All images copyright by the individual photographers

	Grinding Corn and Teff by Jim Patton   This awesome exhibition, that delightfully captures both impressive and uplifting moments in the lives of some of the citizens of Ethiopia, is a great tribute to these people, and to the outstanding photographic talents of Jim Patton. Long known for his creative and profound understanding of ethno-cultures in far distant lands, it is very apparent why his “bio” states that his passion is for people, and I would personally add that in all of his images, there is an exhilaration, vitality and vibrancy that is unsurpassed. I would love to comment further on every print, but being limited to only two, I chose a group scene and an individual portrait.   In a country where agriculture is of major and especial importance, the dynamic image of grinding and bagging cereals beautifully illustrates community fellowship, where family members all work diligently together, to ensure that every precious grain is ground and bagged successfully. Like the colors in all of Jim’s exquisite prints, the joyously varied saturated hues of the women’s apparel create a brilliant color palette that is enhanced in richness by the neutral hues of the background walls. The latter make a fascinating backdrop to the wooden posts and cross-pieces that form an almost haphazard framework for people to work from. The women, some with their children artfully suspended around their necks and shoulders, have a particularly arduous and somewhat dangerous task of doing their allotted jobs, often whilst having to maintain their balance on the rickety steps. In reality, the casual observer probably should not be alarmed, as this milling operation has been honed to perfection over countless generations of families. All of the women are hard at work, although the solitary male present is seemingly just an interested spectator, or possibly he is the owner of the “mill.” It is of great interest to note the creative triangle the worker’s form, which further enhances this outstanding print, an image that is both uplifting and inspirational.   Peter A. Marr
	Albright Knox Gallery Enhanced with a Rose & Trusted Painter by David Perlman The eye-catching display of the two titled pieces above, superbly illustrates David’s outstanding creativity in this exhibition of his unique photographs and assemblages. As Elliott Erwitt so eloquently stated, “Photography has little to do with the things you see, and everything to do with the way you see them.”  Artists like David see more, because they are looking for more, always exploring the cutting edge of thought, technology and artistic skills. He has left the viewer a clue to his artistry in the way his name, “bio,” and two images are displayed on the wall just inside the gallery entranceway. In the two titled images the symbolism of the painter on the small step stool reaching up with his brush towards the art-hallowed halls of the Albright Knox is simply precious. In this revered gallery are some of the acknowledged great works of modern art. Could it be that this painter, with his somewhat broad brush, wants to demonstrate his artistic prowess by painting his very own pieces, initially perhaps on the stately columns or even the tiled floor? A more obvious scenario would be that the painter is raising his brush to salute the legion of artists whose works adorn the Gallery walls, a sort of homage to them, from a true artist himself. Perhaps the latter has some of his own works already hanging there! For myself, I would like to envisage that this painter of walls, ceilings and other more mundane subjects, is equally proud of what he does, and considers the results to be works of art to be admired even by the patrons of the Albright Knox.   I would be remiss not to mention the artfully inserted Red Rose in the extreme background, set dramatically behind a coiled circular rope, which is probably part of a viewer restraining system. What is the significance of this lovely rose? Is it a picture of a rose, or perhaps an enlarged living entity, to reflect that there is finite life and beauty outside the timeless images on the gallery walls, for which the sands of time may never run out? A final suggested thought may be that the rose represents life and beauty something that many viewers may not experience at the Albright Knox. Peter A. Marr
	Study in Pink and Blue by Jim Patton The many portraits, mostly set against vibrant colorful backgrounds, are incredible character studies of warm loving people, who are justly proud of their heritage and ethnic lineage. I was particularly impressed with the Study in Pink and Blue, and Agular, but being forced to comment on only one print, I chose the former. Here, this expressive photograph highlights an imposing young man, who is not just proud of his legacy and pedigree, but he is equally pleased with himself, especially of his good looks, striking physique and of his splendid attire. His headdress is carefully and distinctively knotted at the front, the peak following his intense stare, whilst his almost western style shirt is deliberately unbuttoned to proudly reveal the striking strands of highly colorful beads, that both reinforce his elegant facial features and his masculinity. The strong cheekbones underlie his steely gaze, which is not fixed on anything in particular, but a hallmark of his stature. It is interesting to observe that the short stick or object in his mouth accentuates both a feeling of casualness and excitement, perhaps to allure and entrance a young female.   It would be remiss not to point out that this regal portrait has been captured in a superb setting, in which the color palette of the blue hues in the background, together with the pink shades of the shirt make a memorable and brilliant statement, that adds significantly to strengthen the presence and stature of the young man. The vertical structures in the background also strongly support the viewer’s excitement that he is a great example of an Ethiopian man to be admired. A truly exquisite image. Peter A. Marr
	Confustion by David Perlman   As an ardent art-lover myself, it may not be surprising that I chose this piece to comment on, after I also chose David’s Albright Knox as a “Peter’s Pick.” Situated on the wall to the left of the Gallery entranceway, this image is hung above a truly dynamic print by Jim Patton. These two superb pieces are electrifying examples of the consummate work of these two great artists. In Confusion, two picture frames immediately grab our attention. The outside frame is actually a photographic print of a highly embellished and ornate pattern. To some, this may raise the question of how important such a surrounding is, or even should be. In art, over the centuries, huge opulent, often gilded frames were the accepted fashion, commonly dwarfing in size and detail the actual image. Today, there is a complete reversal, where frames are either non-existent, or very modest, with the emphasis frequently on the use of large expanses of off-white museum mattes.   In David’s thought-provoking print, an observer is depicted in an Art Gallery, in direct line of sight with the left vertical frame of a large modern work of art. If one could question this person, a possible response might be. “I’m not looking for anything, I’m just looking.” This viewer dilemma is all too common in Art Galleries and Museums, especially when there are no docents available to assist uninformed visitors. A large percentage of even devout art-lovers will gravitate to pieces that they are familiar with, enjoy, or are just fascinated by, walking quickly by works that they either dislike, or don’t want to take the time to explore. To the viewer contemplating the frame, it is very important to point out that this is one very ordinary fixture, one that would not merit prolonged attention. One is reminded of a quotation from Jeff Berner namely, “Looking is a gift, but seeing is a power.” The framed artwork depicted in Confusion, is a large colorful abstract piece that certainly deserves some attention, rather than fixating on the frame itself. David has poignantly captured an especial dilemma, to see or not to see, that is the question. When you go inside the gallery to enjoy this fabulous show, please take the time to explore every image to its fullest, and not be like the viewer who cannot see beyond the frame. Peter A. Marr
Additional Gallery Picks
	Framed by Julie Oldfield Julie explores the medium of aluminum metal prints with a strong selection of both black and white and color photographs in the East Gallery. Although the photographs are presented as ungraded images this photograph actually relays on the clever composition to in fact to provide three to four frames on an image of a single tree in the snow. These photographic frames effectively move the eye to where the photographer wants it to go, the line tree. It provides a strong separation from the viewer, almost like looking through a tunnel. Using black and white strips the image of colors which might prove to be distracting to the effect of this photograph. This allows the beauty of the aluminum substrate to literally shine through.
	Cape Cod Runner by Daniel Silver A lone figure running in the surf is made so much more dramatic by the counterpoint of the combination of sun and its reflection on the water. The runner is in silhouette, allowing the viewer to focus on his movement. The exhilaration of the simple act of running along the surf is displayed by the strong composition. Oranges contrast to the subtle colors of the surf.
	Morning Light by Steve Tryon Capturing light is the essence of photography as well as paintings. Rembrandt is one of the prime examples of the capture of light. Morning Light is in this same theme, showing the beauty of light streaming through the window, subtlety lighting the table and chairs. The combination of square format and black-and-white photography add to the composition. There is just enough illumination on the right hand portion of the picture to allow the eye to explore all of the corners on this picture.
	El Fuerte by Augustine Masotti Wrapped canvas images give a painter-like feeling to Augustine's images. El Fuerte strong graphic composition controls the eyes of the viewer, moving up the stairs and out the door to the bright sunlight. This contrasts with the muted pastels of the interior walls. The stairs provide the classic "s curve" that is most often seen withe streams and paths. Even the tree on the right is moving out of the room into the light.