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Peter's Picks of the Month
my ode to france and in the East Gallery El Campo: Images from Rural Mexico by Joseph Sorrentino May 20 - June 14, 2009
Peter Marr picked his favorite
photos of the show
All images copyright by the individual photographers
Mondrianesque Facade
by Dan Neuberger
Firstly, the
second print in the French Riviera series (1-5) really stands out
for its incredible use of saturated colors and bold design. It
is a unique image in that we see only vertical and horizontal
lines, which are usually classed as stable and formal in our
photographic books. No
oblique lines to add dynamic thrust, no s-curves to add
tranquility and movement. In this powerful image, we don’t need
the latter two dimensions.
We have dramatic shapes, and we have the power that most
affects the mind and body, namely, color.
Even in black and white this would be an excellent image,
but the inclusion of the highly saturated primaries, R,B and Y,
with a touch of white thrown in, results in a truly memorable
image. Your eye can go in
or out at will, up or down the drainpipe, into or out of the
barred window, and even into the shuttered window, but always we
take in the whole scene, dramatic, sensual, high color and high
drama, an image for the ages.
My second choice is
Paris Window. This is an exquisitely beautifully seen, and
photographed picture of a partial view
through an open window of a
small segment of a three or four story apartment building. As lovely
as the scene is, what really makes this image so exceptional and
outstanding is the foreground with the unique shape of the
partially-pulled drapes. There is even subtle detail in these
curtains, which adds to the atmosphere of the picture, together with
the inner blinds which are pulled back enough so that we only get a
limited view of the scene beyond.
This narrowed view gives an added intimacy and excitement to
the picture, which would not be present if the blinds were fully
drawn. This narrowed view is truly powerful, and adds a profound
sense of mystery and “awareness”. The orange roof in the foreground
might be a mild distraction to some because of its high color value,
but I just love it as it is. This is a beautiful image,
imaginatively seen and taken. Dan, I just enjoyed visiting every
print in your outstanding exhibition.
Pablo
It is a
distinctive privilege to see and study the unique images of Joseph
Sorrentino. His powerful portraits have a vibrancy and poignancy
that truly captures the intimacy and vitality of people who live and
work in a clearly impoverished area of rural
There are eight truly great chromogenic prints by Scott in
this exhibition, and I have been fortunate to learn about how these images were
photographically constructed. I am
not going to discuss what technique(s) were used, but the end result is that we
can all enjoy and marvel at these great “Black and White” prints.
All of these images involve looking beyond what you see at first sight,
whether it is through a door, a hallway or following a shaft of light into an
area or world that only ourselves can imagine, or want to imagine.
They are technically superb, with full tonal ranges from black to white
that includes also great shadow detail. I
would like to comment on all of them, for they are all great, but I chose the
Dining Room because of the added drama and mystery of the title. In
this print, the lighting , tonal gradations and detail are just exquisite, and
like myself, I hope all of the viewers want to go through the open door and
envisage what is beyond. The light
reflections, shapes and forms on the far wall are truly magical, and provide an
intriguing background as we direct our eyes to the framed prints leaning against
the wall. We are also aware of the unframed photographs on the single chair we
can see in the “dining room”. Did the author deliberately put the prints where
we can see them? Are there more prints around the corner? Is the intention to
hang these prints on the wall? and so on. Each viewer must visualize his own
scenario, including such obvious questions as- How large is the room beyond? Is
it going to become a photographic showplace? Is this, or was this room really a
dining room? - the title says it is. Most of these questions may seem
superfluous, but after acknowledging that the author has presented us with
wonderful images, beautifully seen, captured, and printed, it is pertinent I
think to look beyond why we enjoy these prints so much.
I certainly enjoy the mystery and excitement of looking beyond the
obvious. What do these prints mean
and say to you? I just hope that everyone
who looks intently at Scott’s portfolio at the Gallery will admire them for
their technical brilliance, for their power and greatness, and then go beyond
this stage to see where it may lead you.
Waiting at the Market
Camera Rochester is proudly
represented by five excellent prize-winning images, all of which I would love to
comment on, but as I am restricted to only one choice, I have selected Lynda’s
superb environmental portrait, not only because it is a great picture, but
because it makes a powerful statement in today’s uncertain world. Technically
and artistically the image is truly exceptional, one could not have set up and
posed this candid scene any better, even if one were on a movie set, or in a
studio with unlimited facilities with a plethora of suitable models. What we
wondrously see is a venerable man sitting in the back seat of an old disused
vehicle, possibly a taxi cab, a person who is intently waiting for someone or
something, or possibly he is taking in the whole marketplace vista.
His incredible expression, his piercing eyes, his arched hand with the
neatly manicured nails, together with the “non-pristine” quality of his jacket
and turban and the absence of his front teeth, all suggest a long, hard, and
economically poor life. Yet this is
a proud and strong man, who still yearns for a better life for his family and
nation. The marketplace is an ideal venue to look at people very much like
himself, of people who were never given a better chance in life, people with
little hope, few possessions, where even hard work would not enhance their lot
in life. He can clearly see himself in these people, and realizes that economic
times will probably change very little. “If only” would be foremost in his
thoughts and in his acute gaze. He was never given the chance to be rich and
“notable”, yet he knows in himself that he certainly is “notable”. He
understands that he has done the very best job he could given his circumstances,
and he is justly proud of his accomplishments.
He sincerely hopes that a large number of the people in the marketplace
will get a better chance in life, and I hope that his vision and hope will
eventually become realization.
Viewers should sincerely thank Lynda for this moving, poignant portrait. Great
job. | ||||||||||||
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