Sunday, March 17, 2024

ArtsThrive Accolades

Peggy and her Thursday night quickdraw. All of this in two hours.

The unframed wonder.
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Peggy and fellow artist Michele Byrne frame Peggy's entries.

Rough Rider, Taos Tipis and Ruedas Turquezas


My little corner of the world.

Once again ArtsThrive was a feast for the cultivated eye. With 335 artworks from 135 artists the annual fundraiser for the Albuquerque Museum was a resounding success and Peggy and I were blessed to be part of it. After five years in Peggy’s case and two for me it was also an opportunity to reconnect with artist friends and collectors who attend every year. I can’t say enough about the handsomely mounted exhibition, the first class food and drink, the music and the professional stewardship provided by Albuquerque Museum Foundation president and CEO Andrew Rodgers, Director of Events Elaine Richardson and Event administrator Erik Parker. They are the very best.

The show is up through April 14. You should take a gander. It's the largest and finest juried exhibition in New Mexico.

Monday, March 11, 2024

The Iconic William Davis

William Davis at home in 2009


At Wilder Nightingale Fine Art in 2016

Bill Davis was the dean of Taos photographers who arrived in our art colony straight from 1967’s Summer of Love in San Francisco. He says he was never a hippy, but I’ve seen pictures that challenge that notion. Photography was Bill’s life. I don’t think he ever did anything else. He was a wonderful writer, too, something for which he was less known. He lived an artful life unflinchingly on his terms.

I don’t recall exactly how and when we met but it must have been shortly after we moved to Taos in 2003. For many years he was part of a photography salon that included Terry Thompson, Howard Green, Cris Pulos, Richard Niemeyer, and me along with the occasional ringer. We met irregularly for ten years or so until it devolved to four codgers meeting for breakfast a half dozen times a year. Of the four, only Terry and I remain. It’s a bitter testament to our octogenarian reality.  Bill will be missed. Two does not make a quorum.

Bill, Terry, Cris, and I had a four man show in 2016. It was called Four Photographers Two Galleries as it was held at Wilder Nightingale Fine Art and David Anthony Fine Art. I am grateful to have shared wall space with Mr. William Davis.

As to photography, Bill left an eclectic body of work beginning with color then mid-century black and white and ending with colorful highly manipulated abstracts constructed on his computer as his mobility declined. Last August Bill had a well-attended, and successful retrospective at the Barreis Gallery. He was surrounded by those who loved him. There are a lot of us. He was faltering physically but demonstrably energized and very much in his element. 

When I saw him two weeks ago, he was bedridden and seemingly asleep. I touched his cheek with my cold February hand. Startled, he grumbled, “Ow! That hurts.” I responded that I thought it would be refreshing. Even in that last visit he was lucid and Bill Davis funny. I left him the most recent copy of Black and White Magazine as I always did. I told him I’d exchange it for a new one on my next visit. 


Sunday, March 10, 2024

ArtsThrive 2024





I’m delighted to announce that Peggy and I are juried artists in the Albuquerque Museum’s ArtsThrive exhibition and sale. It will be Peggy’s fifth year in the prestigious event and my second. For as long we have lived in New Mexico, a requirement to be invited, we’ve been aware of the show because it features some of the state’s most recognized visual artists. To be included in such company is an honor and a privilege. Above are shots from ArtsThrive 2023 and below are our contributions to ArtsThrive 2024. It must be noted that there were six dots next to Adobe at Ranchos Plaza, Fresh Oven Bread and Turn Signal when the final tally was taken, three, two and one from top to bottom.

Adobe Rose

Apple Picking Time

Up at Dawn

Rough Rider

Ruedas Turquesas

Taos Tipis

ArtsThrive, which began as Miniatures and More twenty years ago, is the Albuquerque Museum Foundation’s biggest fund-raising event of the year. This year it will exhibit 350 works of art from 135 notable creators. The event is handsomely mounted and the Collector’s Premiere on March 14 between 6 and 9pm and the Saturday Gala on March 16 from 6 to 10pm are must attend events on the New Mexico art calendar. They are tickets only events. You can purchase tickets on the Albuquerque Museum website.

Peggy Immel, John C. Barney, Sarah Drummond, and Aaron Richardson will be creating works of art from start to finish in just two hours during the Collector’s Premiere. These Quick Draws are a chance to see the process and completed artwork in real time. Peggy was a demonstrator last year as well.

The exhibition will be open to the public from Monday, March 18 through Sunday, April 14.

We encourage you to see the show. It’s one of New Mexico’s finest.

Sunday, March 03, 2024

The Boxed Set Lives

The top of the clamshell box

Alignment

Artist Statement

The ever lovely Butternut Squash

This is the first time I’ve tried to write two articles for Shadow and Light at the same time. It wasn’t planned that way, but I was torn between two subjects, El Camino Alto (The High Road) and Sketches of Winter Revisited. Then I remembered doing the latter several years ago. So, halfway through Sketches I pivoted to The High Road, as a fallback. I looked back at five years of bi-monthly articles, saw that the first Sketch of Winter was a meager two paragraphs and three images so it seems fair to follow up with something more expansive. And now I have El Camino Alto ‘in the can’ in cinema speak. I’ve got a second nearly finished story in my hot hands.

And after that bait and switch this post is unrelated to either one. I ended last week’s post with a mention of my Sketches Winter Boxed Set at the erstwhile Boxed Set Gallery in Santa Fe 15 years ago. I located the handsome sucker and here it is. Mint condition but for the white gallery gloves which would have added so much.

There are 16 8”x12” images on 16"x20" fine art paper in the clamshell box. The math says that they are $375 each for a total of $6,000. Even I’m impressed. The first $4,000 takes it. Shipping included. And I’ll throw in the missing gloves.

Boxed sets are an elegant and tactile way to appreciate cohesive portfolios. Alfred Stieglitz had it right a hundred years ago. 

I really like boxed sets.





Sunday, February 25, 2024

Best in Class: The Still Life Edition

Butternut Squash, East Conway, NH, October 2. 2003

Faded Roses, Bethlehem, NH,  August 12, 2005

I
Pave, Salzburg, Austria, April 10, 2006

In the early innings of my digital photography adventure I focused, no pun intended, on still lifes and headshots. Today we’ll journey back to the former which I titled Alignment. The Intimate Landscape might have been a better choice. I may change it.

Tubular, Colebrook, NH, September 26, 2006

Silvery Leaves, San Marino, California, April 26, 2007

Muffler Art, Rinconada, NM, March 7, 2008

This look back arises from inventorying dozens of framed or matted images dating back to my film to digital transition in the spring of 2002. That's when I bought the first high- resolution digital camera, the legendary Canon 1Ds, for just south of $8,000. That’s $13,887 in today’s dollars if you must know. I know you’ve read this story of my spendthriftyness several times and have asked yourself why anybody would do that. The answers are (1) I could and (2) it was the transformative high resolution DSLR camera of the time. The camera solidified Canon as the leader in digital photography. Those long gray lenses you see at every photojournalistic event in the world are Canons. 

But back to perusing still life photography in those pixel counting years, I was organizing my inventory and selecting images for my current Sketches of Winter Revisited show at Wilder Nightingale Fine Art in Taos when I pulled out a framed 24”x30” Butternut Squash. Peggy told me, “That’s still one of my favorites of yours. We should bring it home and hang it.”

The circumstances of Butternut Squash are etched in my memory. Peggy and I had just attended the Fryeburg Fair in Fryeburg, Maine. On the way back we stopped at a farm stand in East Conway, NH in a persistent drizzle, so the sky was overcast, and the bins of squash were softly lit and glistened with dew. The light caressed the squash, and each one was perfect and lush. I photographed the bins from directly above, perfectly square to the bin. The result was rich and voluptuous.

The others in this post are from the family of digital still lifes made from 2003 through 2008. It occurs to me as I write this that I offered a boxed set of still lifes like these at the Boxed Set Gallery in Santa many years ago. I, like Stieglitz and gallery owner Steve Zeifman, revere a handsome boxed presentation replete with white gloves. Yes, there were white gloves in my box. I still have the relic. Somewhere.

Sunday, February 18, 2024

Sketches of Winter Reviewed

Saturday night was the opening of Sketches of Winter Revisited, my minimalist ode to short days, bone chilling temperatures and fresh snow. While assembled from images made from 2007 through 2010 the series still felt as unique and relevant as it did 17 years ago. That’s according to me, of course.


Sketches of Winter Revisited at Wilder Nightingale Fine Art in Taos

A boy and his toys


Peggy and Steve as their 57th approaches in March


That little number is Inky Shadows. It might be my favorite from the series. And it looks like its name methinks.

The takeaways from the opening are these. It was lightly attended, and sales were scant. One sale was to a dear friends and collectors who may have taken pity on me. Which isn’t to say that they didn’t think highly of the photograph. The couple, both extraordinary artists, chose Porcupine but, more broadly, loved the entire series. Thanks to Nancy and Hiroshi.

Porcupine as displayed

The original image as conceived at the height of land on Brazos Pass

And to the subject of appreciation, responses from the sparse but discerning audience were the most enthusiastic I’ve ever experienced. And that soothed the sting of poor sales at least to a point. I was once asked “What’s more important to you recognition or sales?” I answered, “Yes.”

Among the few attendees were zero sisters and brothers of photography. There wasn’t a single Taos photographer in the throng. That stung. I knew beforehand that three local photographers couldn’t attend for serious health and family reasons. They get a pass. Just the most stalwart friends and supporters made the effort and I want them to know how much it meant to me. I try to show support to all the serious photographers in my life and will redouble my efforts to recognize their efforts. In that spirit I drove to Santa Fe Sunday for a presentation by my colleague E.E. McCollum at Edition One Gallery. He and I are regular contributors to Shadow and Light Magazine. And a week ago Saturday I attended a reception for a bevy of fine if old photographers at the very same gallery, Edition One. It's a newish establishment at the top of arty Canyon Road that emphasizes but is not limited to photography. I recommend a visit. And you should also check out their just launched Leica and Scotch photography discussion series. Yesterday’s conversation with Eric McCollum as interviewed by fellow photographer Mark Berndt was fast paced, wise, inspiring and funny. I see Leica and Scotch in your future, metaphorically speaking of course.

Sunday, February 11, 2024

Valdez, a snapshot of El Norte

Iglesia San Antonio, 1823

Iglesia San Antonio

Iglesia San Antonio

The Valdez Morada, a Penitente lay chapel

Between tax prep, an upcoming show, Sketches of Winter Revisited, and general frittering there’s been too little photography and even less writing of late. And it’s now been four trips to Santa Fe, mostly for art related missions in the past two weeks. Those trips are time eaters.

What I do have are shots from a recent photo safari to the village of Valdez which lies north of Des Montes in a lush valley below the Rim Road that connects Des Montes and Arroyo Seco. It’s the picture of rural Hispanic New Mexico. The tarmac alongside the morada winds half a mile to where it merges with the road to the Taos Ski Valley.