Micheal Frye (author of the well-known book on photographing in Yosemite, “The Photographer’s Guide to Yosemite”) reports at his web site that the Ansel Adams Gallery in The Valley will feature an exhibit of his work, “Color Light and Form,” from August 20 through October 4, with a reception for Frye on Friday, August 28th, from 3:30 to 5:30 p.m.
Category Archives: Shows
If you are in Yosemite on Thursday…
… Drop by the Ansel Adams Gallery at 4:00 p.m. to 6:00 p.m. – for the First Light Reception. From the announcement at the Gallery web site:
Come enjoy the photography of Charles Cramer, Karl Kroeber, Scot Miller, Mike Osborne, and Keith S. Walklet at the opening reception for the exhibit celebrating their book, First Light.
Ansel Adams Gallery, 9031 Village Dr., Yosemite National Park, CA 95389
For more information call (209) 372-4413.
I had a chance to look at a proof of the book a week ago and it is full of lots of wonderful photographs, along with Sierra Nevada stories from all five photographers.
Sebastião Salgado in the NY Times
The New York times features a story on photographer Sebastião Salgado and his epic “Genesis” project. The article is accompanied by a series of ten of Salgado’s photographs. A quotation in the article caught my attention:
“There is no difference photographing a pelican or an albatross and photographing a human being,” he said. “You must pay attention to them, spend time with them, respect their territory.” Even landscapes, he said, have their own personality and reward a certain amount of patience.
Patience. I can relate to that.
Friedlander at SFMOMA
SFGate reviews the Friedlander show currently at the San Francisco Museum of Modern Art.
We accept an image such as “Nashville, Tennessee” (1971) as an instantaneous document of social reality because everyone in it – maybe even Friedlander himself behind the lens – appears taken by surprise. And because it appears to make no assertion about what it records, unless we care about the importance ascribed to highly coiffed hair at a certain American place and time.
But look at a recent picture, such as “New York City” (2002) in the Fraenkel Gallery’s concurrent Friedlander show, “America by Car,” and you realize immediately that his camera has constructed a moment of layered, colliding optical perspectives that the eye unaided could never assemble, let alone fix.
We might see “Friedlander,” the retrospective, as tracking a career-long disproof of any presumed equivalence between seeing the world and seeing the world as photographed. Yet Friedlander works as if he has no ideological stake in this truth, merely a fascination with it, a fascination continually reawakened as different subjects come before his camera.
Thru May 18…