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William Karl Valentine

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Dr. Rebecca Senf - Center for Creative Photography - “Ask a Curator” life webcast

Recent Photography Webcast Worth Viewing - Becky Senf & Joel Meyerowitz

October 23, 2023

I have been able to watch a number of great live web events recently about photography and I want to quickly mention them in a post. With all the material out there today, I feel like I was lucky to have found these. The first two I discovered because I follow Dr. Rebecca Senf at the Center for Creative Photography and the last one was an Instagram alert about a live broadcast starting because I follow Joel Meyerowitz.

The first webcast was four weeks ago and was the Center for Creative Photography’s “Ask a Curator” event where Rebecca Senf (Becky) answered questions about being a curator for an hour. I thought this was outstanding and I encourage photographers, or anyone interested in fine art photography, to follow the “Ask a Curator” link and listen to her talk. I have really focused on getting to know curators and other photography professionals lately, just to deepen my understanding of the medium and the direction it is going. I have met Becky several times, have heard her lecture, and read her writings. She shares content in a way that every person who receives the information will gain a better level of understanding of the topic. I love listening to Becky talking about photography, her knowledge of, and passion for, the medium always comes through.

The next live webcast I saw was also promoted on Rebecca Senf’s Instagram. This event was the Photographic Arts Council - Los Angeles’s A Picture a Minute where well-known photographers, collectors, and curators each selected a single photograph and spoke to why the image was important to them, ideally for just one minute. You can see with my screen shot above the list of participants was impressive.

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With the picture in a minute webcast, speakers were moving fast and my note taking was not perfect, but here is what I got down – I researched as much as I could to prevent errors, my apologies if I missed anything.

The concept for the event came from a project Agnes Varda had done for French television where she did 170 episodes called “un minute for un image”.  Agnes wanted to how a single photo could impact people. Agnes felt that viewing photographs gave her space and time to think and wanted to share that with others.

Here are a selection of the presenters and their chosen photographs:

Alia Malley shared the photograph “Earth rise over the Moon” taken on 12/24/68 by Apollo 8 astronaut Bill Anders and spoke about how incredible that moment was for all of mankind and how important the image was capturing it.  She also mentioned how intriguing it is to think the camera only captured 1/250th of a second in time but how powerful that fraction of time was.

Andrea Liss highlighted Carry Mae Weems photograph “Moody Blue Girl”

Arpad Kovacs’s photograph was David O. Alekhuogie’s 2015 image “Bandana Hearts”.

 PAC LA’s Director, Bayley Mizelle, talked about Alvin Baltrip’s 1975-80 series “The Piers” documenting the gay cruising spots in New York City before the Aids epidemic.

Cesar Rueda showcased a photograph by Magnum’s Yael Martinez.

Paula Ely shared Vik Muniz’s “Ecstasy of St. Theresa after Benini” 2015

Clare Kunny and her husband Colin Westerbeck spoke about a photograph in their personal collection which is a dual portrait of Colin by Joel Meyerowitz.  They spoke about how the image was photographed and how special it is to them (There is more about this image below including Joel’s comments about it which I heard in a separate web cast).

Dan Solomon spoke about Deborah Turbeville’s American Vogue editorial in the 1970’s and mentioned there was a ‘sense of decay, Photos are about memories”.

Gallerist Douglas Marshall paid tribute to Lawrence McFarland, who passed this year by talking about the power of his photograph “Wheatfields Nebraska/Kansas border 1976”.

Elena Dorfman’s choice was an 1872 Eadweard Muybridge print.

LACMA’s Eve Schillo chose Yan Wang Preston’s 2017 image Egongyan Park.

Hiroshi Watanabe didn’t understand the “one-minute” aspect of the event, but he gave an interesting talk about a Robert Frank print he had owned once, “New Orleans Trolley 1955”.  Hiroshi paid $8,000 for the print in 1992 and when he decided to sell it a few years later, because it had started to fade slightly, it sold at auction for $36,800. 

Jeanne M. Connell showed a 1948 print of Solarized Calla Lillies by Carlotta Corpron.  I was not familiar with Corpron, who a teacher at Denton College in Texas, but this image was beautiful.

Jo Ann Callis shared Daido Moriyama’s famous 1971 photograph “Stray Dog”.

Rebecca Senf chose a photograph by Ansel Adams which was printed early in his career, a 1927 print of Mount Galen Clark.  I found her selection interesting because I have seen exhibitions of Adams’s photographs where multiple prints of the same image, from different stages in Adams’s career, are hung together to show the evolution of his technique.  I also found it interesting to see which Adams image Becky chose since she has expert knowledge of most all his work.

Robert Berman selected a Julian Wasser image that I know and like of Duchamp playing chess with a nude model. I did a blog post earlier this year when Wasser passed away. I have seen video of Wasser talking about his life and photography before, he definitely lived life to the fullest and made some great images. I also liked the fact this particular image was made in Pasadena, California in 1963, because I was born there that year.

Former gallerist Stephen White shared a Bill Brandt nude.

Virginia Heckert, who is the curator of photographs at the J. Paul Getty Museum talked about Shigemi Uyeda’s 1925 photograph “Reflections on the Oil Ditch” from their collection.

Michael Hawley, Chairperson of the Getty Photographs Council, chose a Graciela Iturbide photograph, titled “Angelita” 1979.  Listening to Hawley, he obviously has great insight into the medium and he said a couple good things worth sharing: “The art of photography are pictures that offer more questions than answers” and he reminded people to get to know their artists who are still here.

Long time Los Angeles gallerist Paul Kopeikin shared a vernacular photograph of a cowboy and a girl from his collection and spoke to how anyone can collect photographs which I thought this picture was an awesome share.  Paul’s words reminded me of some of Bill Jay’s lessons on the value of a photograph back when I was studying at Arizona State.

I am thankful the Photographic Arts Council - Los Angeles put this event on, it had a lot of value.

Darius Himes - Christie’s

Interviewing Joel Meyerowitz along with Alejandro Cartagena

The final live webcast I saw was Darius Himes and Alejandro Cartagena interviewing Joel Meyerowitz about his recent venture into the NFT market. I follow Joel on Instagram and got notification that the live video was starting, and at that time I was able to watch it. Alejandro is an artist in his own right, but he is collaborating with Joel, helping his go through his massive archive to find images from the past. Darius is the International Head of Photographs for Christie's. The conversation between these three was interesting enough but then Alejandro brought up the fact he had participated in the Photographic Arts Council - Los Angeles’s A Picture a Minute and mentioned one of Joel’s photographs had been featured in the event. The photograph was a dual portrait of Colin Westerbeck, one image in the morning and the second image in the afternoon in his apartment, I believe in Chicago. In the pre-digital age, it was a slightly complex image to compose so the frame edges lined up correctly. During the PAC LA event Colin and his wife, Clare Kunny, spoke about the print which still hangs in their house and how important it is to them because of their relationship with Joel. When Alejandro brought it up in this webcast Joel then talked about his photographic process for the image. It was fascinating hearing the perspectives from the three people involved in making the image. Colin is the former Curator of Photographs at the Art Institute of Chicago and an educator. Clare Kunny specializes in education programs within the museum environment. Colin and Clare have lived in Los Angeles for some time now. Joel Meyerowitz is another photography icon that is always worth listening to. He is one of the best image makers of all time and has such incredible energy.

There is so much content online now and it’s hard to navigate through it all, but when you do you often find some amazing content. Hopefully you will find the time to explore some of the links I have shared here.

In Photography, webcasts Tags Darius Himes, Alejandro Cartagena, Clare Kunny, Colin Westerbeck, Joel Meyerowitz, Photographic Arts Council - Los Angeles, Picture a Minute, @beckysenfccp, @joel_meyerowitz, @alexcartagenamex, @fellowship.xyz, #photography, The Center for Creative Photography, The Art Institute of Chicago, Virginia Heckert, J.Paul Getty, J. Paul Getty, Stephen White, Bill Brandt, Julian Wasser, Robert Berman Gallery, Daido Moriyama, Robert Frank, Lawrence McFarland, Elena Dorfman, Eve Schillo, LACMA, Yan Wang Preston, Marshall Gallery, Deborah Tuberville, Cesar Rueda, Bayley Mizelle, Alvin Baltrip, Arpad Kovac, Andrea Liss, Carry Mae Weems, David O. Alekhuogie, @dariushimes, @ joel_meyerowitz, Paula Ely
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LACMA’s Wallis Annenberg Photography Department Curator Rebecca Morse by Robert Heineken’s images.

"Objects of Desire" - curated by Rebecca Morse - LACMA through December 18th 2022

November 16, 2022

On October 7th I had the incredible opportunity to spend two hours talking one on one with Rebecca Morse at the Los Angeles County Museum of Art viewing the exhibition “Objects of Desire”.

Rebecca Morse is coming up on her 10-year anniversary as a Curator in the Wallis Annenberg Photography Department at LACMA. Prior to LACMA she spent 15 years as a curator at MOCA in Los Angeles. Originally from upstate New York, Rebecca worked for a commercial photographer in New York City and earned her Master’s degree at the University of Arizona before moving to Los Angeles. Rebecca curated the “Objects of Desire” exhibition and authored the accompanying catalogue for the exhibition.

Here is LACMA’s Statement for the exhibition:

“Objects of Desire: Photography and the Language of Advertising traces the artistic manipulation of advertising, the most powerful, mainstream visual language. Since the 1970s, creative innovations led to dramatic shifts in the possibilities for photography as artistic expression, as photo-based artists reworked advertising strategies to challenge the increased commodification of daily life, and later to appropriate the command these images have over the viewer/consumer. By exploiting advertising’s visual vocabulary and adopting its sites and formats, and through re-photography, appropriation, and simulation, artists create a shared photographic language that puts the onus on the viewer to determine what exactly these pictures are asking of us.”

I appreciate diversity in photographic styles although I always gravitate toward documentary images because that is my style. I think it is important that all genres of photography are showcased, and I try to view as many different types of photographs as I can to keep up my knowledge of the medium.  Viewing other images and talking about photography always helps me refocus on my own work.  My expectation in viewing Objects of Desire was that I would learn something new and hopefully see a couple images I could connect with.

The Objects of Desire exhibition exceeded my expectations. It is truly amazing, one of the tightest exhibitions I have seen.  It has some images I was familiar with, some work by photographers I had never heard of, and some totally unique pieces like Urs Fishcer’s “Mirror Box” series.  What made this exhibition so outstanding is how Rebecca Morse curated and designed the installation such that seemingly eclectic works when put together are in fact totally congruent with the goal of the exhibition.  The pairings make perfect sense when you follow the chronology and sequence of the installation.

Obviously, there is nothing like viewing an exhibition with the curator who is sharing insights on how they constructed the exhibition. That was a huge advantage for me.  But if the average viewer follows the wall signage the story is laid out in a clear, concise and easy way to understand manner.  I don’t think Rebecca missed a single detail; the show accomplishes exactly what the statement says.

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I had never met Rebecca before, and I earned this private tour by winning a fundraising bid for the Los Angeles Center of Photography, so I didn’t fully know what to expect.  What I discovered is an amazing photography professional. 

I gained a ton of insight into the curator’s mind with this visit, which was one of my goals.  Rebecca talked about how the concept for the exhibition formulated over many years, and as I expected her interests and experience were the foundation.  There was one specific image (Ericka Beckman’s 1987 image “Spoonful”) I had never seen before.  Rebecca explained that she had seen the photograph years ago, how the image stayed in the back of her mind, and when she had the right exhibition for it, she remembered it.  We also talked a lot about presentation and design of the space. I loved hearing about the many details and fine adjustments, and I could see how each thing she mentioned made the exhibition better.  We ended up talking about every piece.  I knew that Rebecca had worked with Robert Heineken when she was at the University of Arizona and the Center for Creative Photography was adding Heineken’s archive to their collection.  I enjoyed the opportunity to talk to Rebecca about his work given her firsthand connection to it and that’s why I made a point to photograph Rebecca by Heineken’s work. 

View fullsize Sarah Charlesworth: Figures, 1983-84, Cibachrome with lacquered wood frame, 2 panels, 42 by 32 inches each
Sarah Charlesworth: Figures, 1983-84, Cibachrome with lacquered wood frame, 2 panels, 42 by 32 inches each
View fullsize Vikky Alexander’s “St. Sebastian”
Vikky Alexander’s “St. Sebastian”
View fullsize  Urs Fishcer’s “Mirror Box” series
Urs Fishcer’s “Mirror Box” series
View fullsize  Asha Schechter’s 2020 print “Junk Drawer”
Asha Schechter’s 2020 print “Junk Drawer”

I found it particularly interesting when Rebecca pointed out the reflective qualities of Sarah Charlesworth’s Cibachrome “Figures” and Vikky Alexander’s “St. Sebastian” and how the viewer’s reflection on the surface of the prints was such an important element of the viewer’s experience.  The importance of the reflective quality of Urs Fishcer’s “Mirror Box” series was more apparent, but in talking with Rebecca I learned the placement of each box had been carefully considered.  If a box was moved one way or another the reflected background would be completely different.  Asha Schechter’s 2020 print “Junk Drawer” is unlike any other exhibition photograph I have ever seen. It is an inkjet print on adhesive vinyl and it was made specifically for this exhibition and the precise location in the gallery where the print hangs. The drawer which was photographed to create the image has reflective surfaces although the print itself does not have reflective qualities. But when you look at the print it appears those reflective surfaces are mirroring the lights and other objects in the room because Schechter actually photographed the room during installation and added those elements to his print to appear as if they are reflections. The perspective of the drawer also seems off with the back of the drawer appearing to be bigger than the front of the drawer which is closest to the viewer. In the catalogue Rebecca describes this print as being based on reality but feeling “off kilter”, she’s right, I found it to be subtly bothersome and I respect that.

I also enjoyed listening to her thoughts on the scale of certain pieces and the overall design element regarding placement of work.  I know how much effort I put in to editing my own work, it takes a lot of time and focus, but to hear Rebecca talk about her curatorial process for an exhibition of this scale is a completely different level.

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One other thing I enjoyed on my visit was watching other patrons view the exhibition.  Rebecca also liked being in the gallery when no one realized she was the exhibition curator so she could stand back and see what people were drawn to and how they experienced the exhibition.

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Rebecca also authored the accompanying catalogue for the exhibition which is one of the best exhibition catalogues I have ever seen.  It explains the overall exhibition nicely and showcases many details about individual works.  If you get the book and read the Acknowledgements you also get insight in to how many people are involved in producing an exhibition of this scale too, it definitely takes a good team. David Karwan designed the catalogue and he did a fantastic job capturing the magazine / advertising spirit in a beautifully published book.  LACMA co-published the book with DelMonico  Books.

The Exhibition runs until December 18th, and I highly recommend a visit.

 
In Museums, Photography Books, Photography Exhibitions Tags William Karl Valentine, Rebecca Morse, Robert Heineken, Sarah Charlesworth, Vikky Alexander, Urs Fishcer, Ericka Beckman, Center for Creative Photography, LACMA, Los Angeles, Los Angeles County Museum of Art, MOCA, David Karwan, Los Angeles Center of Photography, DelMonico Books, Photography, Objects of Desire, Asha Schechter
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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
View fullsize Anne Breckenridge Barrett
Anne Breckenridge Barrett
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View fullsize Fern Schad, Britt Salvesen, and Charles Traub
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. 

View fullsize Becky Senf, Sally Stein, and Marvin Heiferman
Becky Senf, Sally Stein, and Marvin Heiferman
View fullsize Sally Stein, and Marvin Heiferman
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.

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Dominique Luster
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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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