Rusty Weston at Black Box Gallery


Rusty Weston’s She Heard Footsteps

Rusty Weston’s image She Heard Footsteps from the series Unrealized will be seen in Portraiture: Through the Lens at Black Box Gallery in Portland, Or., curated by Todd Johnson. The exhibition runs from May 1-20, 2019. 

Dan Lythcott-Haims shows at Mirada Art in Half Moon Bay

On April 12-14 11am-6pm Dan Lythcott-Haims will be showing his work at 337 Mirada Art located at 337 Mirada Rd Half Moon Bay, CA

Dan will also be showing in his own room (separate from BAPC) from
April 26-28 at stARTup Art Fair, Room 205, Hotel del Sol, 3100 Webster St. San Francisco.

Cindy Stokes at Center for Fine Art Photography

Cindy Stokes’ work Rise from the series Form and Formless will be shown in the show Life of Water at The Center for Fine Art Photography, curated by Jennifer Shaw. The exhibition runs from June 5-July 1, 2019

stARTup Art Fair/SF 2019

APRIL 26-28 @ Hotel del Sol, Room #305

We will be at stARTup Art Fair this year with a selection of work by BAPC photographers building on our recent show with On Dreams and Reality, Redux. Nine BAPC members will exhibit their work at this annual festival of arts in many media.

Adrienne Defendi shows @”Abstract Mind,” the Czong Institute for Contemporary Art, South Korea

Adrienne Defendi exhibits three Iterations I, II, III in “Abstract Mind,” March 8- 24, 2019 at the Czong Institute for Contemporary Art (CICA) Museum (https://cicamuseum.com/), Gimpo-si, Gyeonggi-do, South Korea.


Adrienne Defendi exhibits in “Holga Out of the Box,” @ TCC Gallery in Dallas, TX

Adrienne Defendi exhibits four works in the annual “Holga Out of the Box,” TCC Gallery in Dallas, TX. February 23 – April 13, 2019.

Gene Dominique in Black and White Magazine

Gene Dominique’s submission to the BLACK & WHITE Single Image Contest 2019 has been selected for a Single Image Award, which will be published in the Special Issue #131 of BLACK & WHITE magazine.

Reconsidering the Horizon

02-Lavin-Horizon-1-24inch

Curated by Renny Pritikin

Exhibiting artists:
Jack Androvich
Adrienne Defendi
Anthony Delgado
Steve Epstein
Steve Goldband & Ellen Konar
Irene Imfeld
Thomas Lavin
Erin Malone
Heather Polley
Ari Salomon
Gary Weiner

Artist’s Reception
Saturday July 20, 2013
2pm to 5pm

Curator’s Talk
Saturday July 20, 2013
3pm

A BAPC group exhibition at PHOTO, 473 25th Street, Oakland, CA 94612

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Photo Exhibitions to Check out this Memorial Day Weekend

We are coming upon a long 3 day weekend so take a day (Saturday is best as most galleries may be closed Sunday and Monday) and check out the interesting array of photography exhibitions currently in galleries around the Bay Area. You will still have 2 days to play…

John Chiara, Crestmont at Coral
Haines Gallery
49 Geary Street, Fifth Floor, SF, CA
through May 26, 2012

Susan Burnstine, Absence of Being
Cordon|Potts Gallery
49 Geary St., Suite 410, SF, CA
through June 2, 2012

Paul Schiek, dead men don’t look like me
Stephen Wirtz Gallery
49 Geary St., 3rd Floor, SF, CA
through June 2, 2012

Tom Chambers
Modernbook Gallery
49 Geary, 4th Floor, SF, CA
through June 2, 2012

Nina Katchadourian: Seat Assignment
Catherine Clark Gallery
150 Minna Street, SF CA
through June 9, 2012

Leonard Zielaskiewicz, FOUND
Smith Andersen North Gallery
20 Greenfield Avenue, San Anselmo, CA
through June 9, 2012

Contents: Love, Anxiety, Happiness and Everything Else Critical Mass 2011
Rayko Photo Center
428 Third Street, SF, CA
through June 15, 2012

Urban Information, Group Show
SLATE contemporary gallery
473 25th Street, Oakland, CA
through June 16, 2012

Mannequin, Lee Friedlander
Fraenkel Gallery
49 Geary, SF, CA
through June 23, 2012

Dorothea Lange, A Photographer’s Journey
Scott Nichols Gallery
49 Geary Street, Fourth Floor, SF, CA
through June 30th, 2012

Eric William Carroll, 2012 Baum Award: Eric William Carroll
SFCamerawork
657 Mission Street, 2nd Floor, SF, CA
through June 30, 2012

Robert Heinecken, Edmund Teske, Experimental Photomontage
Robert Koch Gallery
49 Geary St, Suite 550, SF,CA
through June 30, 2012

Photography in Mexico, Selected Works from the Collections at SFMOMA
SFMOMA
151 3rd Street, SF, CA
through July 08, 2012

About Face
Pier 24, SF, CA
through February 28, 2013

Review of Walker Evans at Stanford

I went with a group of Internet photo friends to the Walker Evans show at Stanford on Saturday. Richard Gordon asked me to send a note if the prints in the show were good ones. Here’s an ambivalent answer.

If you’re a disciple or devotee, every Walker Evans show is a good one just because you see some prints again. If you’re an aficionado but more critical – or are less devoted – the Stanford show might seem like ho-hum, more-of-the-same. One nice thing is its scale: It’s the (younger) Fisher family’s collection of Evans’ work, and it seems to have been collected by saying ‘Jeffrey, we’ll take everything you can lay your hands on.’ They don’t seem to have a special collecting eye, they just reach out for one of everything. They’ve missed a few I always want to see again (the watermelon boy, Richard Perkins Contractor, Cherokee Parts Store), but they’ve caught a few I hadn’t seen before or had ignored, including a head-on version of the post office in Sprott, Alabama, with a porch-full of patrons and loungers.

Walker Evans, Broadway, 1930. Gelatin silver print.  Lent by Elizabeth and Robert J. Fisher, MBA ’80. © Walker Evans Archive, The Metropolitan Museum of Art

Walker Evans, Broadway, 1930. Gelatin silver print. Lent by Elizabeth and Robert J. Fisher, MBA ’80. © Walker Evans Archive, The Metropolitan Museum of Art

The subway series is well represented in dark prints. Maybe Evans wanted them that way, but I don’t remember seeing them so dark and haven’t seen them reproduced that way. Anyhow the printing accentuates the darkly underground feel.

On Richard’s question of how these particular prints look, the answer is complicated because a wall-sign says they’re prints he made or approved/supervised, but the title cards don’t say which are which & I couldn’t tell which he made and which were by Thomas Brown or Jerry Thompson. Evans wasn’t a consistent printer – maybe he liked them all when he printed them, or maybe he kept some that could have been thrown away. Some, like the famous BW man in Havana, are great, with lovely highlight detail. But you can see he didn’t always care too much: the particular print of the striped New Orleans lady barber that he reproduced in American Photographs was so weakly fixed that now it’s light brown.

I enjoyed the copies of post-war Fortune magazines with his work, but the accompanying text baffled/horrified me. A wall-note said he made ten thousand color transparencies for Fortune – I had no idea there were so many. But the note also said neither he nor the magazine arranged for photo-printing, and so the only versions we have are the aging magazines; no dye transfers or Cibachromes. Because it’s hard to imagine that they exist and nobody has located and reproduced them, I suppose Fortune cleaned out its archives and destroyed its photo-fortune?

What I enjoyed most was seeing finely detailed prints that were small. I’ve fallen in too heavily with the trend toward large prints, and I was re-awakened to the pleasure of exquisite prints that compel the eye to enter them and search search search for the tiniest details: What tiny highlights! And what does that little sign on the wall say? It’s a trip I’ve been missing lately.

Kirk Thompson