gourd Leaves Diptych, 2018
Archival Pigment Print, 11x17" Image
Edition of 5, $650


Santa Fe based photographer James W. Pitts' primary focus for over 20 years has been on hand coating platinum prints from large format negatives. Pitts’ is debuting three new archival pigment ink still life images of gourds in the 2019 photo-eye Group Show. He explores the still life genera further, adding subtle color images to his vocabulary. Pitts credits a number of master painters as influences including Matisse. The new diptych (featured left) is part of an ongoing series which Pitts collects various plant life, the gourd in the image to the left is from his personal garden, with a backdrop that nods to Pollock. The results of these captures with his large format camera are classic, timeless photographic works of art
» View Additional Work by James Pitts

» Read our interview with Jim Pitts




Brad Wilson

Brad Wilson, Black Leopard #2, Monterey, CA, 2014,
 Archival Pigment Print, 28x23" Image
Edition of 5, $1500
Black Leopard #2, Monterey, CA, is the signature image from Brad Wilson's 2017 solo exhibition at photo-eye Gallery, and one of our favorites from his Affinity series. In Affinity, Brad Wilson works with sanctuaries, trainers, and preservation institutions to create strikingly detailed animal portraits challenging viewers to connect on a deeper level with the subject.

» View Affinity by Brad Wilson

» Purchase a copy of Wilson's book Wild Life

» Read our Interview with Brad Wilson


Reuben Wu

Reuben Wu, LN 0309
Archival Pigment Print, 15x20" Image
Edition of 5, $950

After his first appearance as a represented artist with photo-eye Gallery at Photo LA earlier this month, Reuben Wu is making his Santa Fe debut in the 2019 group show with LN 0309  from his Lux Noctis series. Lux Noctis is a series of photographs depicting landscapes unbound by time and space, inspired by ideas of planetary exploration, 19th-century sublime romantic painting, and science fiction.

» View Lux Noctis by Reuben Wu

» Read Anne Kelly's interview with
   Reuben Wu


Beth Moon

Beth Moon, Nepenthes Bicalcarata
Platinum/Palladium Print, 12x8" Image
Edition of 15, $1200
photo-eye is also honored to include six prints from Beth Moon's gorgeous Savage Garden series, installed for their exhibition premier. Printed in rich platinum/palladium, these intricate and formal portraits depict the delicate but dangerous nature of carnivorous plants.

"The poetic sensibility of nature seems to hover somewhere between paradise and tragedy. In these flesh-eating plants, we find a sinister beauty. Evolution has taught these carnivorous plants how to make the best of the conditions they grow in, honoring the darker more mysterious side of nature."

– Beth Moon


» Read Anne Kelly's interview with Beth Moon



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All prices listed were current at the time this post was published. 
Prices will increase as the print editions sell.

For more information, and to purchase prints,  please contact Gallery Staff at