Ranger Rick
Member
Doris and John Norton Gallery for the Center for Creative Photography at the Phoenix art Museum
April 23 to August 14, 2011
Photographers featured in this exhibition include:
Pure Photography: Edward Weston, Linda Connor, Nicholas Nixon, Paul Caponigro, Chris McCaw
Post Production: Jody Forster, Mark Klett/Byron Wolfe, William Mortensen, Ansel Adams, Jerry Uelsmann, W. Eugene Smith
Mixed Media: Harold Jones, Tom Barrow, Robert Heinecken, Todd Walker, Kim Weston
Since the beginning of the twentieth century, photographers’ approaches to the photographic negative (or digital capture) have varied dramatically. For some, that initial source has a sanctity about it, so that the negative is printed “faithfully,” with little or no manipulation or cropping. Other photographers have seen the negative as a starting point, and do extensive post-production work in the darkroom or on the computer, to produce an object that looks photographic, but reflects the artist’s hand in the resulting print. At the other end of the spectrum are those photographers who set out to intentionally challenge the sanctity of the photographic negative or print, by gouging, cutting, tearing, painting upon, printing over, or otherwise undermining the “pure photograph.” Featuring about 45 photographs drawn almost exclusively from the collection of the Center for Creative Photography, this exhibition will explore the complexities within each of these categories and the maker’s thoughts about how they engage with their materials.
[Note: Closed Mondays/Tuesdays]
April 23 to August 14, 2011
Photographers featured in this exhibition include:
Pure Photography: Edward Weston, Linda Connor, Nicholas Nixon, Paul Caponigro, Chris McCaw
Post Production: Jody Forster, Mark Klett/Byron Wolfe, William Mortensen, Ansel Adams, Jerry Uelsmann, W. Eugene Smith
Mixed Media: Harold Jones, Tom Barrow, Robert Heinecken, Todd Walker, Kim Weston
Since the beginning of the twentieth century, photographers’ approaches to the photographic negative (or digital capture) have varied dramatically. For some, that initial source has a sanctity about it, so that the negative is printed “faithfully,” with little or no manipulation or cropping. Other photographers have seen the negative as a starting point, and do extensive post-production work in the darkroom or on the computer, to produce an object that looks photographic, but reflects the artist’s hand in the resulting print. At the other end of the spectrum are those photographers who set out to intentionally challenge the sanctity of the photographic negative or print, by gouging, cutting, tearing, painting upon, printing over, or otherwise undermining the “pure photograph.” Featuring about 45 photographs drawn almost exclusively from the collection of the Center for Creative Photography, this exhibition will explore the complexities within each of these categories and the maker’s thoughts about how they engage with their materials.
[Note: Closed Mondays/Tuesdays]