|Image City Photography Gallery Newsletter |
We publish our brief Newsletter during each of our exhibits to pass along information and reviews of the exhibit, photographic tips, selected images and news of other participation opportunities at Image City. We thank you for your interest and we look forward to another great year of fine photographs and events. We hope to see you at each of our 13 shows in 2013.
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4 Cities, 4 Wallaces by George, Jessica, Brendan, and David Wallace
Current Show runs through Sunday, August 4
August 2nd is First Friday Gallery Night
The current exhibit at Image City is 4 Cities, 4 Wallaces
by George Wallace and his adult children, Jessica, Brendan, and David. The four artists and four styles come together in an urban portrait of four cities, Rochester, Washington, DC, Los Angeles, and Pittsburgh.
Long-time supporter of Image City, Steve Tryon, has an exhibit In our East Gallery as a guest photographer. Lou Ryen, another frequent supporter, is a guest photographer along with JP Cirre, Helen M. Ellis, Simon Faber, Keith Wilson, and Julie Lang, our intern at the Gallery this summer.
We round out the show with Gallery Partners and Artist-in-Residence Dick Bennett, Carl Crumley, Steve Levinson, Gil Maker, Don Menges, Dan Neuberger, Jim Patton, Betsy Phillips, Gary Thompson, Phyllis Thompson, and Sheridan Vincent.
for a link to the details and a preview of images in the show. First Friday Gallery Night is August 2 from 6 to 9 pm. The exhibit runs through Sunday, August 4. There is no admission fee at Image City and the Gallery is accessible to all.
Peter Marr's Picks from the Exhibit
Peter Marr picked four photographs by the featured photographers in the exhibit for his Peter's Picks of the Show. We appreciate and enjoy Peter's selections; his commentary and reviews give us an insight into his keen appreciation of photography. You will also find the full discussions and images by clicking here.
Peter's first selection from George Wallace's photographs is Berkeley and Park - "George's superlative panoramic images of Rochester scenes are impressively seen, captured and presented in this outstanding portfolio display, fully worthy of the patriarch's artistic vision, meticulous planning, and unsurpassed photographic expertise. I particularly admire the fact that he has selected many unique vistas, as evidenced by his apparent fondness for traffic intersections, locations that one rarely has the time to study and enjoy, especially whilst driving through the areas, when traffic flow and signal lights are mostly the sole objects of attention. These crossing points take on a whole new grandeur and importance when one explores in detail these superb prints. The author's obvious preference and affinity for early and late evening illumination, leads to panoramas that have outstanding color, composition and fine detail, resulting in neighborhoods that one would conjecture as being ordinary or even mundane, instead they become architectural masterpieces that are electrifying in their beauty and appeal. The Park and Berkeley print is especially memorable, and fully worthy for every viewer to study intently. The early evening illumination casts a warm glow that lights up every building, street feature and every person that one can see frequenting this iconic locale. This intersection has a glow and presence that is both heartwarming and magical, feelings that are helped of course by the sun setting behind the buildings, and the dramatic cloud formations that provide an uplifting backdrop. Artistically, I really admire the way that the viewer's eyes are allowed to sweep in from the left down the double yellow lines, and then follow the thick white line at the far right, which itself is held in the frame by the detailed manhole cover From there, one goes right up Park Avenue as far as you can see, returning via the line of cars at the curbside before rounding the corner at Colie's Cafe. The entire vibrant scene is one in which the observer can take the time to appreciate every nuance and detail, rather like studying a Norman Rockwell masterpiece, or just stand back and enjoy a neighborhood that has been superbly captured by George, an intersection that has vitality, and charm and an uplifting presence thanks to his creative brilliance."
In a second selection Blossom #2 by Jessica Wallace, Peter observed "Jessica's exquisite series of images offer the viewer a unique opportunity to experience Washington D.C through the eyes of a consummate artist, who has used an impressionistic technique to wonderful effect. All of her pictures are poignant and captivating, an expression of her true self and the result of an inner response to the world around her. These exuberant pieces are very reminiscent of the works of the Neo-Impressionists of the late 19th century, a movement founded by Georges Seurat, and more especially to the paintings of Paul Signac and Camille Pissarro, who expanded the visual effects of Pointillism by using much larger paint dots with much less overlap, to create contrast, increased vibrancy, and a more realistic sense of color. In Blossoms #2, there is a richness and vibrancy that is breathtaking, as one perceives the grandeur of nature when the Yoshino Cherry blossoms burst forth in all of their glory, heralding the passing of winter and the awakening of spring in the Tidal Basin. The color palette is impressive, particularly where the delicate pinks of the flowers, set against a brilliant blue sky result in the light and color dancing together in exulted harmony. One can only marvel at nature's abstraction and design as one admires the graceful upswept curve of the tree branch that proudly supports the cherry blossoms in an awe-inspiring manner. This creative image has both a delicacy and an inspirational impact that is peerless, a wonderful tribute to the artistry and vision of Jessica."
Surfin' USA was Peter's selection from Brendan Wallace's photographs - "This is a delightful, exuberant image, that is full of energy and colorful artifacts that seemingly tells an intriguing story, but hints at an underlying dichotomy that will be revealed later. In brilliant, direct sunlight, certainly not the ideal choice of the majority of photographers, but an illumination which is very appropriate for the subject matter, one is very much aware of an overflowing backyard enclosure, adjoining a house that is situated in what is probably a middle-class neighborhood. The highlighted area appears to be the repository or should I say 'dumping ground' for abandoned 'stuff,' although the presence of the surf boards may belie this interpretation. High or even casual maintenance is not the norm here, clearly evidenced by the condition of the shed, with its dented doors, rusting roof and the lack of a padlock, all of which suggests that there is little of value within. Looking beyond the unorganized piles of waste and refuse, one is saddened by the lack of attention given to the collection of diverse plants, the majority of which are dying from the lack of water. This includes a series of starter plants in small containers that obviously will not make it to adulthood. Against a clear blue California sky, with majestic palm trees rising above the adjacent houses, one is painfully aware of the scenic competition from the man-made trees, namely, the ubiquitous satellite TV dishes, dotted randomly around the housing complex. At this point, I firmly believe that the occupant (or occupants) of the house with the myriad of flotsam in the backyard, has a constricted life of eating, drinking and living like most of the neighbors. All this individual wants to do is to be set free from the day to day chores, and enjoy to the fullest the vast expanses of the sea and sky, to lead a life of leisure and relaxation, and in particular, to ride the surf on the precious boards that now lean proudly against the shed, the only elements in the yard that look well maintained. This is an enigmatic image, beautifully seen and captured, a thought provoking print that every viewer should study and comment on."
From David Wallace's photographs of Pittsburgh, Peter selected Brunot Island commenting that "The decline and fall of Pittsburgh's once mighty steel industry has been dramatically captured in a series of superb and penetrating prints by the author. It is very apparent that the subject matter has an immediate and direct appeal to his interests, and this exciting inner response results in works of distinction. There is great understanding and atmosphere in all of his images, and one cannot be emotionally neutral in studying them . I would be remiss if I did not highlight the outstanding quality of David's prints, from the superb composition sharpness, incredible detail and color quality, right through to the stellar printing and presentation, all of which contribute substantially to these visual masterpieces.
In a majestic setting of deep green vegetation, where dense shrubs and small trees grace the banks of a water expanse, three lifeless towers loom like silent sentinels, powerful leviathans of an industrial era that has sadly fallen out of favor. What is so poignant about this dynamic, story-telling setting, is that these imposing structures, look like ghosts silently awaiting to return, should the opportunity arise. There is visible evidence of some rust and decay, yet the yellow paint on the rails and metal stairs looks almost pristine. Additionally, in the background, one can clearly see the colorful facades of houses, which no doubt housed the factory workers over many generations of families. Everything seems to be in place for a new start-up, should that order come. Sadly, one is very aware that eventually, nature's green mantle surrounding the plant is strong and vigorous, threatening in time to eventually engulf the steel structures. The crowning gloom is the foreboding sky, ominous, and seemingly having the power to engulf the towers and industrial complex all by itself. Never bright and cloudless, this sky vividly remembers the past, when dark smoke and steam forever darkened it, seemingly plunging the plant and the surrounding valleys and hillsides into a constant forbidding and sunless environment. Photographically, this is a stunning image, with particularly, elements such as composition, color, sharpness and incredible fine detail being of incomparable quality. This print is unsurpassed in visually telling the moving story of the demise of a once-thriving industry. One can only hope that there is a future in this area, it may not be steel manufacturing, but some other product or products that will bring back life and prosperity to this important area of Pittsburgh."
|Additional Gallery Picks|
In addition to Peter's Picks, we have made six additional Gallery selections from the exhibit. Click here
to read commentary on all of the selected photographs.
Liberty by JC Cirre - One of the marks of an excellent photograph is when the photographer portrays something that we have seen many times in a way that gives a completely different perspective to the object. Most of us have passed the Liberty Pole in downtown Rochester many times, and after a while we pass it by, not to look at it very carefully. In this photograph JP has shown the Liberty Pole from a perspective that makes this fixture of Rochester into something that looks totally different. In fact, until one looks at the title of the photograph, many people will not be aware of the subject. The lines converging upon the pole itself, along with the dramatic perspective of the two buildings, frame the strong upright vertical power of the Liberty Pole. The almost steel-gray color used in the composition reinforces the materials that were used in construction of this structure. This image can function both as an abstract photograph, where the viewer has no idea of what they are looking at, or as a novel view of a Rochester landmark.
Tornado Aftermath by Helen M. Ellis - Helen's collection of small, monochromatic images urges the viewer to step closer to each one and then you are drawn into the environment she has prepared for us. All of Helen's images are excellent, but the two Tornado Aftermath images have special appeal. Not only well composed, but these film based, self-developed images using a silver gelatinous processing, have a Walker Evans flavor to them. We can feel the tornado. The event is real; the destruction is evident; the power of nature is revealed; and Helen has delivered this to us on 3x5 prints!
Set 2006 by Simon Faber - This powerful image attracts your attention immediately upon entering the gallery. A somewhat monochromatic image of a man looking at you all of the sudden shifts to a colorful eye displaced from his face. What is the meaning of this image? What is the photographer trying to say? Photographs like this one by Simon make you think, make you wonder, make you enjoyed the visible puzzle and give the viewer an opportunity to ponder the photographer's intent. The use of monochromatic colors offset by the vivid colors of the displaced eye makes for a very strong visual impression in addition to the puzzle of the meaning of this photograph. It would be interesting to ask 10 different people what they think the photographer is trying to say and then see the diversity of opinions that would be expressed. This photograph makes one think of the art by Salvador Dali, with its wonderful surrealistic view of the world.
Sails of San Francisco by Lou Ryen - Two images of the familiar city of San Francisco are excellently juxtaposed in this very well composed photograph. The iconic skyline of San Francisco is shown almost as a shadow in the sky while the sailboats in the colorful water are shown with good color and detail. It is almost as if the skyline forms in muted background, one which is almost colorless and stationary to the parade of sailboats moving past it. The photographer encourages the viewer to contrast the shapes of the skyline with the shapes of the sails beneath it. This photograph would have been much less effective if details of the skyline were shown which would clash with the details of the sailboats. This photograph very effectively uses the silhouette of the skyline any monochromatic mode to set the place of the photograph but still not interfere with the visual composition.
Angel Oak Reaching by Steve Tryon - Steve effectively uses the square format photograph to its fullest advantage in his series of images in the East Gallery. The oak tree he has photographed almost looks like a creature from another planet, unlike the typical tree that one walks by every day. The dappled lighting, the interplay of shadows and highlights and the strong composition make this a very effective photograph. Use of a rectangular format would have taken away from the compositional strength. Also black and white is the ideal format for this image, as it removes any color signals to the brain and forces us to look at the shapes and textures by themselves, making this a very dramatic photograph.
Sheldon Church by Keith Wilson - Keith has shown his photographic skills in this his first exhibition of his work. Many photographs show interesting buildings and many photographs show dramatic trees. The photographer has combined both of these images into one photograph with each complementing the other. The tree serves to give an almost on worldly complement to the beautiful brickwork of the church, both from its shape and colors of both the tree and its leaves. The eyes initially drawn to the off-center tree which then leads the viewer to look at the church behind it.
Image City Critiques
At Image City on Wednesday, September 4 at 7pm
Each month the Gallery sponsors Image City Critiques, our program to provide participants an opportunity to engage in a friendly, constructive, and positive critique and review of their photographs. However the group is not meeting in August. The sessions are normally held on the first Wednesday of the month and the next session will be on September 4th, at 7pm. The assignment for September is to shoot images at one of the many county fairs that surround us.
|Calendar of Events|
Image City Photography Gallery, 722 University Avenue
August 2 First Friday Gallery Night 5 - 9 pm
August 4 Final Day for 4 Cities, 4 Wallaces
August 7 Opening Day of exhibit Portfolio Showcase 2013
August 9 Opening Reception for Portfolio Showcase 2013 5 - 8:30pm
September 4 the next Image City Critiques 7pm at Image City
Image City Photography Gallery Hours: Wednesday - Saturday 11 - 7, Sunday Noon - 4
There is no admission fee to visit Image City Photography Gallery
Image City Photography Gallery, 722 University Avenue, Rochester, NY 14607
In the Heart of ARTWalk in the Neighborhood of the Arts