Mercyhurst University Cummings Art Gallery | February 17 – March 23
Artist Talk by Jodi Staniunas Hopper
Thursday, Feb 20, at 6 p.m. in Zurn 114. Reception to follow from 7 to 9 p.m.
Zurn Hall is directly behind the Performing Arts Center where Cummings Art Gallery is located. Park in front of the PAC and walk through the main hall to the back of the building. Exit and walk to Zurn Hall.
The exhibition will feature a number of Luchadora Masks and their respective imagery, altered wedding wear, and photographs relating to the many roles of women.
For more information on the Mercyhurst website, please click here.
Henri Cartier-Bresson (1908-2004) was a French photographer largely regarded as the father of photojournalism. He used, nearly exclusively, a Leica 35mm with 50mm lens (and a wide angle for a few landscapes). He painted the shiny parts with black paint to make his camera less conspicuous.
He used to be a painter until he saw a photograph by Martin Munkàcsi titled Three Boys at Lake Tanganyika, who said about it, “I suddenly understood that photography can fix eternity in a moment.”
I ran across a video called Henri Cartier-Bresson: The Decisive Moment produced in 1973 by Scholastic Magazines Inc. and International Center of Photography. It is a video of his images overlaid by his voice recorded for a radio interview. He avoided being photographed or filmed himself stating he was embarrassed by the notion of being photographed for being famous. However, that notion didn’t stop him earlier from appearing in two French movies before his photography career.
This video is truly a masterclass in his philosophy about photography, his thoughts and inspirations about some of his images, and an exciting immersion into this iconic photographer’s portrait, photojournalism and street photography.
Please click here to view the video. NOTE: For an unknown reason – and this may not occur on your computer or pad, but it seems to start 20 seconds in. Just click and drag the time-lapse button at the bottom of the video back to the beginning.
Alfred Stieglitz (January 1, 1864 – July 13, 1946) was an American photographer and modern art promoter who was instrumental over his fifty-year career in making photography an accepted art form. He was married to painter Georgia O’Keefe.*
The Erie Art Museum owns a collection of his photographs. John Vanco, Art Museum Director, will present these black and white photographs – among other photographs in the collection – on Tuesday, November 19 at 7 o’clock in the evening.
This presentation and discussion by Mr. Vanco is open to the pubic and all are welcome. The standard museum admission fee of $7 will be collected at the door (free for EAM members). Parking is available in the Erie Insurance lot across the street.
This event is sponsored by the Photographic Arts Society of Northwestern Pennsylvania and the Erie Photography Club.
Congratulations to Rebecca Samler who was commissioned as the artist for Fall for Arts and Culture Appreciation Awards which was hosted by Arts Erie the Erie Downtown Arts and Culture coalition. The five awards which were presented on Oct 29th featured Becky’s iconic image of the Flagship Niagara. The Leadership Award, the Applause Awards, the Imagine Award and the Bruce Morton Wright Artist of the Year Award were all presented as an aluminum print to their deserving recipients.
Becky is a native of Erie county and a Fine Art Photographer. She is the Vice President of the Photographic Arts Society of North West Pennsylvania and a member of the Erie Photography Club as well as the Erie Art Museum. She presents regionally and her works have received awards in Canada and Ireland. Her image “Good Morning” has been published in Lake Erie Lifestyle Magazine. Her work has been featured in many local galleries including Glass Growers Gallery in July of 2013 as a featured artist. She displays her photography traditionally as matted and framed but also like to experiment with different mediums. Many of her most successful pieces have been presented on nontraditional surfaces such as aluminum, acrylic, slate, stone, canvas and cedar planks.
Congratulations Becky and keep up the good work.
Fellow Member Heather Reichel Opens Her Off Color Gallery
Friday Sept 13th 5pm-9pm located at 940 Park Ave Meadville, Pa 16335 in the
Shops @the Bank. Hours are Tues-Fri 9am-5pm and Sat 10am-5pm.
Off Color Gallery opened this past Tuesday, September 3rd and features Heather’s personal works as
well as a new visiting artist each month. View the works of Rebecca Samler,
PASNWPA member, who has graciously agreed to be my first visiting artisan.
Help Heather celebrate this next step in her photographic journey, a physical location displaying her works and the work of other high level photographers.
Heather says, “Off Color Gallery is a modern style, surrealistic space that is a tribute to the
colorblindness which I deal with everyday as a photographer. Where natural
elements have been introduced into the decor, none are the “correct”
color. Take a journey into my world, a world I have called “Off Color.”
Calendar of Gallery Events
Sept 3rd open to the Public
Sept 13th 5pm to 9pm Grand Opening Celebration and Artist Reception
Where—-Edinboro University Reeder Hall Lecture room
219 Meadville St Edinboro Pa 16412
LIMITED SEATING, you can pre-register by sending your payment with your name and email address to Patty Raydo, 7341 W. Lake Rd, Fairview Pa 16415. Pre-registration must be postmarked by Sept 10th or it will be returned to you. email@example.com 814-474-2892
In his presentation “Nothing Is Abstract,” Buffalo-based photographer David Moog explores the transformational union of the Real and the photographer’s need to comprehend it. The program will include black & white and color photographic sequences. Moog will discuss how a sequence differs from the photographic series and how image juxtapositions — with their relationship to haiku, koans and music — function in pairs or extended compositions. The program “Nothing Is Abstract” is centered on the concept of questions, not answers; on the possibility of things for what they are, and things for what else they are. Moog will share his thinking on what he calls “the seduction of technology” as it applies to still photography, the impact of Photoshop, and why he works to simplify processes.
THE PHOTOGRAPHER AND HIS WORK
David Moog, b. 1944, attended St. Lawrence University, the Rochester Institute of Technology and the University of Buffalo. Moog was introduced to the photographer and mystic Minor White following a St. Lawrence lecture and exhibit organized by fellow student Michael Hoffman (who would eventually publish Aperture, the magazine of photography created by Minor White during his Rochester years). That chance meeting with Minor White was the impetus for a life-long dedication to image making. Moog left St. Lawrence to study with White, Beaumont Newhall, and with Arnold Gassan. Throughout the years work by Group f64 and Edward Weston have also been important influences.
In the 1970’s Moog opened a studio in Buffalo and went on to build an industrial advertising agency which specialized in interactive multi-media and collateral print. Moog’s career in commercial image making and graphic design continued until retirement in 2010. David Moog has always kept his personal image making separate and distinct from his years spent in advertising photography and industrial filmmaking.
Moog works primarily with view cameras and medium format cameras. He composes in the camera and prints images as given, adhering to the principles of Zone System exposure control devised by Ansel Adams.
Note: Digital technology changed everything for everyone. A digital camera-back has replaced film holders, and the view camera itself has been reduced in size. A Mac combined with an Epson 4800 inkjet printer substitutes for the darkroom. In addition to larger cameras, Moog has begun seeing with a toy camera that he calls his “pocket view camera.”
I ran across this excellent article about the real life of commercial photographers. It chronicles his summer at nearby RIT which has a highly regarded Photography School. As you will see, the lessons learned apply to every photographer, including fine art photographers.
It’s a great, short read that I hope all photographers can not only relate to but learn from. His bullet points at the end really hit home. It was written by Steven Giralt, a commercial photographer in NYC. The original post can be found here.