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Showing posts with label Favorites. Show all posts
Showing posts with label Favorites. Show all posts
photo-eye Gallery Favorite Photographs from 2020 photo-eye Gallery
Because we had the opportunity of viewing so many wonderful and inspiring images, narrowing this rather unusual year down to 7 photographs was a difficult task — in this post, you will find a few of our staff’s favorites.

 
The year 2020 needs no introduction. Despite it all, the arts proved to be a vital refuge for everyone during these uncertain times — offering space to heal and reflect. 
 
Because we had the opportunity of viewing so many wonderful and inspiring images, narrowing this rather unusual year down to 7 photographs was a difficult task — below you will find a few of our staff’s favorites.

A huge thank you for your interest and support this year. Enjoy our selection! And please contact us if you would like more information about our picks.
 
 

Thomas Jackson (see image above)

Thomas Jackson's whimsical and paradoxical constructions are inspired by self-organizing emergent systems in nature, such as schools of fish. The artist's practice explores ways to juxtapose the man-made against the natural by creating installations that are simultaneously in harmony and in conflict with their environments. To make images like Tulle no. 12, Jackson first imagines the composition, then constructs large kinetic sculptures from colorful objects (like colorful smoke bombs), and finally photographs them, resulting in a still image. To learn more about what goes on behind Thomas Jackson's images, read our interview with him here
 
 

Julie Blackmon 

 
Focusing on the complexities of everyday life, Julie Blackmon explores the conflicting demands of parenthood. Her carefully orchestrated narratives walk a darkly humorous line between lightheartedness and the chaos of our modern lives. Bubble, for instance, brings forth childhood memories of warm summer days playing outside. But, it also brings a subtle reminder of our pandemic times — when examined more closely, anxiety lurks, as unsupervised toddlers eat apples inside a giant transparent bubble. Are they sheltered or trapped? You may learn more about Julie's practice here
 

Mark Klett

Mark Klett, 4-25 1, gelatin silver print, 20 x 16 inches, edition of 50, $3500

With a career spanning over four decades, Mark Klett has advanced a new notion of landscape photography, one that reframes our idea of what “pictures of the land” can mean. His projects explore relationships between time, change and perception while exploring the language of photographic media as it evolves technologically. 
 
Around 1987, Klett started the saguaro portraits. He would find a cactus that interested him, like the one in 4-25 1, and make photographs of the entire plant from a similar distance — showing top, bottom, and arms. The series was originally given the name Desert Citizens.
 
As part of our video series photo-eye Conversations, photo-eye Gallery Director Anne Kelly and Mark Klett did a virtual walk-through of Seeing Time: A Forty Year Retrospective, his recent online exhibition with the gallery. They also discussed the artist's prolific career and the making of his book. Watch this stimulating conversation on Vimeo.
 
 

Maggie Taylor


The Harbinger, by Maggie Taylor, combines old photos and illustrations, mainly representing a crow cawing on top of an uncanny flying device and a polar bear placidly swimming across an iceless sea. The resulting artwork is a surrealistic dreamscape that commands careful attention from the viewer.

Taylor's photomontages, a combinatinon of the historical and contemporary, consist of 19th century daguerreotypes, old illustrations, found photographs, and diverse objects and artifacts — all layered together through meticulous digital image editing. You may learn more about her work here.

 

Mitch Dobrowner


Mitch Dobrowner has been photographing dramatic landscapes since his late teens. Moreover, working with professional storm chasers since 2009, he has traveled throughout America to capture extreme natural events, making stunning images of supercell storms and tornados. By waiting for the light and atmosphere to paint the landscape to his liking — accented by his custom-modified camera and long hours in the digital darkroom — Dobrowner has developed an unmistakable poetic style in the tradition of photography masters such as Ansel Adams and Minor White. With his high contrast expansive photographs of severe weather systems and towering majestic mountain ranges like Sunrise Over Lone Pine — Mitch Dobrowner has perfected the craft of landscape photography.

This year, as part of photo-eye Conversations, Anne Kelly asked Dobrowner about his practice and most recent work. Watch this amazing conversation on Vimeo
 
 

Edward Bateman

This enigmatic and alluring print, Yosemite Gateway No. 1, was created by photographing a 3D model. Produced by Edward Bateman during the ongoing pandemic, and with limited possibility of travel, the artist crafted the work from his kitchen table, using geographical data and a 3D printer. 
 
Bateman's unique process yields captivating, abstract images depicting plastic filaments that explore the concept of the sublime through representations of the majestic landscapes of Yosemite National Park. To view this extraordinary series, check out the artist's current online exhibition Yosemite: Seeking Sublime.
 
As part of our video series photo-eye Conversations, Anne Kelly joined Edward Bateman in an online view of his fantastic exhibition. They discussed Edward's process in re-creating Yosemite among other things. Watch this great conversation on Vimeo.
 

Reuben Wu

Reuben Wu, RW4288, 2020, archival pigment ink, 15 x 20 inches, edition of 10, $1000
 
The incredible work of Reuben Wu blends a myriad of influences, from science fiction to 19th century romantic painting. In photographs such as RW4288, Reuben captured the sublimity of a total solar eclipse and — instead of using his signature drone lighting — for this image, Reuben embraced the available light to make yet another otherworldly and masterful photograph.

As part of photo l.a.'s Virtual Connect + Collect, we hosted a live conversation between Reuben Wu and publisher Kris Graves. We discussed the process behind the artist's work and the books they have collaborated on. Watch this amazing talk here
 

• • • • • 


All prices listed were current at the time this post was published.
 
For more information, and to purchase prints, please contact Gallery Director Anne Kelly or Gallery Assistant Patricia Martin, or you may also call us at 505-988-5152 x202
 
 
 

photo-eye Gallery Gallery Favorites:
Steve Fitch's Vanishing Vernacular
Gallery Director Anne Kelly and Special Projects Coordinator Lucas Shaffer select their favorite images from Steve Fitch's Vanishing Vernacular.

Vanishing Vernacular monograph & corresponding exhibition at photo-eye Gallery.
Book signing with Steve Fitch, May 12th, 2–4 pm.

On  Friday, March 30th, photo-eye Gallery hosted a reception for represented artist Steve Fitch in honor of his exhibition Vanishing Vernacular and new monograph of the same title.

Our exhibition of Fitch’s images is extensive, spanning over 38 years of his career, and has prompted many enthusiastic viewers – lovers of photography, classic neon and Route 66 – to share their own road trip stories. The response has been fantastic. If you haven’t had a chance to view the exhibition yet we will be hosting a book signing on Saturday, May 12th, 2-4 pm, when Steve will be signing copies of his new book, Vanishing Vernacular: Western Landscapes, as well as a few earlier titles, such as American Motel Signs and Gone. We hope you can join us.

After the exhibition opening, new Gallery Associate Yoana Medrano shared her favorite image from Vanishing Vernacular, introduced herself and told us what made the image special. Having had time to live with the exhibition, Lucas Shaffer and I are pleased to share our selections, as well.

–Anne Kelly, Gallery Director


Anne Kelly Selects
Greyhound Motel, Tucson, Arizona; December 30, 1980 

Greyhound Motel, Tucson, Arizona; December 30, 1980, 16x20" Archival Pigment Print, Edition of 12, $2,000 
 © Steve Fitch
There are so many wonderful photographs in our Steve Fitch exhibition that it is hard to pick just one! So in an attempt to do so, as usual, I defer to my intuition. I love all of the bright, bold, neon motel signs and drive-in theaters, but the image that is grabbing me during Vanishing Vernacular is a little quieter.

Shot on the side of one of the motels, or so I assume, is a row of carefully manicured cacti that are slightly illuminated by a single green neon tube and framed by the motel wall. Based on the color of the sky, the sun set perhaps about an hour earlier but the moon has yet to rise. For me, this image brings back memories of being on the road and pulling up at little motels like this one and experiencing a quiet, private moment at the end of a day's journey.


Lucas Shaffer Selects 
Radio Tower Near Sudan, Texas; October 18, 2010

Radio Tower Near Sudan, Texas; October 18, 2010, 16x20" Archival Pigment Print, Edition of 12, $2,000 
 © Steve Fitch

Radio Tower Near Sudan, Texas; October 18, 2010 focuses on one of Fitch's later topographical fascinations, the titular radio tower, and is among my favorite images by the photographer. Growing up in a rural midwestern town, I used to adore watching the red flashing warning beacons affixed to a  trio of radio towers float over wide open fields as my family drove by. The effect was most impressive as the sun set. The tower's skeletal structure receded into the sky, leaving the pulsing lights to hover above the ground, seeming to fluctuate in their size and shape as we turned corners or pulled close. Watching those beacons was delightful. 

Of course, what I'm describing is nostalgia. But, what I think is so compelling and fascinating about Fitch's work is how he creates relatability through straight, descriptive, and democratic images – even when they have a perfect jewel-toned ombré sky as a backdrop. Fitch doesn't set out to make nostalgic images, he photographs subjects he finds interesting during his highway travels, and yet, his images often reference our own stories. The connection to my own experience is what draws me to Radio Tower Near Sudan, Texas; October 18, 2010, and what I see as the power behind this body of work.


Vanishing Vernacular is on view at photo-eye Gallery through Saturday, May 19th, 2018.

For more information on Steve Fitch, or to purchase prints, please contact Gallery Staff at 505-988-5152 x 202 or at gallery@photoeye.com.

Print prices are subject to change as the edition sells and were current at the time this post was published.

» View Vanishing Vernacular

» Purchase a copy of the monograph

» Attend the May 12th Book Signing Event