PHOTOBOOK REVIEWS, INTERVIEWS AND WRITE-UPS
ALONG WITH THE LATEST PHOTO-EYE NEWS

Social Media

Showing posts sorted by relevance for query Gallery Favorites. Sort by date Show all posts
Showing posts sorted by relevance for query Gallery Favorites. Sort by date Show all posts

photo-eye Gallery Gallery Favorites: Rendezvous with Light David H. Gibson and Chaco Terada’s exhibition Rendezvous with Light creates a tranquil setting where natural imagery serves to address questions of time, thought, permanence, and origin. In this month’s Gallery Favorites segment, we select images from both Gibson and Terada that personally resonate with each of us.

David H. Gibson and Chaco Terada’s exhibition Rendezvous with Light creates a tranquil setting where natural imagery serves to address questions of time, thought, permanence, and origin.  In this month’s Gallery Favorites segment, we select images from both Gibson and Terada that personally resonate with each of us.

We hope you enjoy viewing our selected works from the Rendezvous with Light and please reach out if you have questions about one of the featured prints — Rendezvous with Light remains on view at photo-eye Gallery through December 30th.
– Anne, Lucas, and Savannah 

Anne Kelly

Sunrise Sequence, December 24, 2016, Texas Gulf Coast, Archival Pigment Ink, 116x27" Image, Edition of 3, $8000
© David H. Gibson
One of the many things that I admire about David H. Gibson is his attention to craftsmanship.  Not only does David make stunning prints, but objects as well. For years David has been creating handmade LTD books – and recently, for our exhibition,  a 116x27” Japanese inspired scroll.  This free flowing paper scroll spans a half an hour of time and displays a quite x-mas eve morning spent on the Texas Gulf Coast watching the sunrise - which never gets old.


Garden Without Spacetime F2, 2017, Sumi Ink and 
Pigment Ink on Silk, 10x7" Image, $1200 
© Chaco Terada
Garden Without Spacetime F1, 2017, Sumi Ink and 
Pigment Ink on Silk, 10x7" Image, $1200 
© Chaco Terada

When experiencing Chaco Terada’s work I enjoy getting lost between the layers of silk that make up the compositions. The journey is quiet and contemplative – like a poem. Ever since I was a small child I have been fascinated with fish, so I can’t help but love that in this suite of images a white koi participates in the meditation. The individual images are very strong on their own, but this pair makes a lovely diptych!

Anne Kelly, Gallery Director
anne@photoeye.com
505-988-5152 x 121

» Inquire







Lucas Shaffer

Sunrise, August 26, 8:26 AM, Eagle Nest Lake, NM, Toned Gelatin-Silver Print, 14x4" Image, Edition of 25, $400
© David H. Gibson

I adore Sunrise, August 26 by David Gibson for its balance, richness, and serenity. Absent of land or horizon, the scene is a paradox. It feels both dense and thick while remaining ungrounded, pinned by a pair of twin suns and anchored only by a wreath of reeds.

There, the Opening 3, 2017, Sumi Ink and Pigment Ink on Silk, 10x7" Image, $1200, © Chaco Terada 
I love how Chaco Terada uses layers in her work to create an experience and cultivate meaning. In There, the Opening 3, Terada lays her gorgeous calligraphic text atop a pair of transparent images literally giving the viewer three distinct perspectives to consider within a single work. For me, the effect is powerful and mesmerizing, as if Terada has manifested a visual representation of a personal rumination.

Lucas Shaffer, Gallery Associate
lucas@photoeye.com
505-988-5152 x114

» Inquire







Savannah Sakry

Water Plant Lace, Colorado Rocky Mountains, CO, Toned Gelatin-Silver Print, 5x13" Image, Edition of 25, $400
Water Plant Lace, Colorado Rocky Mountains by David H. Gibson is a timeless slice of heaven. Reminiscent of Monet’s “Water Lilies”, this gorgeous silver print is the perfect backdrop for any Romantic. The image is slightly abstract, offers lush texture, and also serves as a reminder to take a closer look to appreciate nature’s profound beauty.

Introspection H 2, Chaco Terada, Sumi Ink and Pigment Ink on Silk, 12x8" Image, $1500
When spending a few moments with this exquisite Chaco Terada photograph on silk, I find peace as I stare into a glimpse of the artist’s own quiet introspection, as the title suggests. While I join her on the journey of looking inward, I can feel the waves gently rocking back and forth and imagine their sound to be something like a lullaby.

Savannah Sakry, Gallery Associate
savannah@photoeye.com
505-988-5152 x115

» Inquire









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

photo-eye Gallery Gallery Favorites: Symbols, Sharks and Still Lifes from Maggie Taylor Maggie Taylor’s vivid photomontages are awash with whimsy, story, and symbolism. In this month’s Gallery Favorites segment we choose one image that personally speaks to each of us from Taylor’s exhibition A tale begun in other days, detailing what we find intriguing and delightful about each work.


An installation view of Maggie Taylor's A tale begun in other days at photo-eye Gallery
Maggie Taylor’s vivid photomontages are awash with whimsy, story, and symbolism. In this month’s Gallery Favorites segment we each chose one image from Taylor’s exhibition A tale begun in other days that personally speaks to each of us, and detail what we find intriguing and delightful about each work.

We hope you enjoy viewing our favorite prints from the exhibition and please reach out if you have questions about one of the selected artworks — Maggie Taylor’s A tale begun in other days is on view through September 9th, 2017.

Anne Kelly selects Twilight Swim

Twilight swim, 2004, Archival Pigment Print, 22x22" Image, Edition of 10 – © Maggie Taylor

I have come to realize I gravitate toward images that blend whimsy, mystery and some type of ill-boding element.  I also love open ended narratives, photographs that allow the viewer to formulate their own story, and Twilight swim by Maggie Taylor checks off all of those boxes. In this photomontage, we see a woman adorned in a fish necklace and long flowing gown standing in the ocean at night surrounded by sharks and one curious fish just to her left masquerading as one. Yet, this is not why I chose Twilight swim, I feel like this image chose me. I have always believed in intuition, that you just know it when you see it, and that is how I add to my personal collection. Now, by nature, I'm also an optimist, so I have chosen to believe that the woman will not be harmed because all the sharks are really just harmless fish pretending to be sharks – but this is just my interpretation.

» Inquire

The 22 x 22" print of Twilight swim currently on view at photo-eye Gallery is the final print available in this edition and sold out in all other sizes.

Gallery Director, Anne Kelly
anne@photoeye.com


Savannah Sakry selects Later

Later, 2017, Archival Pigment Print, 22x22" Image, Edition of 10 – © Maggie Taylor
When discussing Maggie Taylor’s work with Gallery visitors, I am often asked, “Is this a photograph or a painting?” Her process is no doubt a recurring topic in the conversation, but more often it’s her remarkable imagination and fantastic use of color that is so captivating. For me, Later touches on all of these points. I’m reminded of a 17th-century Dutch painting, only slightly brighter, and more whimsical, in true Taylor fashion. I’m also curious about the image’s border, similar to a tintype, but isn’t this a contemporary work? That is the question. Through her digital photomontage process and creative mind, Maggie breathes new life into established form, style and imagery. I love the delicate arrangement of the bouquet, her methodical use of insects, tapestries and the lemon – all objects rich in symbolism. You can converse about the meaning of this piece at length, or simply take in the sheer beauty of it. Taylor’s Later is inspirational and masterfully executed.

» Inquire

Gallery Associate, Savannah Sakry
savannah@photoeye.com


Lucas Shaffer selects Before breakfast


Before breakfast, 2017, Archival Pigment Print, 8x8” Image, Edition of 15 – © Maggie Taylor
According to Carl Jung, “Language is originally and essentially nothing but a system of signs or symbols, which denote real occurrences, or their echo in the human soul.” In Before breakfast Maggie Taylor gives us just that, a system of 9 whimsical objects, animals, and vignettes neatly arranged in a matrix against a surrealistic backdrop; she presents a code that is deliciously cryptic. Admittedly I have a thing for semiotics, and delight in deciphering the meaning of the details, arrangement, and juxtaposition of each symbol – especially those as odd as a strung-up elephant with bee wings and a person with a house for a head (lights are on by the way, so that’s a good sign I guess). I particularly like the title, Before breakfast, lending the context of early morning on an empty stomach so hunger, half-dream states, and lists of the day’s priorities are all at play perhaps giving way to the fantastical scene before us. Like dreams, I feel the language Taylor speaks is both specific and vague, allowing viewers to bring their own experiences and interpretations to the table, so to speak, and ultimately crafting a complex and contemplative visual experience.


photo-eye Gallery Kindred Spirits: Gallery Favorites Three works we love from photo-eye Gallery's current exhibition.This week, photo-eye Gallery’s staff members circle back to the "Kindred Spirits Gallery Favorites" series, picking a second work that they find particularly engaging and inspiring from the exhibition.



Kindred Spirits, photo-eye Gallery’s current exhibition, has been up for a little over a month. Gallery patrons and staff members alike have had the pleasure of spending time with artwork by Keith Carter, David Deming, Pentti Sammallahti, and Maggie Taylor, all of which point to the deep and multifaceted relationships between humans and animals. This week, photo-eye Gallery’s staff members circle back to the "Kindred Spirits Gallery Favorites" series, picking a second work that they find particularly engaging and inspiring from the exhibition.


Anne Kelly Selects Pentti Sammallahti's Przeworsk, Poland, 2005


Pentti Sammallahti – Przeworsk, Poland, 2005, Toned Gelatin-Silver Print, 6.5x6.5" Image, $1,300

Anne Kelly
Gallery Director
anne@photoeye.com
(505) 988-5152 x121
One of the many things I love about photography is the silent dialog it creates between the artist and the viewer. As a medium, photography allows an artist to share their experiences and perspectives by creating a thought-provoking and detailed image, while each viewer can connect to that image through the lens of their own personal experience. This dialog amid artist and viewer is present in a range of genres from photojournalism to personal narrative, and just about everything in between.

The image that I have selected for the second part of our Kindred Spirits Gallery Favorites series is Pentti Sammallahti’s Przeworsk, Poland, 2005. In this image, a horse and cart travel across the low horizon and is contrasted against the stark sky topped with power-lines that are inhabited by birds – some in mid-flight. Przeworsk, Poland, 2005 is quiet, carefully composed, and exquisitely printed. Many of Sammallahti's photographs could be described similarly, but I am drawn to Przeworsk, Poland, 2005 because I have always been fascinated by the way that birds congregate on power lines. It makes me wonder where if they planned to arrive in that particular location or if they are purely just existing in the moment?  Birds are both wild and familiar. I find it refreshing to take a brief break from the hustle and bustle of everyday life and look up to find rows of birds carefully composed the power lines – like notes on sheet music in the sky.

Knowing what I know of Pentti, he likely sought out this place where the birds gather and waited for the magic to find him. In this case, a horse and cart pass by at just the perfect time. The horse and cart are different than the modern cars that I am accustomed to, yet I connect. There is something simply beautiful about pondering how tiny moments, such as this one, connect all people across the globe, regardless of language or geography.



Alexandra Jo Selects Keith Carter’s Leopard Appaloosa


Keith Carter, Leopard Appaloosa, 2014, Archival Pigment Print, 16 x 20 inches, Edition of 25, $1,600

Alexandra Jo
Gallery Assistant
alexandra@photoeye.com
(505) 988-5152 x116

Keith Carter’s Leopard Appaloosa is all dreamy atmosphere and magic to me. As a small girl I had a particular obsession with Appaloosa horses. Something about their dappled coats and flowing manes, the way their eyes sparkled like deep pools amid the colored flecks of their fur, felt special and idiosyncratic. The way that Carter captures the horse in this particular image in a moment of slight motion, wrapped in ethereal mist and light, is spellbinding. The photograph is a perfect expression of the way that I saw these enchanting creatures as a child: graceful, full of beauty and mystery, genial, and yet maybe not wholly of this world.

The horse in Carter’s photograph seems to be hovering in and out of corporeality. The highly contrasted speckled fur is mirrored by floating orbs in the thick, dark, hazy atmosphere around the edges of the image; a result of Carter’s complex and specific photographic process. This image was originally created as a tintype photograph, which is a process that allows for rich atmospheric texture and a full, deep tonal range. Carter’s mastery of analog photographic techniques combined with his keen ability to see the magic and the surreal in the everyday world comes to life, perfectly balanced, in this photograph. 

Lucas Shaffer Selects: David Deming's Hooper II

David L. Deming – Hooper II, 1998 Painted Steel Sculpture 80x26" $10,000


Lucas Shaffer
Special Projects & Client Relations
lucas@photoeye.com
(505) 988-5152 x114
David L. Deming’s sculpture Hooper II is a triumph of expression and transformation. As Alexandra Jo noted in her interview, Deming has the incredible ability to make thick patches of welded steel appear agile and weightless through gesture and technique. Just look at Hooper. Back stretched, legs flailing, and head cocked, they perform a seemingly-impossible single paw front leg stand at the direction of a trainer just outside the sculpture’s tableaux. As the proud owner of a Great Dane who’s been known to execute some Scooby Doo-level improvisational acrobatics, I am impressed at Hooper’s focus and immediately recognize the face of a happy dog. I think Hooper II succeeds with its relatability even in such a whimsical scene. Deming’s skilled rendering of Hooper’s form and facial expression connects me to the relationships I’ve established with the animals that are a part of my family while creating a playful moment packed with charm.


• • • • •


On view through August 24, 2019

Featuring work by Keith Carter, David Deming, Pentti Sammallahti, and Maggie Taylor





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



photo-eye Gallery Gallery Favorites:
Cosmos – Part 2
For the second part of our two-part Favorites Series this month, Gallery staff are focusing on Alan Friedman's striking, high-definition images of the sun, Kate Breakey's Orotones from her Golden Stardust series, and Linda Connor's rich renderings on printing out paper from California's Lick Observatory.


In Cosmos, our current exhibition, six diverse artists celebrate humanity’s fascination with the vast expanse beyond Earth’s boundaries, focusing on heavenly bodies as a means to convey notions of time, scale, and splendor. For the second part of our two-part Favorites Series this month, Gallery staff are focusing on Alan Friedman's striking, high-definition images of the sun, Kate Breakey's Orotones from her Golden Stardust series, and Linda Connor's rich renderings on printing out paper from California's Lick Observatory.

It has been a few weeks since our last show favorites, so we have had some time to live with the work while we make our next selections. Overall this is a spectacular show and must be seen in person to really get the grasp of this work. Cosmos will be up through July 20th so there is still time to come in and see the work for yourself.


Yoana Medrano – Gallery Associate
Beauty and a Beast, May 14, 2015, Archival Pigment Print, 8x11" Image, Edition of 15, $700, ©Alan Friedman 






Yoana Medrano
Gallery Associate
505-988-5152 x 116
yoana@photoeye.com

Beauty and a Beast by Alan Friedman is my pick for this week. I seem to be a sucker for color and his work overall has such an intense color palette that they will physically grab your attention. The blue from this piece does just that.

I’ve sat looking at this image, trying to figure out the title for some time and while doing so fell in love with it. Be it the sun that is the beast creating beauty with its flares or the other way around, it really captures the sun in a fairytale way. Alan reminds us not to look at "our neighborhood star" directly, but through his work we get to safely see our star. I picked Alan's work because he shows us the sun in a way that I've never seen before and it is breathtaking.

-Yoana Medrano




Anne Kelly – Gallery Director
Moon Setting over Saguaro, Arizona, Archival Pigment Print, Glass Plate, 24kt Gold Leaf, 10x14" Image, Edition of 20, $1950, ©Kate Breakey 
Anne Kelly
Gallery Director
505-988-5152 x121
anne@photoeye.com
When we have group exhibitions at the gallery visitors sometimes express that they love the show as a whole – and that this can make it particularly harder to select just one piece. While it may not be possible to purchase the entire exhibition, sometimes selecting a pair of images is a good solution. This is what I have done today.

I have selected two images of the moon – one by Kate Breakey and one by Linda Connor. Kate Breakey's image shows a crescent moon setting in her backyard in Arizona. This image is then printed on glass and backed with gold leaf so that the delicate crescent moon is just slightly illuminated.

My second selection is an image that was printed by Linda Connor, from an 8x10 glass plate negative from the archives of the Lick Observatory in Mount Hamilton, CA. This image was originally recorded on July 4th of 1899 and then later printed by Connor using the sunlight on printing out paper and then gold toned. I love that both images are of the same ancient subject, but from very different times in the world.
-Anne Kelly 

July 4, 1899, Contact Print, Printing Out Paper, Gold Toned, 10x8" Image, $2500, ©Linda Connor 

All prices listed were current at the time this post was published. For more information on Cosmos, and to purchase prints, please contact Gallery Staff at 505-988-5152 x202 or gallery@photoeye.com.



photo-eye Gallery Kindred Spirits: Gallery Favorites Part 1 Three Works We Love from Kindred SpiritsGiven the scope of our Kindred Spirits exhibition, we're breaking our usual Gallery Favorites post into two parts. This week, photo-eye Gallery’s staff members have had the pleasure of writing about which pieces in this exhibition they individually relate to or find uniquely compelling.


Humans relate to animals in ways that are as varied and unique as we are. photo-eye Gallery’s current exhibition, Kindred Spirits, contains a range of artworks that speak to the multitudinous ways in which humans and animals connect. From the tangible reality of Pentti Sammallahti’s captured moments, to the  Keith Carter’s transformation of the everyday, to the magic realism of Maggie Taylor’s photomontage, to David L. Deming's playful canine constructions this exhibition is diverse in its presentation of subject and spirit. There is something here for everyone. Given the scope of our Kindred Spirits exhibition, we're breaking our usual Gallery Favorites post into two parts. This week, photo-eye Gallery’s staff members have had the pleasure of writing about which pieces in this exhibition they individually relate to or find uniquely compelling.



Anne Kelly Selects Maggie Taylor's The alchemist's chamber, 2019

Maggie Taylor – The alchemist's chamber, 2019, Archival Pigment Print, 15x15" Image, Edition of 15, $2800

Anne Kelly
Gallery Director
(505) 988-5152 x121
The work I am selecting for the first part of our Kindred Spirits Gallery Favorites post is Maggie Taylor’s lush and colorful image, The alchemist’s chamber. I find this image to be completely captivating. The alchemist's chamber could be a photorealistic oil painting from the Dutch Golden Age – a simple, but perfectly arranged composition with raking light streaming through a cathedral-like window, perhaps the first or last light of the day. When I first viewed this image I was delighted to discover a goldfish floating in what appears to be a vintage cocktail glass, yet on further inspection, came to learn that the fish is actually not a fish at all, but rather a cleverly composed arrangement of orange flower petals. Evidence of alchemy. Perhaps all the flowers in the vase will transform into moths, maybe or they were moths to begin with. In this image, anything is possible.





Alexandra Jo Selects Pentti Sammallahati's, Untitled, 2005

Pentti Sammallahti – Untitled, 2005, Gelatin-Silver Print, 7x6", Image, $1300


Alexandra Jo
Gallery Assistant
(505) 988-5152 x116
I have always felt connected to animals in some deep, intuitive, vital way.  My little sister and I spent a large portion of our childhood playing with the menagerie of cats, dogs, chickens, horses, goats, ducks, etc. that our grandparents kept on their land in rural Alabama. These experiences greatly impacted the way that we related to each other as children and the way that we still connect to the world at large. Loving animals is something that vibrates at the core of my being, intrinsic. However, I also firmly believe that the human capacity for tenderness toward the other creatures with which we share this planet is innate, not just specific to my family, and acknowledging and fostering that capacity is crucial for a thorough understanding of humanity’s place in the world.

It is this belief that draws me to one particular Pentti Sammallahti photograph in our Kindred Spirits exhibition. “Untitled, 2005” captures a candid moment in which a girl lifts her little sister to get a better view of a tiny kitten, alone and mewling on an outdoor counter. Another small girl looks back expectantly, waiting her turn. Knowing the extensive travel Sammallahti undertakes to create his work, it is safe to assume that this moment took place far away from Alabama, and yet the scene is so familiar to me that I become nostalgic. I instantly remember the shared moments with my own sister centered around the numerous kittens that we watched come into the world, or rescued with the help of our grandparents. These animals were our constant companions through childhoods thick with the discovery of how life blossoms. This photograph is a reminder, maybe even a confirmation, that these kinds of experiences take place across all of humanity. Our relationship with the animal world shapes who and what we are as a species, not just as individuals, but also as a whole. It unifies.

So, it isn’t the masterful composition of lines and geometry or the delicate printing techniques that speak most to me, though those things are certainly beautiful, and apparent in the photograph. It is the way that Sammallahti’s poetic, ever-watchful eye was able to capture this unifying essence between human and animal subtly, gracefully, through subjects full of youthful innocence and wonder. For me, this one photograph completely embodies the meaning of “Kindred Spirits.”   


Lucas Shaffer Selects Keith Carter's San Galgano, 1998

Keith Carter – San Galgano, 1998 Toned Gelatin-Silver Print, 15x15" Image, Edition of 50, $3600


Lucas Shaffer
Special Projects & Client Relations
(505) 988-5152 x114
San Galgano is quintessential late-90’s Keith Carter. I adore the contrast of these two white fluffy felines against the murky dilapidated stone interior of the 13th-Century Italian abbey. For me, there is a logical dissonance seeing the cats here in the abbey’s ruins, their presence seems out of place, curious. Most likely these cats are doing just as cats want to do – find a safe sunny spot to lounge about in, but Carter plays off the situation’s delightful curiosity to build a scene imbued with mystique by tilting his lens, split toning the print, and using a gorgeously symmetrical composition. This is what Carter does best; he excels at using his photographic tools to transform the commonplace into the wonderous. Paramount in this transformation is the trio of glowing lancet windows to the top of the frame. Even without knowing the Abbey at San Galgano is a gothic church, the form of the lancet windows with their tall, arched, bright but blurry forms punctuate the frame further separating the scene from reality and helping lend the image it's ethereal, dare I say, spiritual quality. Now I know that these cats are not “ghost cats” or “angel cats”, but Carter’s image creates a space to believe in forces and connections outside my own sensorial perception. Here’s to witnessing the extraordinary, the miraculous, and the sacred in the everyday.



All prices listed were current at the time this post was published.

For more information, and to purchase artworks, please contact photo-eye Gallery Staff at:
(505) 988-5152 x 202 or gallery@photoeye.com


• • • • •

On view through August 24, 2019

Featuring work by Keith Carter, David Deming, Pentti Sammallahti, and Maggie Taylor

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









photo-eye Gallery Gallery Favorites: Three selections from Mitch Dobrowner's Tempest In this Gallery Favorites segment Anne, Savannah, and Lucas select works from our new Mitch Dobrowner exhibition Tempest.

When enjoying an exhibition, gallery clients often ask me which image is best to collect? When surrounded by work you love, sometimes deciding which image to take home and live with can feel overwhelming. One answer is to start with the work you most respond to and build a portfolio of that particular series by that artist, but most collectors we work with prefer some diversity in their collection. My best advice still circles back to our blog post on collecting photography – buy what you love

Some might come to find that they have a personal connection with the image – say a dirt road that takes them back to childhood, others might be operating purely on intuition and others on a certain aesthetics in mind. Part of the benefit of working at photo-eye Gallery is being surrounded by captivating images on a daily basis. This gives us the chance to live with the work – which is helpful in developing our own personal collecting strategy – and helping others find theirs.

In honor of our current exhibition, Tempest, this month we have turned our focus to Mitch Dobrowner and are recommending our favorite of his unique stormy landscapes.

 – Anne Kelly, Gallery Director

photo-eye Gallery Gallery Favorites
Beth Moon: Ancient Kingdoms
In this Gallery Favorites collection Anne, Lucas, and Yoana each select a work of note from a different project currently on view in the exhibition. Focusing on our core principle to "collect work you love" the Gallery Staff has selected images from the exhibition that resound personally for each of them while honoring Moon's themes of humanity’s relationship with nature, the passage of time, resilience, and survival.


photo-eye Gallery's current exhibition, Ancient Kingdoms, is a solo exhibition of black-and-white platinum prints by renowned photographer Beth Moon spanning two decades of work and images from four discrete projects. In this Gallery Favorites collection Anne, Lucas, and Yoana each select a work of note from a different project currently on view in the exhibition. Focusing on our core principle, to "collect work you love," the Gallery Staff has selected images from the exhibition that resound personally for each of them while honoring Moon's themes of humanity’s relationship with nature, the passage of time, resilience, and survival.

Anne Kelly selects Avenue of Baobabs

Avenue of Baobabs, Platinum/Palladium Print, 30x40" Image, 5/5, $16,000 – Beth Moon

505.988.5152 x121
It is no secret that I love trees – or photography!   Having grown up in the mountains in Colorado I was lucky to have spent my early childhood playing in the forest amongst the pine and aspen trees …so many fond memories are burned into my subconscious – and  I have not doubt that my fascination with trees is directly connected. That said, I was not surprised to learn that Beth Moon had a similar childhood, one spent playing in the wilderness.

Baobab trees are simply amazing, they are known to grow 16 to 98 feet tall with trunk diameters up to 36 ft and can store up to 32,000 gallons of water in the trunk. The oldest reported tree was 2,450 years old when it died.

I have never actually seen a Baobab tree …other than in pictures. I suppose this is one of the many reasons that I love photography: it allows the photographer to be able to share their experience and transport the viewer to far away lands. I hope to experience a Baobab in person one day, hopefully sooner than later since many are starting to disappear. In the meantime, as I gaze upon Beth Moon’s image I feel like I am walking down a dirt road in the sunlight – in the avenue to the Baobab.


Lucas Maclaine Shaffer selects Belgian Bearded D'Anvers

Belgian Bearded D'Anvers, Platinum/Palladium Print, 7.5x6" Image, Edition of 9, $950 – Beth Moon

Lucas Maclaine Shaffer
Special Projects & Client Relations
505.988.5152 x114
Look at this hen. Proud, fancy, confident – you might even call its appearance regal. It's not what you normally call to mind when you think of a chicken, at least I don't, and I think this disparity is just what Beth Moon has in mind. Moon's Augurs and Soothsayers is a series of platinum hen portraits aimed at reframing our relationship with animals regularly farmed for the food industry. I connect with Moon's attempt to defamilarize our preconceptions regarding the animals we choose to eat and respond to the gorgeous formal treatment she lavishes on each hen portrait in the series. With it, Moon effectively humanizes her subjects, showcasing their individual character and respectfully giving us the chance to confront them eye to eye, if only in a gallery setting.

Aside from Augurs and Soothsayers' ultimate goals, I find the series of images delightful and fun. Moon creates empathy in the viewer through striking a delicate balance between the playful, light-hearted elements of the series, like the fluffy appearance of the Belgian Bearded D'Anvers above and the heavier undercurrent of the project. Belgian Bearded D'Anvers is my favorite of the series, and the exhibition, because I respond to her strong character as described by Moon's deft photographic treatment.


Yoana Medrano selects Listening to the Sky

Listening to the Sky, Platinum/Palladium Print, 20x16" Image, 3/25, $2400 – Beth Moon

Yoana Medrano – Gallery Associate
505.988.5152 x 116
A picture is worth a thousand words; well, I think you could fill a series of books with Beth Moon’s work. Every piece takes you to a new place or a moment. She is fantastic at creating these stories with her imagery – connecting with our core selves. Of the four series that we are exhibiting in the gallery, Thy Kingdom Come has captured my attention, the work has a soft sweet quality that pulls you in. The stories are a bit more apparent in this work: young women on some kind of journey with animals. It is quite somber, but I wouldn’t say sad, and carries along with it an appreciation for our furry friends.

Listening to the Sky is my favorite image of the show. The girl in the photograph is pressing a bird up to her ear as if to listen to the secrets that the bird has received through a lifetime in flight. I think we forget to realize in our regular day to day that we share this planet with amazing and gorgeous creatures. This work makes me slow down and remember that we are together and in some ways, it is sad but in a way that makes me wake up. I believe in these women, their journey, and how they pay their respects to the creatures that we tend to ignore.

–––

Print prices listed were correct at the time this post was published. Prices may increase as the print edition sells. Please contact Gallery Staff for the most current print information.

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



Beth Moon: Ancient Kingdoms
On view through November 24th, 2018

» View the Work

» Read Anne Kelly's Interview with Beth Moon

» Behind the Photo with Beth Moon

photo-eye Gallery
541 S. Guadalupe Street
Santa Fe, NM 87501