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William Karl Valentine

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Greg Vaughn and Brewers at Scottsdale Stadium - Cactus League Spring Training - Arizona (CL-152 #08 3-16-89)

Photo Lucida Critical Mass 2023 - Finalist Announcement

August 15, 2023

I am honored to announce that my submission to Photo Lucida’s Critical Mass 2023 has been chosen to be a Finalist. This is the third time I have been a Critical Mass Finalist. I was also a Finalist in 2014 & 2016 with law enforcement portfolios. Critical Mass is one of the most prestigious international photography calls for submission there is. It attracts thousands of entries each year from around the world and the jurors for Critical Mass are some of the most renowned photography professionals in the world. 200 photographers are chosen as Finalists and now a panel of 150 jurors will select the 50 Winners.

I also want to congratulate Denise Laurinaitis who is another finalist this year. Denise and I have exhibited together twice this year. First in May at the Atlanta Photography Group’s Portfolio 2023 Exhibition and opening next month in The Decisive Moment juried exhibition at the Photo Place Gallery in Middlebury, Vermont. Denise is a very good emerging artist, and I am always honored to have my photographs exhibited with her work.

This was the first year I submitted images from my Cactus League Portfolio which documents baseball’s Spring Training in Arizona each March. I have been photographing the Cactus League for over 40 years now. With my submission, I selected images which showcase the decline of the number of African American athletes playing professional baseball in recent years as many of those athletes now concentrate on Football or Basketball. Below are the rest of the images in the submission and my statement:

“Black in Baseball" William Karl Valentine

This submission is a selection of images from my Cactus League Baseball portfolio to showcase player demographics changes since I began documenting the sport forty years ago.

African American players only accounted for 6.1% of Major League Baseball’s 2023 opening day rosters.  Of the 945 players only 58 were Black.  The last time the percentage was this low was in 1955 the year before Jackie Robinson retired.  Five teams had no black players and 9 teams only had one player who was black.  29% of Chicago’s 2.75 million residents are black, the city has two baseball teams, and only two black players.

Diversity though is up in baseball, with 269 International players on opening day rosters.  The sad reality is fewer African American athletes are choosing to play baseball when it comes time to select a focus sport in high school, they tend to pursue football and basketball instead of baseball.  Popularity, visibility, marketing, and related attire are suspected factors.  The path to the NFL and NBA may also be easier with many players turning professional after only a year in college.  The prohibited costs of youth travel baseball may also be impacting the numbers of black players. 

Many of baseball’s greatest players have been Black, it is sad to see the decline in numbers today.  Thankfully baseball is working on this by investing in programs to bring these athletes back.  If baseball is to continue as America’s National Pastime it needs more Black players back in the game.

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In Photography, Photography Exhibitions, Spring Training Baseball Tags William Karl Valentine, Cactus League, Arizona, Baseball, Photo Lucida, Critical Mass 2023, Photography, Documentary Photography, Denise Laurinaitis, Atlanta Photography Group, Portfolio 2023, The Decisive Moment, Photo Place Gallery
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BLM Protest - Newport Beach, California (NB DSC 6686 6-06-20)

Picturing Resistance Exhibition at Art Intersection Gallery - Gilbert, Arizona

July 13, 2023

I am proud to announce that legendary photojournalist, and educator, Ken Light has selected three of my photographs for inclusion in the Picturing Resistance Exhibition at Art Intersection Gallery in Gilbert, Arizona. The exhibition runs August 12th through September 30th and includes 59 photographs.

Protest against Governor Newsom’s orders to close the beaches during the Covid Pandemic - Huntington Beach, California (HB DSC 9916 5-01-20)

BLM Protest - Hollywood, California (CA DSC 5652 6-02-20)

I have enjoyed Ken Light’s work for some time, and his books “Texas Death Row” and “Course of the Empire” are in my library. Ken is a great photographer to follow on social media. Not only has he been documenting America, and other parts of the world, for 50 years, but he is also the Reva and David Logan Professor of Photojournalism and curator of the Center for Photography at the Graduate School of Journalism at the University of California Berkeley, so he has knowledge of most all current trends in photography today. Ken posted about this exhibition call on social media and I took the opportunity to get my work in front of his eyes. I didn’t know about Art Intersection before the call but in researching it some it looks like Alan Fitzgerald, the Executive Director, is overseeing a good space with a great photography community. I’m glad to have discovered Art Intersection.

With Ken selecting these images for the exhibition it gives me some validation for my pandemic portfolio which makes me very happy. I think mu pandemic era photographs will become an important documentation of what occurred during the pandemic, especially here in Southern California.

Art Intersection Gallery

207 N. Gilbert Road, Suite 201 - Gilbert, Arizona, 85234 480-361-1118

Gallery Hours: Wednesday - Saturday 10 AM to 6 PM

 
In Street Photography, Photography Exhibitions, Photography, Photographer, Galleries Tags Ken Light, Art Intersection Gallery, Gilbert, Arizona, Picturing Resistance, William Karl Valentine, Documentary Photography, Photography, Photographer, Protests, California
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Harry Carey - HoHoKam Park - March 1983

40 years Photographing the Cactus League

April 8, 2022

2022 marked the 75th Anniversary of the Cactus League, Spring Training in Arizona, and the 40th Anniversary of my first trip to Arizona to watch, and photograph, Cactus League games.

In 1983 my buddy Steve DeWitt suggested we road trip to Arizona to go see some Cubs Spring Training games.  Two other friends also went along.  I think I drove us out there in my small Toyota truck, and I know we stayed at the Motel 6 in Scottsdale.  That “Six” was in even worse condition than you would expect from that motel chain, the pool was solid green, and the room was dated, so it was ideally suited for a low budget road trip by 20-year-old males. 

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Don Zimmer, Manager Roger Craig, Bob Lills, and Jose Morales - Old Scottsdale Stadium

Spring Training then was nothing like it is today.  Back then the teams didn’t count on the games as revenue sources like they do today.  Teams seemed happy with whatever ticket sales they picked up to cover some of the training costs, it wasn’t a production like it is now.  Most tickets were $5, the stadiums were very simple, and they would even let you bring in your own coolers of beer.  When we went to see the Cubs at HoHoKam Park we sat right under the press box, behind home plate, and we could literally stand up on the bench seating and talk to the announcers who were eye level on the other side of their worktables (as you can see with the lead photograph of this post).  We sat there specifically to be close to the legendary announcer Harry Caray who was starting his second season calling Cubs games.  We infuriated long time Cubs radio broadcaster Lou Boudreau by asking him to get Harry’s attention for us. Lou was already in the Hall of Fame as a player by then and he hated the fact we were more interested in Harry than him.  Lou was also probably upset that we had passed a few Budweisers from our cooler to Harry by then too; he wasn’t supposed to drink during the game but then it was Harry. Harry was famous for leading the crowds in the singing of the 7th Inning Stretch, especially since joining the Cubs in Wrigley.  Harry was not supposed to lead the crowd during that spring training game, but everyone encouraged him to sing it and he did.  Afterword he leaned over towards our section and said “I remember the first time they asked me to sing the 7th inning stretch in Comiskey (The White Sox home park, Harry had called White Sox games for ten years before joining the Cubs and the White Sox started the tradition of Harry singing the stretch).  They asked me what “key” I wanted it in, and I told them the only “key” I’m familiar with is “whiskey”!”  Then he bellowed out laughing with the rest of us. Access to the players and personalities back then is what made Cactus League so special. It was an epic road trip at the start of my love for the Cactus League.

I transferred to Arizona State University in 1984 and spent each March I was in school going to as many Cactus League games as I could.  Being a photography major I started to photograph games as another school project, a portfolio that now documents 40 years.  Things were so relaxed then that I often would be able to put my 500 mm Mirror lens on a monopod and just walk out on to the field and photograph from the photography wells without anyone questioning me.  At Scottsdale Stadium when games were over-sold, they even let fans sit on the field in foul territory beyond the bullpen mounds.  It would never happen in today’s world but back then the fence for the stands was only about three feet tall and no one cared.  People respected the players, and no one was on a cellphone, so people paid attention to the game.  One day the Giants Assistant Director of Public Relations Dave Aust finally noticed me on the field and asked who I was and how I got there.  I told him I was a student at ASU documenting Cactus League games, and I didn’t really admit that I knew I wasn’t supposed to be on the field.  Dave got me off the field but told me to meet him at his office before the next game.  Dave was just starting out in his career, we talked, and I think he respected how hard it was to get established and he liked the idea of my project.  He issued me a photo credential for the rest of the season and for a couple years after that too.  Tempe Diablo Stadium was another favorite of mine when I was in school because they always left the service gate on the third base side unlocked so I never had to pay for games there.  A plus being a college student needing all the extra cash I had to buy film and paper.

When I was photographing Cactus League in the mid 1980’s there were only 8 teams that I remember. In the Phoenix area the Oakland A’s played at Phoenix Municipal, the Milwaukee Brewers were at Compadre Stadium in Chandler, The Chicago Cubs were at HoHoKam in Mesa, the Seattle Mariners at Tempe Diablo, and the Giants were at Scottsdale Stadium.  The San Diego Padres were in Yuma, Arizona, the Cleveland Indians were in Tucson, and the California Angels were still based in Palm Springs, California.  Today there are 16 teams in the Cactus League, playing in 10 state of the art Phoenix area facilities.  Scottsdale Stadium, originally built in 1956, was rebuild in 1992 and Tempe Diablo Stadium, built in 1969, are the only two remaining Cactus League parks from when I started (Phoenix Municipal still exists but it is now the home of ASU Baseball).  Modernization of the Cactus League really began in 1994 with the opening of the Peoria Sports Complex for the Seattle Mariners and San Diego Padres.  Peoria is still a great facility to watch baseball in, and probably has the friendliest staff. Most all the stadiums are surrounded by multiple training fields and training facilities now.  The newest stadium is Sloan Park, the Chicago Cubs home in Mesa, which opened in 2014.

I see Baseball as a Metaphor for American Society, that is one of the reasons I like photographing it so much.  Spring Training is baseball in its purest form.  You have the current players getting prepared for the season, aging stars trying to find one of those last roster spots, and young players chasing the dream to get to “The Show”.  It is a rebirth, signaling that the new season approaches.  It is casual experience for the fans, since all games don’t count, it is easy for spectators to relax and just enjoy being at a ballpark.  A popular component of every stadium now is lawn seating beyond the outfield fences. Players have more time to interact with fans and don’t have the demands of the regular season schedule.  It is unfortunately changing though, as is our society.  Safety netting at Camelback Ranch, the Dodgers and White Sox home stadium, now goes the entire length of the field so the interaction between fans and players is harder now.  I assume attorneys worried of liabilities championed changes like this, but then when I see how many people attend games now with the eyes glued to their cellphones, I guess I can understand the reasoning.  Pricing has also changed, and Spring Training is now as much of a business venture as the regular season is.  I am admittedly a romantic and I not usually a fan of change. My Cactus League portfolio has documented these changes fairly well, and because baseball is such an integral part of American society I think this portfolio also speaks to the changes in our society these past 40 years.

Even though Spring Training was cut short this year with the MLB lockout, I made it out to Phoenix last week to photograph a couple days of Cactus League games in honor of both anniversaries.  Included below in this blog are a selection of my photographs from the trip. I also authored this post honor of Major League Baseball’s Opening Day yesterday.

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In Photography, Spring Training Baseball Tags Cactus League, Spring Training, Baseball, Documentary Photography, William Karl Valentine, Arizona State University, Arizona, Los Angeles Dodger, Los Angeles Angels, Cincinnati Reds, Seattle Mariners, San Francisco Giants, Milwaukee Brewers, Cleveland Indians, Tempe, Palm Springs, Tempe Diablo Stadium, Bobby Witt Jr, Mike Trout, Yazstremski, Harry Caray, Peoria Sports Complex, Camelback Ranch
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Phoenix Art Museum

Phoenix Art Museum

Phoenix Art Museum - Ansel Adams - Performing the Print

April 22, 2021

At the end of March I saw a social media post from Beck Senf , the Norton Family Curator of Photography for the Phoenix Art Museum, about the Ansel Adams “Performing the Print” exhibition at the Phoenix Art Museum.  She encouraged people to see the exhibition and said it was coming to an end soon.  Because of this I got in the truck and headed East on the 10 freeway, from California, to check it out. Okay, I better give a disclaimer here, we were already heading out to see some Cactus League games but I still made a point to get over to the Phoenix Art Museum to see the exhibition after seeing her reminder.

I remember well seeing an exhibition of Ansel Adams prints at the Friends of Photography in San Francisco years ago and being so intrigued by his different printing styles over time. Seeing his prints in person is always a great reminder of what a good print should look like. I don’t recall if the Friends of Photography had as much text explanation next to the prints as they included in the Phoenix exhibition. I thought the accompanying text at the Phoenix Art Museum exhibition was outstanding.  It clearly and concisely described how the prints differed and it was written in a way that everyone could learn something from it.  From a casual museum patron to a photographer with darkroom expertise.  Unfortunately, the exhibition closed earlier this month and had been interrupted by the pandemic lockdown, but luckily I was able to see it and share the experience here.

There are better resources than me regarding the differences in Adam’s printing styles so I think it is best to just show a few photographs of the exhibition here to highlight what the exhibition was like.

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The Phoenix Art Museum is itself a work of art, one of the best museum spaces I have ever seen.  I would go there to see the building even if there weren’t any exhibitions up, the design and space is just that interesting.  Below are a few examples of the space. Plus, you have to love any museum that has Wayne Thiebaud’s paintings in their collection. If you live in Phoenix join the museum and if you are just visiting make sure to get over to see the Phoenix Art Museum, you will not be disappointed.

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One other

In Museums, Galleries Tags Ansel Adams, Phoenix Art Museum, Doris and John Norton Gallery, Center for Creative Photography, Becky Senf, Arizona, Phoenix, Photography, Performing the Print, Wayne Thiebaud, Vaughn Spann, Raymon Saunders, Danielle Hacche, @phxart, #AnselAdamsPhxArt
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Dr. Maurice Berger at the Legacies of LIGHT Symposium at the Center for Creative Photography 1-19-20

Dr. Maurice Berger at the Legacies of LIGHT Symposium at the Center for Creative Photography 1-19-20

Dr. Maurice Berger 1956 - 2020

March 25, 2020

As I have written before in posts, when I was at the Legacies of LIGHT symposium at the Center for Creative Photography back in January I realized I was participating in something very special. Not only was the event documenting an important period in the history of the medium of Photography but I felt the symposium itself would one day be looked back upon as an historic event. One thing I noted was that the symposium would most likely be the last time all these incredibly influential people, those who helped shape where our medium is today, would be in the same room together. I had no idea how soon this would happen but on Monday March 23rd the Photography / Art / History worlds lost an important professor and curator who was at the symposium.

Maurice Berger was a writer, cultural historian, and curator whose work focused on the intersection of race and visual culture.  In 2018 he won the “Infinity Award” in Critical Writing and Research for his NY Times Lens Section columns “Race Stories”. He was also the Research Professor and Chief Curator at the Center for Art, Design and Visual Culture, University of Maryland, Baltimore County. His spouse of 27 years was Marvin Heiferman who was a former LIGHT gallery employee and presenter at the symposium. Maurice passed away in New York from complications related to the COVID-19 virus.

View fullsize  Maurice photographing Marvin and Laurence Miller as they recreated a photograph from the LIGHT gallery period.
View fullsize  Marvin Heiferman and Laurence Miller
View fullsize  Maurice Berger

I did not know Maurice personally but I photographed him several different times at the symposium, including the moment he was photographing Marvin with their long time friend a fellow LIGHT gallery alum Laurence Miller, some of my best images from the symposium.

Earlier this month I sent prints to many of the people I photographed at the symposium . Larry Miller got his prints before Maurice and Marvin, Larry showed his prints to Marvin who immediately reached out to me asking for a copies, not knowing I had already made him prints. I am in shock right now with the realization that two weeks ago I was trading emails with Marvin about these images and two days ago Maurice died from the COVID-19 virus. After hearing the news last night I looked on Maurice’s Instagram page and saw a week ago he had posted an image of Marvin photographing in Hyde Park, NY and made a comment in another post about being in a crowded upstate New York market listening to people discuss the virus. Maurice’s decline and passing must have been incredibly fast which is scary. I was in Boston with my son, Brent, when concerns about COVID-19 started to really take hold in this country. We had planned a long road trip back when Brent’s hockey season ended but changed plans for a fast direct route when we realized how serious the situation was becoming. We have been back in California for almost a week now after witnessing the country shut down more and more as we traveled West. Hopefully we will continue to stay healthy as this pandemic passes through our society. Maurice’s passing brings mortality in to focus for me one more time this year (just a brutal year of loss), hopefully others in society will recognize the seriousness of the situation and be even more vigilant in their habits. My thoughts and prayers go out to Marvin, Maurice, and all their family and friends.

Obituaries for Maurice:

Baltimore Sun

The Jewish Museum

ArtNet.com

In Photography, Galleries, Museums, Photography Theory Tags Emily Una Weirich, Dr. Maurice Berger, Center for Creative Photography, Tucson, Arizona, #Light2020, LIGHT gallery, @cntrforcreativephoto, #lifeinthetimeofcorona, @maurice.berger, #ArtInTheTimeOfCovid
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Anne Breckenridge Barrett, Peter MacGill, Susan Harder, Laurence Miller, Jack Sal, and Rick Wester.

Anne Breckenridge Barrett, Peter MacGill, Susan Harder, Laurence Miller, Jack Sal, and Rick Wester.

The Legacies of LIGHT symposium - The Center for Creative Photography

March 4, 2020

The CCP describes the Qualities of LIGHT exhibition as this: “The Center for Creative Photography’s exploration of LIGHT Gallery is an institutional history that investigates the impact of this commercial space through its role in the larger community.”

When I attended the opening in December, I saw the description was accurate.  It’s a unique exhibition in how it recreated certain physical elements of the LIGHT Gallery, displayed works of LIGHT’s artists, had a component for highlighting emerging artist of today (an important function of LIGHT back when it was open), and was able to show how important this gallery was to the history of the medium.  One of the most impressive elements for highlighting the impact LIGHT had on photography today was Curatorial Assistant Adam Monohon’s brilliant concept of creating a line map showing the connections of so many important photographers, curators, and photography institutions back to LIGHT gallery.  The exhibition also has so many cool interactive elements which I documented in a separate post. I had no idea that so many of the people who effected my growth as a photographer were linked back to LIGHT in some way. I think the entire exhibition really does well to capture the spirit of LIGHT and that time period.

Another important aspect of the exhibition is to highlight the connection between CCP and LIGHT.  Harold Jones was the first Director of LIGHT and his vision set the course for the galley.  Harold left LIGHT to help with building the Center for Creative Photography and the Studio Photography Program at the University of Arizona.

So this blog post is about the “Legacies of Light” symposium which was held in January at the CCP in conjunction with the exhibition.  I signed up for the symposium as soon as I learned of it after having my work included in the exhibition.  I thought it would be a good experience to learn more about LIGHT’s history and to have an opportunity to interact with so many people involved in photography.  I was blown away with the experience of this symposium, it far and away exceeded my expectations.

Here is a link to the description of the speakers and the subject matter o the “Legacies of Light” symposium on CCP’s website.  It is the best way to accurately describe the event in detail.

Another great resource is this link of CCP’s videos of the symposium: https://www.youtube.com/channel/UCRnlWp7M-YuVQY_okRmQmGA .

Now for my impressions. While attending the Legacies of Light I quickly realized one of the symposium’s primarily goals was to document the history of photography’s evolution to becoming a recognized as fine art.  The people connected to LIGHT, many of whom attended the symposium, played so many important roles in photography’s rise in status within the art world.  The symposium also talked about the current state of the photography community and our future.  Everything was so well done by Anne Breckenridge Barrett, Rebecca Senf, and the entire CCP staff.  There is so much to cover I will just jump in and start talking about the weekend and hopefully all my notes and recollections are accurate.

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Anne Breckenridge Barrett
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Anne Breckenridge Barrett
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Fern Schad, Britt Salvesen, and Charles Traub
View fullsize Fern Schad, Britt Salvesen, and Charles Traub
Fern Schad, Britt Salvesen, and Charles Traub

Things started Friday with small tours of the CCP facilities (I covered that experience in this linked: blog post) and a Keynote speech by Britt Salvesen who is the Curator and Head of the Wallis Annenberg Photography Department at LACMA.  She gave an overview of LIGHT’s impact on the development of fine art photography followed by a panel discussion with Fern Schad and Charles Traub about LIGHT.  Fern owned LIGHT with her husband Tennyson. She had an early interest in photography and had worked for Bill Jay in England before coming to the US where she spent time as a picture editor for LIFE magazine.  Tennyson was an attorney who had the vision for the gallery and supported it financially.  Traub spent time as a Director of LIGHT gallery and later was instrumental in establishing The Museum of Contemporary Photography in Chicago.  He is also an established photographer an educator.  I was fascinated by how much effort went in to establishing the gallery and maintaining it. 

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Becky Senf, Sally Stein, and Marvin Heiferman
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Sally Stein, and Marvin Heiferman
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Fern Schad - Legacies of LIGHT at the CCP

Saturday began with two former LIGHT employees Marvin Heiferman and Sally Stein reminiscing about the gallery and the atmosphere of New York in the 1970’s art world.  Marvin spoke about how he learned to “see” pictures at LIGHT.  He said Harold Jones taught him to “Just look at stuff” and to learn by the experience of looking.  He went on to explain how he came to understand what pictures communicate to viewers.  This really resonated with me because I feel too many people today don’t take the appropriate amount of time to actually look and experience images, we live in an Instagram world of the two second page view then “Like and Swipe”.  Marvin gave examples of how photography wasn’t always accepted as art then.  He remembered how a New York Times art critic had told Harold that photographs were not art.  He also remembered an occasion when a woman accidentally got off the elevator on their floor while looking for another gallery  He said she stepped off the elevator looked down the gallery wall at all the prints and stated “Oh photographs…” then stepped immediately back on the elevator.  Marvin said Weston Neff and representatives from the Fogg Museum at Harvard would come in to the gallery but MoMA’s John Szarkowski would not, speculating because he didn’t want to acknowledge there was another “game in town”.  Sally spoke to how the gallery struggled financially to survive.

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Fern Schad, Andy Grundberg, and Marvin Heiferman
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Becky Senf, Andy Grundberg, and Marvin Heiferman
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Andy Grundberg, Marvin Heiferman, Michal Raz-Risso, and Sally Stein

Michal Raz-Russo, who is the Associate Curator of Photography at the Art Institute of Chicago spoke next of her Master’s thesis research about LIGHT gallery.  She talked about how LIGHT was innovated in how they presented work, specifically hanging rows of images in grid form which hadn’t really been done before.  She described Light’s 1972 exhibition of Stephen Shore’s “American Surfaces” which was shown three rows high and taped to the wall (No installation prints from this exhibition survived) and the 1975 exhibition of Garry Winogrand where LIGHT displayed over 100 of his prints behind glass and “L” hooks on one wall.  Michal said Harold Jones used the grid style to try and show how Winogrand approached photographing: “Rapidly and Quickly”. It was fascinating to learn this because I can see the impact on some of the exhibitions I have seen. Most notably the Pier 24 Gallery exhibition where Winogrand’s complete “Women are Beautiful” series was displaced in a grid in one room while Stephen Shore’s prints were in another room. I can also recall MoMA, MFA, The Milwaukee Art Museum, The Art Institute and other institutions using grids in fantastic exhibitions, so I found it interesting to know where the possible origins of these designs came from.

Andy Grundberg spoke next on the evolution of photography as an accepted art form and LIGHT’s important involvement in that process.  For those of you reading this who aren’t familiar with Andy he is possibly photography’s most well known art critic and the author of numerous great books on photography.  He has written for the New York Times and is also a professor at the Corcoran School of the Arts and Design at George Washington University.  Andy was in New York City during this period and summed it up perfectly when he commented “I was a witness of photography at its most incredible time, the 70’s and 80’s”.  I loved hearing him describe the New York scene like the print bins at The Witkin Gallery and studying under Lizette Model at the New School.  I am also interested in upcoming new book, How Photography Became Contemporary Art because I understand there was considerable focus on LIGHT gallery’s impact.

Becky Senf lead a Q&A panel session next which focused on the history of photography and LIGHT’s impact.  In summary they acknowledged how prior to the Witken Gallery and MoMA showing photographs that photography magazines and publications were the primary source for people to see good photography (way different than today’s Instagram era).  They spoke how Winogrand and other photographers all got their start with photography-based magazines. Fern Schad, LIGHT’s co-owner, brought up how LIFE magazine closed in 1972 with the advent of television news, and how images on TV are fleeting. The panel spoke of Susan Sontag’s writing on photography and John Szarkowski’s catalogues at MoMA and how photography began to be looked at for its artistic value and not just a means of describing news.  Michal Raz-Russo added to that saying that some Photojournalism is now starting to be accepted as artwork. 

The panel recognized the important influence entities like The Society of Photographic Education, The George Eastman House, The ICP, National Geographic, The Visual Studies Workshop and others had on the medium.  They also identified that the 1970’s were really when much of the movement occurred; in example the first formal photography department was at the Art Institute of Chicago in 1974.  Becky Senf then pointed out something very important when she said “It’s remarkable how much (photography) history from the decade of the 1970’s isn’t documented.”  Becky’s comment came in to focus for me more and more as the weekend went on.  I realized the symposium was really focused on preserving photography’s history while it was still possible to get it firsthand from people who were part of it.  Looking around the room there were so many icons from the industry and I knew because of reality of their ages that this symposium was most likely the last time you would have so builders of the medium together in one room.  I also realized that with all my previous history of photography courses the focus was primarily on the photographers.  Yes, Beaumont and Nancy Newhall were recognized, and we used their textbook, and we were taught about Stieglitz’s influence but most my knowledge was on image makers.  It makes since because I studied at Arizona State University in the mid 1980’s when this New York scene was still strong and the Center for Creative Photography was just getting started.  For me personally it was very good to grow my knowledge of the medium.  By Sunday I realized the symposium was not only exploring and documenting the history of the medium, and considering its future, but I think the symposium was becoming an historic event in the history of the medium itself by what was being accomplished there.

View fullsize Dominique Luster
Dominique Luster
View fullsize Rick Wester, Liz Allen, Dominique Luster, and Alec Soth
Rick Wester, Liz Allen, Dominique Luster, and Alec Soth
View fullsize Liz Allen, Dominique Luster, Alec Soth, and Sarah Stolfa
Liz Allen, Dominique Luster, Alec Soth, and Sarah Stolfa
View fullsize  Liz Allen, Dominique Luster, Alec Soth, and Sarah Stolfa
Liz Allen, Dominique Luster, Alec Soth, and Sarah Stolfa

The afternoon session on Saturday began with a panel discussion “Engaging Community” moderated by Rick Wester.  The first thing they focused on was how we define the photography community.  ASU Professor, and current Society for Photographic Education President Liz Allen spoke about SPE’s formation in the 1960’s under Nathan Lyons.  She talked about the changing landscape of education the challenges educators have now with colleges having fewer tenure tract professor positions.  Dominique Luster who is the endowed Charles “Teenie” Harris Archivist at the Carnegie Mellon Museum of Art spoke about her role with the Harris archive.  I was not familiar with Harris who was a Pittsburgh based commercial photographer who documented the African American community.  It was highly interesting to hear the impact Harris had on documenting the history of his community with his camera and how their museum is keeping that legacy of community moving forward.  Magnum Photographer Alec Soth spoke about once he had a photography career, he craved a community.  Something I can related to after graduating from ASU and leaving behind the academic environment.  For Soth he started blogging in the early days of social media and found a safe way to engage a photography community.  Soth remarked how he now followed by over 100,000 people which he still is awe of considering how few comments he got on his earliest posts.  He also mentioned the weekend of the symposium was the 10th Anniversary of Instagram and added the “Corporation of Instagram has taken over” how we interact with photographs.  Rick Wester added insight from a gallerist’s point of view when he said “The Internet has replaced the experience with information, people are now getting information and want to get the experience to go with it.”.

Following up on the last two quotes, I want to again talk about a theme I heard throughout the weekend and mentioned above, that you learn about photographs by looking at them.  Now this might seem like an obvious thing but it isn’t today.  We now live in the age of the “two second page view”, where people scroll through Instagram, or any other social media platform, as fast as they can until an image catches their attention.  Unfortunately these “lure images” are usually the ones which catch people’s attention (my term based on the concept of shiny fishing lures).  Intense saturation, lots of post-production, or a trending subject.  Many people are missing out because they aren’t spending time with images to experience them.  One of the best exhibitions I saw recently was the Howard Greenberg Collection at the MFA last November.  The prints in the exhibition were some of the best I have ever seen.  But to get the full experience you had to spend time inspecting them, noticing details, and thinking about them.  I walked through there exhibition twice to make sure I experienced it as well as I could, and if I could have gone back and seen it a second time, like I did the Warhol at the Whitney Museum recently I would have.  Everyone I saw at the MFA was taking their time viewing the prints, it gave me hope.

Web 1-17 to 19-20 CCP - 3 Legacies of LIGHT 5.jpg

CCP’s Meg Jackson Fox and Emily Una Weirich moderated the next session which was “Valuing Story”.    I think the best way to describe this session was an exploration of how institution are preserving history in non-traditional ways; basically history used to be written in text books and now we are capturing oral traditions and digital forms of communication to preserve historical information.  Cassie May – an Oral History Archivist focused on the medium of Dance, Molly Garfinkel – Managing Director of City Lore, Dr Matthew Grilli – Assistant Professor of Psychology at the University of Arizona, and Photographer Judy Natal were the panelists.  Cassie, Molly, and Judy spoke about the projects and the process in their approach to documenting oral histories.  It was interesting because they had diverse approaches and subject matter.  They expressed the common theme that telling one’s story was important to create connections between people.  Dr. Grilli then went on to examine what motivates people to tell stories, “The Why”.  He said this motivation can change over time, often with younger people the goal may be to solve a problem while with older people the goal of story telling may be to teach, to inform, or to contemplate what may come to pass.  They all agreed that documenting oral history is often a challenge because it is usually recorded in a long form manner which is hard to create sound bites from to be used in different ways of presentation.  Several panel members also spoke of past problems they have with documenting oral histories and use rights.  The panelists told of several stories where the original use release signed for an audio recording or filming for a specific project did not include wording in the release such “In all media for perpetuity”.  The problem they have encountered is when they want to digitize the original oral histories and share them the original releases do not specifically authorize that and the interviewed persons are now deceased.  Where it is obvious the person interviewed wanted to share their story, heirs have at times refused to grant new releases to use the materials in new formats. 

View fullsize Tennyson Schad
Tennyson Schad
View fullsize Tennyson Schad
Tennyson Schad
View fullsize Fern Schad
Fern Schad
View fullsize Original LIGHT exhibition
Original LIGHT exhibition
View fullsize Peter MacGill
Peter MacGill
View fullsize Winnogrand show announcement
Winnogrand show announcement
View fullsize Stephen Shore announcement for LIGHT
Stephen Shore announcement for LIGHT
View fullsize First exhibition at LIGHT Gallery
First exhibition at LIGHT Gallery
View fullsize Max Yavno
Max Yavno
View fullsize Bruce Davidson at ASU
Bruce Davidson at ASU

Saturday concluded with a screening of Lisa Immordino Vreeland’s new documentary “LIGHT; When Photography was Undiscovered, 1971-1987”

View fullsize Peter MacGill
Peter MacGill
View fullsize Peter MacGill, Susan Harder, Laurence Miller, & Jack Sal
Peter MacGill, Susan Harder, Laurence Miller, & Jack Sal
View fullsize Anne Breckenridge Barrett, Peter MacGill, Susan Harder, Laurence Miller, & Jack Sal
Anne Breckenridge Barrett, Peter MacGill, Susan Harder, Laurence Miller, & Jack Sal
View fullsize Web 1-17 to 19-20 CCP - 4 Legacies of LIGHT 20.jpg
View fullsize Peter MacGill, Anne Breckenridge Barrett, and Harold Jones
Peter MacGill, Anne Breckenridge Barrett, and Harold Jones
View fullsize Peter MacGill, Anne Breckenridge Barrett, and Harold Jones
Peter MacGill, Anne Breckenridge Barrett, and Harold Jones
View fullsize Harold Jones and his family
Harold Jones and his family

Sunday started with a panel discussion about LIGHT from the perspective of people who worked there. Included in the panel were Peter MacGill, Laurence Miller, Rick Wester, Susan Harder, and Jack Sal. Its too hard to go in to all their comments, and this post is longer than I had intended already, but the thing I really came to understand listening to this group was an understanding of the atmosphere and energy of the LIGHT gallery. Susan Harder and Peter MacGill talked about handing them portfolios of photographer’s work and being sent out to museums across the country to cold call curators to promote photography as art and stir up business. They also told stories of going and staying with iconic photographers as they were preparing to exhibit their work at LIGHT and had so many funny experiences they shared. There is no doubt everyone involved with LIGHT helped pave the way for every photographer today. The panelists also accurately recognized how important the symposium was for recording the history they were part of because much of the knowledge of those days is on the cusp of going away with the aging of those involved. The final event was a celebration honoring Harold Jones who spoke along with several his close friends and family members.

Personally, I am still processing all the experiences of the weekend because it truly was an epic event. I believe this symposium, which was designed to document Photography’s history, will in fact be recognized in its own right as an historic event for Photography. The topic material from the symposium was fantastic but I more so I had so many valuable interactions with people, I am just thankful I was able to attend.

View fullsize Becky Senf and Rick Wester
Becky Senf and Rick Wester
View fullsize Richard Misrach
Richard Misrach
View fullsize Anne Tucker and Meg Jackson Fox
Anne Tucker and Meg Jackson Fox
View fullsize Web 1-17 to 19-20 CCP - 4 Legacies of LIGHT 18.jpg
View fullsize Web 1-17 to 19-20 CCP - 5 Legacies of LIGHT 10.jpg
View fullsize Dr. Maurice Berger and Emily Una Weirich
Dr. Maurice Berger and Emily Una Weirich
View fullsize Web 1-17 to 19-20 CCP - Legacies of LIGHT 6.jpg
View fullsize Sally Stein and Jack Sal
Sally Stein and Jack Sal
View fullsize Audry Sands
Audry Sands
View fullsize Alec Soth and Michal Raz-Rizzo
Alec Soth and Michal Raz-Rizzo
View fullsize Mark Klett and Alex Turner
Mark Klett and Alex Turner
View fullsize Web 1-17 to 19-20 CCP - 4 Legacies of LIGHT 31.jpg
View fullsize Web 1-17 to 19-20 CCP - 4 Legacies of LIGHT 17.jpg
View fullsize Mary Virginia Swanson
Mary Virginia Swanson
View fullsize Web 1-17 to 19-20 CCP - 5 Legacies of LIGHT 8.jpg
View fullsize Rick Wester with Alec Soth
Rick Wester with Alec Soth
View fullsize William Karl Valentine and Eli Giclas
William Karl Valentine and Eli Giclas
View fullsize William Karl Valentine and Liz Allen
William Karl Valentine and Liz Allen
View fullsize William Karl Valentine with Meg Hagyard
William Karl Valentine with Meg Hagyard
View fullsize William Karl Valentine , Becky Senf, & Frank Gohlke
William Karl Valentine , Becky Senf, & Frank Gohlke
After-party Sunday at Mary Virginia Swanson’s home - Mark Klett and Peter MacGill - perfect finish to the weekend.

After-party Sunday at Mary Virginia Swanson’s home - Mark Klett and Peter MacGill - perfect finish to the weekend.

 

 

 

In Museums, Photography, Photography Theory Tags The Legacies of Light, The Center for Creative Photography, Tucson, Arizona, Garry Winogrand, Andy Grundberg, Michal Raz-Ruzzo, Becky Senf, John Szarkowski, Sally Stein, Marvin Heiferman, Harold Jones', Museum of Contemporary Photography, Britt Salvesen, LACMA, Center for Creative Photography, CCP, LIGHT gallery, Alec Soth, Emily Una Weirich, Charles Teenie Harris, Dominique Luster, Beaumont Newhall, Arizona State University, Anne Breckenridge Barrett, Laurence Miller Gallery, Peter MacGill, Jack Sal, Bill Jay, #light2020, #qualitiesoflight
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Liz Allen working on her “hand” print for the book

Liz Allen working on her “hand” print for the book

Interactive component of the Qualities of LIGHT exhibition at the CCP

March 4, 2020

An important component of the Qualities of LIGHT exhibition is the interactive element. I focused on it some in my initial post about the opening. Since there was more activity during the symposium I documented it and felt it worked best to highlight it again in a separate post.

View fullsize Camilla Stevenson
View fullsize Camilla Stevenson
View fullsize Camilla Stevenson
View fullsize Web 1-17 to 19-20 CCP - 4 Legacies of LIGHT 6.jpg
View fullsize Web 1-17 to 19-20 CCP - 4 Legacies of LIGHT 7.jpg
View fullsize David Ragland
View fullsize Web 1-17 to 19-20 CCP - 5 Legacies of LIGHT 5.jpg
View fullsize Web 1-17 to 19-20 CCP - 5 Legacies of LIGHT 6.jpg
View fullsize Web 1-17 to 19-20 CCP - 5 Legacies of LIGHT 7.jpg

So again there were basically three interactive elements people could do. First was someone could have their photograph taken at a replica of Harold Jone’s LIGHT gallery desk by CCP’s David Ragland. Next you could sketch your hand to create a drawing to be bound in a book at the conclusion of the exhibition. LIGHT gallery did this at one point and the CCP was recreating that. CCP’s Camilla Stevenson was in charge of getting people to participate with this at the symposium and added a component by taking instant photographs of people to be included in the book with their hand sketches. I pushed the envelope with my sketch using my left had to sketch my right hand (most hand sketches were of left hands), then I had Camilla sign the instant print she took of me so she could lay claim to having a print in the exhibition then . The final station was where you could draw your own personal line map connecting yourself back to LIGHT gallery. I had completed my line map in December and after the symposium I could have added a lot more connections. I brought home a blank sheet so I will probably eventually update a copy for myself. All completed maps were pinned to the back wall of the interactive space to be shared. All three elements were fun and I especially loved the process of the line map.

In Museums, Photography, Galleries Tags #Light2020, The Center for Creative Photography, LIGHT gallery, Becky Senf, William Karl Valentine, Tucson, Arizona, Adam Monohon
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Marvin Heiferman and Laurence Miller recreate their photograph from LIGHT gallery 1/19/20

Marvin Heiferman and Laurence Miller recreate their photograph from LIGHT gallery 1/19/20

Marvin Heiferman & Laurence Miller - The Qualities of LIGHT

March 4, 2020

I thought this moment was worth a separate blog post so it didn’t get lost in the larger body of post on the symposium.

On Sunday when there was a break before the final event I wandered around the gallery, which was mostly empty, and was rewarded for it. I already wrote a specific post on meeting Fern Schad which was fantastic. I was also able to photograph Alec Soth talking to Rick Wester about prints in the exhibition. Then I noticed Laurence Miller and Marvin Heiferman preparing to recreate the photo of them when they both were at LIGHT. Emily Una Weirich from CCP was getting a stool for Marvin to sit on and Dr. Maurice Berger was preparing to use his iPhone to photograph it. I saw the opportunity to photograph again so I took it.

For me I am very interested in the use of the cell phone in today’s world. I often look for phone use in my street photography and probably already have a solid body of work documenting phone use. I look for folks photographing with cellphones then see what I can compose. So not only did I capture the image above but I also photographed the photographer. One side note that I found interesting at the symposium was I one of the few people using a camera to document the event. Granted it was a small Sony RX100 vi , it still has a one inch sensor and is a camera. Everyone else seemed to just be using their cellphones to take an occasional photograph. This I found really odd because the lobby of CCP had large proof sheets of images from the parties and openings at LIGHT and it was obvious they used to document and photograph each other all the time. I am thankful they didn’t mind me intruding on their moment to document it.

Dr. Maurice Berger photographing Marvin Heiferman and Laurence Miller

Dr. Maurice Berger photographing Marvin Heiferman and Laurence Miller

View fullsize Web 1-17 to 19-20 CCP - 4 Legacies of LIGHT 11.jpg
View fullsize Web 1-17 to 19-20 CCP - 4 Legacies of LIGHT 12.jpg







In Photography, Galleries, Museums Tags Laurence Miller Gallery, Marvin Heiferman, Dr. Maurice Berger, Emily Una Weirich, #Light2020, The Center for Creative Photography, The University of Arizona, Tucson, Arizona, William Karl Valentine
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Mark Klett speaking with guests at the Land Re-Form opening - Etherton Gallery, Tucson, Arizona 1/18/20

Mark Klett speaking with guests at the Land Re-Form opening - Etherton Gallery, Tucson, Arizona 1/18/20

Etherton Gallery - Opening of Land Re-Form - Tucson, Arizona

March 3, 2020

While I was at the Legacies of Light Symposium in Tucson, the Etherton Gallery coordinated to have the opening of their current exhibition Land Re-Form on Saturday night after the symposium events were done. Land Re-Form features the work of Michael Berman, Frank Gohlke, and Mark Klett.

The best way to enjoy seeing the work in this exhibition on line is to follow the link above, Etherton’s website has so much outstanding content on their artists and their exhibitions.

Owner Terry Etherton has fantastic vision and has built a perfect gallery space in downtown Tucson. His roster of artists rivals the best galleries on either coast, and its also impressive that his gallery is now almost 40 years old.

I have long been familiar with the work of all three of these featured photographers, and Mark Klett was already at Arizona State University when I studied there so we know one another. All three produce beautiful prints and the design of the exhibition is a perfect pairing of their work.

Frank Gohlke’s Mount St. Helens prints.

Frank Gohlke’s Mount St. Helens prints.

I have long enjoyed Frank Gohlke’s work, his prints are so beautiful. I was glad I was able to spend time with him at the opening talking about his printing. Seeing great prints always motivates me to produce work, nothing like spending time seeing a perfect print. There is no one more gracious than Frank, I was lucky to be able to chat with him at the symposium too.

William Karl Valentine and Frank Gohlke - Etherton Gallery Opening - Tucson, Arizona 1/18/20

William Karl Valentine and Frank Gohlke - Etherton Gallery Opening - Tucson, Arizona 1/18/20

I also picked up two of Frank’s books at the opening, “Mount St. Helens” and “Landscape as Longing: Queens, New York” which he collaborated with Joel Sternfeld and Suketu Mehta.

Other work was also on display in the smaller rooms within the gallery. Just a fantastic variety of iconic images by masters and newer cutting edge work. If you are ever near Tucson, the Etherton Gallery is a must see.

View fullsize Web 1-18-20 Etherton 1.jpg
View fullsize Web 1-18-20 Etherton 2.jpg
View fullsize Web 1-18-20 Etherton 8.jpg
View fullsize Web 1-18-20 Etherton 7.jpg
View fullsize Web 1-18-20 Etherton 9.jpg
View fullsize Web 1-18-20 Etherton 5.jpg
View fullsize Web 1-18-20 Etherton 6.jpg
View fullsize Web 1-18-20 Etherton 13.jpg
In Galleries, Photography Tags Etherton Gallery, Tucs, Arizona, Mark Klett, Frank Gohlke, Terry Etherton, #light2020
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Arizona State University MFA candidate Julia C. Martin and William Karl Valentine at the LIGHT symposium

Julia C. Martin & Alex Turner - Two MFA Candidates you should get to know

February 9, 2020

One of the best experiences I had with attending the Legacies of Light Symposium was getting to know two MFA candidates who I am confident will have impactful photography carriers.

I’ll start with Julia C Martin who is studying at Arizona State University. We had a couple long talks during the weekend and I was very impressed. She already has solid insight in to world of fine art photography and I could definitely see her doing big things in a curatorial role one day. She has positioned herself perfectly for something like that already having worked for the Santa Fe Photographic Workshops and Aperture. She has also interned with Mary Virginia Swanson and has a good relationship with her. But Julia is also a photographer and makes some pretty powerful images. Julia’s work right now deals with the themes of death, mortality, and femininity. She primarily photographs using film and oftentimes prints her images using alternative processes to captured the feelings she is dealing with. She could impact the photography world in a number of different ways. I learned a lot from talking with her, Julia’s insight has value and she communicates her ideas so well.

View fullsize William Karl Valentine with Alex Turner
View fullsize Mark Klett with Alex Turner

I only had a chance to speak briefly with Alex Turner but I think that was mostly because so many other people were trying to speak with him. Alex is studying at the University of Arizona and was just awarded one of the 2020 Society for Photographic Education’s Student Awards for Innovations in Imaging. He will also be presenting his Blind River project at SPE Houston this spring. From what I have seen of his work he is a strong image maker who is starting to make an impact.

In Photography, Museums Tags @alex_turner_art, Alex Turner, Julia C. Martin, William Karl Valentine, The Center for Creative Photography, The Legacies of Light, #light2020, #qualitiesoflight, Arizona, The University of Arizona, Arizona State University, Mark Klett, Mary Virginia Swanson, SPE Houston, Society for Photographic Education, Aperture, Santa Fe Workshops
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Dr. Rebecca Senf - Chief Curator at the Center for Creative Photography and the Norton Family Curator of Photography and photographer William Karl Valentine

Dr. Rebecca Senf - Chief Curator at the Center for Creative Photography and the Norton Family Curator of Photography and photographer William Karl Valentine

Qualities of LIGHT Exhibition - Center for Creative Photography OPENING

January 15, 2020

On December 13th I drove out to Tucson for the opening of The Qualities of LIGHT Exhibition at the Center for Creative Photography at the University of Arizona.

In my previous blog post I spoke about having a print selected to be included in this exhibition and I wrote about the history of that image. I also spoke about the concept for the exhibition which is to show the importance of The LIGHT Gallery and its impact on the development of Photography as an accepted art form. The CCP exhibition does a fantastic job capturing the spirit of the LIGHT Gallery and documenting LIGHT’s history. One thing LIGHT was famous for was showcasing work from emerging photographers. My print was included in this exhibition as an emerging photographer. My print, along with 120 other prints from other emerging photographers, is on display in one of four large flat files in the middle of the gallery. The concept is that people who view the exhibition can explore the drawers and make their own discoveries. There is also an interactive area where visitors can map their own association with the LIGHT Gallery or others who were influenced by LIGHT. There are also a number of historic artifacts from LIGHT to help recreate the gallery atmosphere.

View fullsize web AZ IMG 2661  12-18-19 CCP - Qualities of Light.jpg
View fullsize web AZ IMG 2678 12-18-19 CCP - Qualities of LIGHT  .jpg
View fullsize web AZ IMG 2683 12-18-19 CCP - Qualities of LIGHT .jpg
View fullsize web AZ DSC 1250 12-18-19 CCP - Qualities of LIGHT  .jpg
View fullsize web AZ DSC 1257 12-18-19 CCP - Qualities of LIGHT  .jpg
View fullsize web AZ DSC 1258 12-18-19 CCP - Qualities of LIGHT  .jpg
View fullsize web AZ DSC 1259 12-18-19 CCP - Qualities of LIGHT  .jpg
View fullsize web AZ DSC 1260 12-18-19 CCP - Qualities of LIGHT  .jpg
View fullsize web AZ DSC 1268 12-18-19 CCP - Qualities of LIGHT Becky Senf  .jpg
View fullsize web AZ IMG 2671  12-18-19 CCP - Qualities of LIGHT.jpg
View fullsize web AZ DSC 1240 12-18-19 CCP - Qualities of LIGHT  .jpg
View fullsize web AZ IMG 2670  12-18-19 CCP - Qualities of LIGHT.jpg
View fullsize web AZ DSC 1247  12-18-19 CCP - Qualities of LIGH.jpg
View fullsize web AZ IMG 2693  12-18-19 CCP - Qualities of LIGHT.jpg
View fullsize web AZ IMG 2706  12-18-19 CCP - Qualities of LIGHT.jpg
View fullsize web AZ IMG 2707 12-18-19 CCP - Qualities of LIGHT.jpg
View fullsize web AZ IMG 2667  12-18-19 CCP - Qualities of Light.jpg
View fullsize web AZ IMG 2699  12-18-19 CCP - Qualities of LIGHT.jpg
View fullsize web AZ IMG 2668  12-18-19 CCP - Qualities of LIGHT.jpg
View fullsize web AZ IMG 2666  12-18-19 CCP - Qualities of LIGHT.jpg

Below is my print and the accompanying artist statement information. This is a digital print from a negative scan which is archivally mounted.

View fullsize Meg Hagyard -CCP Senior Director for External Relations, Arts, Culture & Heritage
View fullsize web AZ DSC 1275  12-18-19 CCP - Qualities of LIGHT.jpg
View fullsize web AZ DSC 1277 12-18-19 CCP - Qualities of LIGHT William Karl Valentine.jpg
View fullsize web AZ IMG 2690  12-18-19 CCP - Qualities of LIGHT.jpg
View fullsize web AZ IMG 2691  12-18-19 CCP - Qualities of LIGHT.jpg
View fullsize web AZ IMG 2692  12-18-19 CCP - Qualities of LIGHT.jpg

CCP Director Anne Breckenridge Barrett and CCP Chief Curator Dr. Rebecca Senf speak at the Members opening of the exhibition. I also got meet CCP Curatorial Assistant Adam Monohon and CCP Archivist Emily Una Weirich. Everyone I met was fantastic and I am looking forward seeing them again at this weekend’s sold out LIGHT symposium.

View fullsize Anne Breckenridge Barrett - Director CCP
View fullsize Becky Senf - Chief Curator CCP
View fullsize Becky Senf - Chief Curator CCP
View fullsize Anne Breckenridge Barrett and Curatorial Assistant Adam Monohon
View fullsize Anne Breckenridge Barrett and Curatorial Assistant Adam Monohon
View fullsize Emily Una Weirich - Associate Archivist for Digital Initiatives

In my previous post I mentioned how this was the first time one of my prints has been in an exhibition with a WInogrand print, and how special that was for me. Below is the Winogrand print, a classic image from Women are Beautiful.

Garry Winogrand print form his Women are Beautiful series - 1968 New York

Garry Winogrand print form his Women are Beautiful series - 1968 New York

In Museums, Galleries, Photography Tags William Karl Valentine, Garry Winogrand, The Center for Creative Photography, Tucson, Arizona, The Qualities of LIGHT, Anne Breckenridge Barrett, Adam Monohon, Emily Una Weirich, Meg Hagyard
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