Saturday, February 20, 2010
It is about community
This weekend was a testimony to the importance of connection as the photographic community celebrated two unique and unrelated events that define the diversity of fine art photography.
On the local scene, newly created Bokeh Gallery (www.bokehgallery.com) in downtown Phoenix, mounted new work of one of Phoenix’s prodigal sons, Bob Carey (www.bobcarey). Bob, a celebrated commercial and fine art photographer from Phoenix, moved to Brooklyn several years ago to play with the big boys and girls. He has returned for an intimate showing of his ongoing series “ Ballerina”. You won’t find pretty pictures of young agile debutantes doing plies at the barre instead picture a 40 something huggie bear clad only in a pink tutu. The results are at once poignant, vulnerable and funny self-portraits of an all around loveable guy. The community came out in full support to celebrate both his homecoming and his talent.
In a more historical realm, The Center for Creative Photography opened the long awaited recreation of the landmark exhibition New Topographics: Photographs of a Man-altered Landscape — originally mounted in 1975 at George Eastman House. It was originally curated by William Jenkins ( ASU professor of photography) in collaboration with the artists Robert Adams, Lewis Baltz, Bernd and Hilla Becher, Joe Deal, Frank Gohlke, Nicholas Nixon, John Schott, Stephen Shore, and Henry Wessel Jr. Friday night the center hosted a panel discussion, with Bill Jenkins and Frank Gohlke, moderated by Britt Salvesen co-organizer of the current project. Sadly absent from the discussion was Joe Deal who had to bow out last minute but whose influence and presence was abundantly recognized. Most importantly, it seemed the entire southwest photography community was there to support and celebrate our collective history and to marvel at the longevity of our medium.
For a more complete explanation of this exhibition visit: