Ron Kern - Photographer

"Retiring" from Photography, sort of...

2012-02-10T10:14:00.001-05:00

Here is a link to an essay regarding my retirement from photography. Any comments that you may have about it can be sent to ronkernphoto@gmail.com. Thanks!

Photographs That Changed Me #3

2012-02-01T08:55:00.009-05:00

Paul Strand, St. Francis and Ranchos de Taos, New Mexico

This is part 3 of a series of posts about a selection of photographs that influenced my perspective of photography, or simply inspired me.

This photograph summarizes much of what is great about Paul Strand's work in New Mexico. After viewing Strand's negatives of New Mexico Ansel Adams was moved to dedicate himself to photography as a means of artistic self-expression.

Strand's time in New Mexico was turbulent. His relationship with Stieglitz and his wife Rebecca was disintegrating. Strand has trusted Stieglitz. That trust was blown apart after he found that he had been manipulated and Stieglitz was using Rebecca not only against him but even against O'Keeffe.

Strand's New Mexico work is a result of hard work and inspiration. He had makeshift darkrooms and worked in rather crude circumstances. While staying at Mabel Dodge's home on the edge of Taos, from the homes lookout, he would watch clouds and storms develop and then time how long it would take to get to various sites where he wanted to photograph. The above photograph is obviously a result of that exercise.

Strand's work has always been an inspiration. Many of our trips to New Mexico included photographing at various sites where Strand made pictures. This was an incredible and inspirational learning experience that shaped my seeing and appreciation of the use of light in the camera to make photographs. I also began to look past the obvious documentary type of photograph to make more expressive work.

Below is a photograph, Gateway to Truchas, New Mexico, that I made as a result of Strand's inspiration. (Links to other posts in this series: #1 and #2.)

Two New Polaroid Photographs of Carmel's Historic Grain Elevator

2012-01-24T18:05:00.002-05:00

"Instant Love" at Mad Art Gallery, Dublin, Ireland and Prism Magazine

2012-01-19T17:04:00.006-05:00

(click the poster to enlarge)

As I've posted here in the recent past I have three photographs in an international Polaroid exhibition, "Impossible Love," curated by Karol Liver.

Mad Art Gallery in Dublin, Ireland is hosting this exhibition with support from the Impossible Project.

Because of the success of the exhibition's opening and the interest that it has created, it was immediately extended one week! The photographs and the live video feed showed that there was a big and enthusiastic crowd at the opening. (I have just found out that the exhibition has been extended yet again to February 2, 2012!)

Karol Liver also is the editor of the incredible online magazine of fine art photography, Prism. He has created a Special Edition of Prism in coordination with "Impossible Love" exhibition.

This beautifully designed magazine gathers together all of the exhibited photographers' (plus three additional) thoughts and work into one place. The resulting presentation is impressive.

The quality of the photography shines through. The fact that photographers from many different countries are included results in a collection that is multidimensional, original and fresh.

I feel very fortunate to be included in this exhibition along with all of these incredible photographers. Without extra effort from Karol Liver rescuing my photographs from Customs I would not have had this opportunity to have my work on the wall at Mad Art Gallery. Big and Huge thanks to him.

Please take the time to view the Special Edition of Prism and experience the excellent work from photographers all over the world that utilize various Polaroid processes to create their art.

I strongly suggest that you view the work in full screen mode where you can easily page through the work.

Here's a direct link to the "Impossible Love" Special Edition of Prism Magazine. (Please realize that there is nudity in some of the artist's work.)

Changes

2012-01-11T10:18:00.008-05:00

For some time now I've alluded to changes that were forthcoming. So, today I thought I would post the bottom line.

In the coming days I will write an essay about this decision and Julie and I are considering making a video interview about this and a few other things.

So here is the bottom line: I am "retiring" from photography and the photography community. This does not mean that I will no longer be making photographs; I will continue to photograph but in a much more limited and private way.

The last few weeks have been a hoot. I've been going out with a little bit of a bang thanks to the 2 Photographers Works In Progress Exhibit at Midland Arts and Antiques Market, Mad Art Gallery in Dublin showing some of my new Polaroid work and the effort to save Carmel's grain elevator.

So that's it!

Exhibition in Dublin, Ireland

2012-01-10T20:23:00.007-05:00

Here's the press release:

Go to this link to download a pdf of the press release.

Carmel Photographerʼs New Work Featured in Dublin, Ireland Exhibition

Ron Kern of Carmel, Indiana is exhibiting three photographs in an international exhibition of Polaroid photography, “Instant Love,” at Mad Art Gallery in Dublin, Ireland.

The exhibition, which opens on January 14, is also complemented by a special edition of Prism Magazine, a bi-monthly on-line fine art photography magazine.

The show features over 20 artists from all over the world (Ireland, Australia, USA, Italy, Poland, UK, Czech Rep., Germany) using various instant photography methods. The show is also officially supported by The Impossible Project – the number one manufacturer of brand new instant film for Vintage Polaroid cameras. The show is curated and organized by prism Magazine editor – Karol Liver.

Currently Ron is also exhibiting 54 photographs at Midland Arts and Antiques Market in downtown Indianapolis as a part of the 2 Photographer Works In Progress project. This exhibit is a part of the Indianapolis Downtown Artists and Dealers Association Super Bowl TURF initiative and will be up through February 7, 2012. The three photographs that are in the Dublin exhibition are also at Midland Arts and Antiques Market.

Below is screen resolution copy of “Grain Elevator 1, Noblesville and Ron Kernʼs thoughts about his Polaroid photography.

For print resolution files and additional information please contact Ron at ronkernphoto@gmail.com or at 317.507.7888.

ronkernphotographer.com

When photographing I feel and sense the spirit of what I am seeing. The "design" of the subject or scene becomes an integral part of the final composition. I examine and present nature's and/or man's mark, the combination of which is often society's response to my subject. The resulting photograph shows the condition and existence of the subject within a context, literal or metaphorical.

For my Polaroid work I use a vintage Polaroid 420 camera. I make exposures onto Fuji instant color film. I recover a negative from the portion of the film that is typically thrown away. It is digitally scanned, converted to a monochrome image in Adobe Photoshop and printed with an archival inkjet printer.

Ron Kern January, 2012

The Imminent Demolition of the Carmel Grain Elevator

2012-01-07T20:36:00.009-05:00

Contrail, Power Line and AbandonedGrain Elevator, Carmel, IN

(Click to enlarge photographs.)

"Thus we have the American grain elevators and factories, the magnificent FIRST-FRUITS of the new age." - Le Corbusier, Towards a New Architecture, 1927.

A photograph of Carmel's landmark historical grain elevator structure is one of the two anchor images of my project, Truth From Perceptions. Currently it is in the 2 Photographers Works In Progress Exhibition at Midland Arts and Antiques Market in downtown Indianapolis.

I had also written about the area in a post from this blog dated August 9, 2011. These photographs were included in that post:

This is a portion of what I wrote about this area: It was a gorgeous winter day and it was like the sky was playing its own concerto. The interaction of the natural clouds with the contrails was quite something. The area where these photographs were made is one that stills reveals Carmel's history as a small town whose livelihood likely revolved around this grain elevator adjacent to the railroad tracks - maybe that is why I'm drawn here so often.

Imagine my surprise when I read on Twitter this past Saturday that it is a done deal that the City of Carmel is going to demolish the grain elevator. Apparently, technically, it is the Carmel Redevelopment Commission (CRC) that is going to do the deed. According to City documents the CRC requested the Board of Public Works, which consists of the Mayor and two appointees, to write a resolution to demolish the structure. Apparently that three person Board of Public Works has the power to act on the behalf of the CRC and indeed they did.

From what I've been told from a very reliable source the CRC can do whatever it wants to in this area by virtue of zoning law. The CRC is an appointed government entity that does not answer to Carmel's City Council and therefore the citizens of Carmel. And today I found out that they actually are able to encumber the City of Carmel with debt without getting approval from the City Council, ie the Citizens of Carmel. That was a shocker.

Apparently the Mayor and the CRC have a plan to build an additional water tower straddling the Monon Trail that has fountains or some such thing and rather than consider integrating the grain elevator into the plan they are going to demolish it, again, with no public input. There are instances where these structures have been reused in various ways. Being a part of the Arts and Design District I would hope that rather than tear down one of the last historical structures connecting Carmel to its past that the CRC would come up with a more creative solution. Maybe even ask the public and artists and architects for some ideas. But recent history shows that Carmel's government likes shiny new things. Problem is that, not much later, those shiny new things become dull older things that seemed like a good idea at the time.

It was extremely disappointing to see in an Indianapolis Star article Carmel Clay Historical Society's (CCHS) board member Fred Swift easily dismiss this structure as having no historical significance. Yet in the next breath he makes the case for the structure when he acknowledges that the structure has been a part of Carmel's landscape for ninety years and was one of Carmel's largest employers before Carmel was a "big suburb."

Apparently now that Carmel is a suburb we no longer have any use for our agricultural past. I expect more than this from an organization that is supposed to be protecting our history outside of local politics.

I find it ironic that the CCHS is housed in, what I'm certain Mr. Swift considers historically significant structures, railroad depot buildings that were repurposed to suit CCHS' needs and are in the shadow of the grain elevator.

Even more ironic is this news story from Current in Carmel; the first two paragraphs are here:

The City Council Monday night approved an ordinance authorizing historic preservation and the creation of a historic preservation commission.

The ordinance, which passed with a 6-1 vote, was proposed to “provide a means to promote the cultural, economic, and general welfare of the public through the preservation and protection of structures and areas of historic and cultural interest within the City” and to “maintain established neighborhoods in danger of having their distinctiveness destroyed,” among other stated purposes.

Zack Myers of Fox 59 news interviewed me for their story on the demolition of the grain elevator.

I encourage you to read an article about all of this written by Jonathon Haag that can be found on his blog, Innovate Carmel.

Here is a recent letter to the editor of the Indianapolis Star by Jane Oakes:

Maybe we can progress without
tearing down grain elevator

6:41 PM, Jan. 05, 2012

I hadn’t thought about the Carmel Grain Elevator in years, but all of a sudden the story on Wednesday, Jan. 4 (“Eyesore or landmark, elevator’s coming down”) brought back a virtual flood of memories. When I moved to Carmel as a child, there were 771 people living there, as attested by a sign at the south edge of town.

At the Carmel school, all in one brick building at the east end of Main Street, I was in the same class with both Fosters and Kendalls, the families that owned the grain elevator. The Monon Railroad was a large part of the community from the proximity to the grain company to the hook by the large door that snagged mailbags each day. Putting a penny on the tracks was an exciting pastime; I’ll bet if I looked carefully enough I might still have a very thin, flat, smashed penny. Progress does not always mean removing the past. Sometimes it means honoring it through visible memories.

Jane S. Oaks

Indianapolis

A fellow grad from Carmel High 1976 had this to say about the grain elevator:

The Carmel Grain Elevator should be preserved as a historical landmark... Even as the town moves forward, and the landscape through the years has changed, it should always leave reminders of what once was.

Mike Sapp

Also there is a discussion on Carmel City Councilor's Rick Sharp's Facebook page.

Carmel Grain Elevator

2012-01-04T14:01:00.004-05:00

Carmel Grain Elevator, 2009 (Made with a Holga)

2 Photographers Works In Progress Exhibit Is Open

2012-01-03T11:06:00.001-05:00

Artists' Reception this coming First Friday, January 6, 2011 at Midland Arts and Antiques Market. For more information go to the 2 Photographers Works In Progress Website.

Photograph by Satch

Moving Forward

2011-12-21T10:55:00.006-05:00

Ron with his Polaroid, Photograph by Satch, 11/23/2011

As I begin to move forward with a new direction for my photography, I have been attempting to clarify my thinking about my work.

When I am photographing I feel and sense the spirit of what I am seeing. The "design" of the subject or scene (natural or manmade, intentional or incidental) becomes an integral of the final composition. I examine and present nature's and/or man's mark, the combination of which is often society's response to my subject. The resulting photograph shows the condition and existence of the subject within a context, literal or metaphorical. That being said, trying to recreate my feelings and perception through a lens and onto film via this machine, the Polaroid camera, is incredibly difficult and at times more than frustrating.

I photograph within the environment that I know or find myself in - the world in which I live. I do not find it necessary to travel to a specific locale to make photographs that present something exotic, unfamiliar or detached from my day to day existence. Rather I endeavor to delve into my surroundings within the scope of where I live my life.

Noblesville Grain Elevator 1

More New Work, Videos and Thoughts

2011-11-27T08:24:00.002-05:00

There is plenty of new work to see on the 2 Photographers Works in Progress blog. And we have our own domain - http://2PhotographersWorksInProgress.net. Please check out the new posts. Thanks!

Kyle Ragsdale's Costumerie and First Friday

2011-11-07T12:06:00.028-05:00

Sunset, Mass Ave

(Please note: Click on the photographs to enlarge.)

This past First Friday Satch and I headed out early to The Harrison Center for the Arts! to view Kyle Ragsdale's new work before the crowds showed up. We had an excellent evening up and down Mass Ave taking in several exhibits.

We really enjoyed Kyle's new paintings. Revisiting themes from twenty years ago this new work is a departure from his recent work.

The exhibit is consistently strong. The palette used for each painting seems perfect. I'm hardly an art critic, but I know when art moves me and many of these new paintings did indeed do that.

The scale of the paintings varied. The large works were impressive. I will point out two paintings that I really like.

The first is a young girl from Kyle's Fountain Square neighborhood. She is in a red cape that reminds me of Little Red Riding Hood, or is she a Superhero? Her pose is exquisite and Kyle catches her in a beautiful light.

The second painting is a large piece that features a Koshare, or a Pueblo Clown in the upper right corner. I wonder if this is a nod to Kyle's past in New Mexico. In the painting, the Koshare is the only figure that is looking directly at the viewer. I suppose the armor-clad Knight could also be looking directly at the viewer, but we will never know

Photographs of these pieces, along with other views of the exhibition are directly below this writing. If you missed opening on First Friday, I heartily recommend that you make the effort to get to The Harrison Center of the Arts! to take in Costumerie - New Work by Kyle Ragsdale.


Kyle Ragsdale

Also at The Harrison Center for the Arts! is Continuous, A Gallery Show - Illustrations by Herron School of Art + Design students. I especially liked "Continuity" by LorieLee Andrews.

Satch at "Continuous"

"Continuity," LorieLee Andrews

At the Anthenaeum, the A Cause for Elegance fundraiser for twenty local non-profit causes drew an impressive crowd. The art was refreshing and exciting. The detail found in the art showed that the artists are very dedicated to their vision. Dan Grossman wrote a feature article about Outside The Box and the incredible work that this organization does on a daily basis and about what A Cause for Elegance is all about. I invite you to visit this link and read Dan's article.

A Cause for Elegance (Dan and Satch in discussion)

Formations 2011, Kewanna, Indiana

2011-10-24T09:09:00.012-04:00

Diane Tesler's Studio/Gallery

On this past gorgeous Saturday (October 22, 2011) Satch and I made it to Kewanna to catch "Formations 2011," the annual exhibition that artist Diane Tesler presents in her studio/gallery.

Diane on the Right

We had a nice visit with Diane and Wade Bussert and enjoyed seeing all of the art work.

Wade Bussert with his Paintings and Satch

We also photographed and made a short video at that late artist James Spencer Russell's house.

Musicians Surrounded by Art

Promo Display for the 2014 Russell Exhibit
at the Indiana State Museum

The Late James Russell's House

The Genesis of the Exhibition

2011-10-19T11:06:00.013-04:00

Style, Elegance and Wit:
The Artwork of James Spencer Russell

January 26, 2014 - July 14, 2014
Indiana State Museum

James Spencer Russell

This is a post about how the Indiana State Museum’s James Russell retrospective came to fruition.

The artist James Spencer Russell of Kewanna, Indiana passed away in November of 2000 leaving over 2,500 pieces of his art in his home. The work was incredibly varied and was made over the course of his life.

After inventorying the work the estate called upon Dennis Jackson to hold a series of auctions to sell the work. At the auctions everyone that I spoke with about Russell’s work agreed that it was very, very good. The art was sold to several collectors and to some dealers. Among those collectors were Steve Conant and Tom Kuebler, both of Indianapolis.

Some time after the auctions had concluded I received word that the idea of holding a retrospective exhibition was in the works. Satch and I were really happy to hear of this. We were excited that arguably one of Indiana’s greatest contemporary artists, James Spencer Russell, who was virtually unknown in his home state, would get recognized and the public would have a chance to experience his art.

Over the past three years, out of his personal collection, Steve Conant has made donations to the Indiana State Museum of many works by Russell including drawings, small sculptures, paintings and assemblages. Steve hoped that by having this work in the museum’s collection the Board of Directors would see the quality of the work and would eventually be more likely to consider the exhibition as a worthwhile undertaking.

Thanks to Steve Conant’s slow but steady urging of Rachel Perry, Fine Arts Curator for the Indiana State Museum, to approach the museum’s committees charged with exploring the feasibility of the exhibition, the idea for “Style Elegance and Wit” came to fruition.

Steve then discussed this with Tom Kuebler and subsequently Tom made a trip to Kewanna to meet Wade Bussert, Russell’s close friend, and to see Wade’s collection of Russell’s work and biographical archive. The connection to Wade Bussert was accomplished previous to this during a visit that Tom and Steve had made to the Midwest Museum of American Art in Elkhart, Indiana. Brian Byrn, the museum’s curator was aware of the Russell estate and suggested Tom connect with Wade.

Sometime later Steve and Tom visited Kewanna to view Wade’s material which Steve later outlined to Rachel Perry and Chris Krok, one of the people involved the the Indiana State Museum Foundation. This resulted in a third trip to Kewanna by Rachel, Steve and Tom.

Tom Kuebler archived and went through the materials regarding Russell’s estate that he received from its executor and Wade Bussert including many photographs, slides and additional material. At this point Tom wrote a monograph, which was presented to the Indiana State Museum that contained a brief history of James Russell and photographs of a selection of his art.

The “exhibit process” at the Indiana State Museum involves presentations to two different committees of peers - an “Exhibit Focus Committee” and the “Leadership Team.” The committees evaluate the feasibility of the exhibition proposal by examining such things as audience, funding, available space, cost of insurance, etc.

Thanks to Rachel Perry’s continued efforts at the Indiana State Museum and the accomplishments of Steve Conant and Tom Kuebler the exhibition has become a reality.

There is a ton of work to be done. Additional historical materials have been gathered and are being processed. The next step is to, through historical documentation, reconstitute the incredible life of Indiana artist, James Russell.

By James Spencer Russell

Thanks to Steve Conant for providing a big portion of the information contained in this post.

And, thanks to Rachel Perry for additional details.

"Photographs That Changed Me" - #2

2011-10-16T11:25:00.010-04:00

Redding Woods, Connecticut, 1968, Paul Caponigro

This is part 2 of a series of posts about a selection of photographs that influenced my perspective of photography, or simply inspired me.

Over the years in several locales I've had the opportunity to see and examine many of Paul Caponigro's prints. Over the years I've studied his work via books and because of his book, Seasons: Photographs and Essays, I was inspired to do work with Polaroid materials .

Sometime in the mid 1980's at Photography West Gallery in Carmel, California, I first viewed Paul Caponigro's photograph, Redding Woods, Connecticut, 1968. From across the room it drew me in to explore the depths and spirit of the composition all enveloped in a quality of light that was exhilarating.

This photograph opened my mind to more closely seeing and appreciating nature's abstractions within my environment.

The spiritual essence contained in Paul Caponigro's work always enlivens me and artistically reassures me.

Links to other posts in this series:
#1

First Phase Complete - Truth From Perceptions and Changes Coming

2011-10-12T22:57:00.000-04:00

As of this evening I have completed the first phase of Truth From Perceptions. There are about 135 photographs from which to cull the exhibit. I have made over 500 negatives during the last nine months. Now the editing begins. In some cases I will be presenting differing perspectives and "contact prints" that will show the process by which I came to the final image.

The work continues as I am exploring the use of Polaroid cameras to make photographs. Some of this work will be shown as well. I will continue to blog about the making of photographs up until, during and even after the exhibit.

This project has caused my thinking about my photography to be more focused and I foresee big changes coming. Final decisions and discussion about these changes will come after the exhibit.

New Blog Post - 2 Photographers Works In Progress

2011-10-02T07:25:00.000-04:00

Please head over to the 2 Photographers Works In Progress blog for a new post about my "Truth From Perceptions" project.

The Marshmellow Tugboat

2011-09-30T22:00:00.018-04:00

I'm departing from my regular posting regimen of art to post about something that I think is pretty neat. Click on the photographs to enlarge.

On a recent Saturday my wife Julie and I were hitting garage and rummage sales and as usual I was digging for records. I came across a 45 by The Marshmellow Tugboat - Michelle, Be My Girl b/w Please Don't Go, on the Blue Coral Productions label. This looked like it could be a real nice find.

After we got home I hit the omnipotent internet to find out about The Marshmellow Tugboat and the record. I couldn't find anything, not one thing. This was pretty rare. I typically have no trouble finding scads of information about almost any record that I look into. Julie had the idea to try to find the songwriter, Eddie Sandas. After some googling she found a lead. So I sent an email to an Eddie Sandas and sure enough he was the songwriter from The Marshmellow Tugboat! He is still in the entertainment business representing artists and various venues.

Being a record/music freak and not a music writer it is difficult to put into words what I think, but I'll give it a try.

Recorded in The Summer of Love, 1967 this record, to me, is a 100% classic. This record and band epitomizes what was happening in that incredible era, the golden era of Rock and Roll. Rock bands were popping up in garages and recording in studios all over the USA. There was so much great music happening that there was no way that every worthy band was ever going to get discovered and make it big. But that in no way takes away from the talent and ability that so many of these amazing regional and local bands had. The Marshmellow Tugboat is the perfect example of this historical phenomenon. Michelle, Be My Girl has all the great elements of a hit record. I like this record so much that I will be contacting Sundazed about this blog post and I hope that they give the record a listen. They've reissued some incredible "unknown" bands' records, so who knows…

Michelle, Be My Girl is an upbeat, straight-ahead rocking pop love song. The horns set the stage and the vocals kick right in with a Wall of Sound thing happening, but the mix is detailed enough to hear the separate instruments. The piano detail adds a cool little flourish and the drumming is dead on, always keeping a solid beat and adding in runs where they fit. The bass holds everything together with a sturdy melodic beat. The lead vocal fits into the mix and the surrounding harmonies are sophisticated yet simple and somewhat Beatlesque. I love the high "oooooooooohhhh" that finishes off the two breaks and the ad lib scatting right before the trumpet solo. The trumpet somehow reminds me of Penny Lane. I'm not saying that Michelle (another Beatles reference?), Be My Girl is a Beatles derivative. That is definitely not the case. The lyrics, music and way cool production are their own thing and the song has it's own unique character.

Please Don't Go kicks off with a drum and horn intro and then gets right to the point. This is a classic slow-dance love song melody where the guy is pleading for his girl to stay with him. The drumming is rock solid; the transitions into and out of the piano and horn(s) solos are quite nice. The bass again holds down the beat in a bit of a counter point to the drumming. Again the production on this song is way cool. All of the instruments meld together to make the perfect accompaniment to the lead vocal. I love the piano and horn(s) solos and how the horns lead back to the lead vocal. And the guitar arpeggios, again way cool. For a group of young men, The Marshmellow Tugboat really had it going on.

Via email Eddie Sandas sent along some great information about the band and the record, including a scan of a poster! (He is the young man on the right in the striped shirt.) I thought it would be best to post his words rather than do a rewrite so you could hear directly from the group's songwriter. Here is the email:

1) The band was formed in 1966 and based out of Merrill Wis. 4 guys (originally lead, rhythm, bass and drums) with 3 lead singers. Guitar player doubled on trumpet and the bass player and myself doubled on Tenor and Alto sax. The first member change was in 1967 when one of the guitar players was drafting for Vietnam. At that time I switched from drums to keys and we got a new drummer. Over the next 4 years several other member changes were made until the group broke up around 1969-70.

2) The session that you have was recorded in 1967 at the Kennedy studios in Milwaukee. At the time the group was called the Poor Boys but by the time the record was released the band's name was changed to Marshmellow Tugboat. We did one more session in 1969 at a studio in Valparaiso Fla. which was owed by Shelby Singleton of Harper Valley PTA fame.

3) I always thought this was pretty cool for a 16 year old, I wrote the horn parts in the van on the way to the session which were all performed by the guys in the band. The horns parts were never played or rehearsed until we got to the studio that day.

4) Blue Coral Production was just a name that I made up for the label. We only cut 500 records which were mainly sold in a 50 mile radius of Merrill. I find it very interesting that you found a copy in Indy. Someone from Merrill must have moved!

Wausau, Wis bringing together numerous old bands from the 60's over a 2 day period. We performed with all but one of the original members and it was a hoot! We actually ended up sounding pretty darn good.

A couple of days after I had traded emails with Eddie I got this note from Bruce Kanitz (he is second from the left on the poster):

My name is Bruce Kanitz and I am(was) the drummer for the Marshmellow Tugboat and did the lead vocals on Please Don't Go and harmony on Michelle Be My Girl. I had a discussion with Eddie yesterday about your emails and what you are doing. I think this is awesome and very interesting. Eddie did send me a copy of your emails and I opened an account with Soundcloud, clicked on your link and enjoyed every minute of our recording. I do have a copy of our 45 on my jukebox and selectively play it for family, friends, etc. Those were definitely some of the best times of my life playing with that group. After that group I continued playing with various groups for approximately 15 more years and still have my drums just in case.

It is excellent that Eddie and Bruce took the time to write up share this information. Big and huge thanks to them. This has been great, great fun.

P.S. I'd love to hear the music from the session in Florida!

Click here to listen to Michelle, Be My Girl b/w Please Don't Go by The Marshmellow Tugboat.

Photographs From Kewanna Visit

2011-09-23T09:55:00.005-04:00

Kewanna, Indiana

(Click on the photographs to enlarge)

2 Photographers Works In Progress

2011-09-12T12:07:00.001-04:00

Please head over to the 2 Photographers Works In Progress blog for a new post about my "Truth From Perceptions" project.

Kewanna Visit August 31, 2011

2011-09-11T11:36:00.005-04:00

Here is a short video by Satch from our recent visit to Kewanna as referenced in the post regarding the James Russell retrospective exhibition. The video is made in Diane Tesler's studio. (Of course Satch had to be a little different and make a vertical video; I like it.)

"Photographs That Changed Me" - #1

2011-09-06T09:18:00.008-04:00

Ansel Adams, Monolith, The Face of Half Dome, 1927

It seems like every day we are inundated with the best of this, the best of that, vote for the best, photographs that changed the world, the list of the best whatever, etc., etc., etc., ...etc. (in my best Yul Brynner voice).

I've grown weary of this ranking thing. Let's face it, it is nothing more than a crutch for many that are not interested in seeking out interesting material for themselves. But it gave me an idea for a series of blog posts ("Photographs That Changed Me"), so I thought why not join the fray.

In no particular chronological order nor importance, I'm going to make a series of posts about a selection of photographs that influenced my perspective of photography, or simply inspired me. That being said, I am going to start at the very beginning.

Many of us that photograph were influenced by Ansel Adams. I mean, how could we have not? For years his images and books were everywhere and his persona was larger than life. The first photograph of Adams' that moved me was, "Monolith, The Face of Half Dome, 1927."

This was Adams' first photograph where he utilized "visualization." He was only 25 years old when this glass plate negative was exposed; the zone system was in the future. In his mind's eye Adams saw this scene as a"brooding form, with deep shadows and a distant sharp white peak against a dark sky." Utilizing a red filter he was able to put onto the negative, and subsequently onto the print, what he had visualized.

I first saw a print of"Monolith" in Santa Fe, New Mexico in 1986. Studying the history of this photograph opened my mind to the possibilities of visualization and further down the road to the Zone System. Having this knowledge, and subsequently learning and applying the associated craft, has been paramount to my ability to make photographs, even when using plastic cameras.

Links to other posts in this series:

Style, Elegance and Wit: The Artwork of James Spencer Russell

2011-09-02T10:13:00.008-04:00

Updated September 5, 2011

The Indiana State Museum will be hosting a posthumous retrospective exhibition of the artist James Russell. Who, you might ask? Exactly.

The exhibition is entitled, "Style, Elegance and Wit: The Artwork of James Spencer Russell" (January 26 - July 14, 2014). To the left is a photograph of these words written in Russell's hand. He believed art had to contain those three elements.

Russell, an Indiana born contemporary artist, led an incredible life that is virtually unknown except to a few collectors. Satch is one of those collectors. Russell made art for himself and never sought the spotlight. Yet Russell was unbelievably prolific. He exhibited in the finest galleries in NYC from the late 1950's until late in his life.

Realizing that Russell's work was of importance this small group of collectors felt that a museum show of his work should happen.

Recently we had Steve Conant and Tom Kuebler, two collectors of Russell's work, along with Rachel Perry, Chief Curator, Arts and Culture and Susannah Koerber, V.P. Arts and Culture both of the Indiana State Museum, to our house to view Satch's collection of Russell. Shortly, after that afternoon we were informed that there indeed would be an exhibition!

Earlier this week Satch and I, along with Tom, Rachel and Susannah headed up to Kewanna, to meet with Russell's good friend Wade Bussert and to view a portion of Russell's personal archive - what an incredible experience.

It is so exciting to see a contemporary Hoosier artist get proper recognition.

There is so much to be told about Russell's life that I can only begin to scratch the surface in this note. I plan to blog about the exhibit adding information as more is revealed and learned. It will be exciting to see how all of this progresses. Now that we have an exhibition, the hard work has just begun.

On a purely personal note, it is great that I can finally share this information as we've needed to keep all of this process quiet for the past five years!

And on another purely personal note - I need to recognize Craig Smith, owner of Craig Smith Gallery, who represents Satch. Craig curated a fine exhibition, Text as Art at the Krasl Art Center in St. Joseph, Michigan in the Fall of 2008. Craig recognized that Russell's work was exceptional and chose three pieces from Satch's collection to be included in the exhibition.

2 Photographers Works In Progress

2011-08-22T22:07:00.000-04:00

Please head over to the 2 Photographers Works In Progress blog for a new post about my "Truth From Perceptions" project.

Truth From Perceptions

2011-07-31T16:26:00.010-04:00

The project that I am working on that is a part of 2 Photographers Works In Progress started sometime around February of this year. It's genesis came at me from two directions.

First - one day I read this poem that really knocked me out:

Societal Instincts
Edward Henry Satchwill III

To separate truth from perceptions
Is to remove all its coherency
Yes, absolute truths do exist in man
But their comprehension is beyond us.
Happiness, envy, love disgust and hate,
All ideals which are never to be matched,
And for this reason, clichés are needed:
"Love is exactly what you think it is.
If you don't know what you think, then you are
Lucky, for you can find love anywhere."
Such are the I.V. drips that keep us here,
Below enlightened, but above insane.
Not reaching full potential, but also
Not falling to our deepest depths of life.
So, in this way, do we oppress ourselves?
Or engage in paternalistic aid?
The fallacy of minds trumping the mind
Seems understood by none but you and I,
The weight of all mankind now upon us.

© 2011 Edward Henry Satchwill III
(reprinted with permission)

The concept of separating truth from perceptions and the poem's examination of the human condition continued to bounce around in my mind. Many times in today's world truth is ignored and calculated perceptions are melded into one mass marketing scheme; yet in reality we all must end up dealing with truth rather than the perceptions that we are bombarded with every day. These notions led me back to thinking about and revisiting particular photographers works that are important to me - Minor White, Alfred Stieglitz (especially his Equivalents), Harry Callahan and Aaron Siskind.

Second - very shortly thereafter I met Matt Lafary and Angi Skaggs in Fountain Square. After getting to know them it became very apparent that they had a passionate affinity for film photography. Their knowledge and love of cameras was impressive. This rekindled a notion that I should take a look back at some of my cameras.

Thanks to Satch, I have used rudimentary plastic cameras (Holga and Diana+) for the last several years. I had completely let go of the science and process of photography and embraced seeing and perceiving my environment. But now I felt that the time was right to explore the possibility of using a more precise camera again, for a specific project.

I started to put all of these things together and got the idea to do an ongoing project. Conceptually, the poem would be the inspiration to see and perceive. Off of the shelf, I pulled an old Leica SL2 (35 mm), that had an excellent wide angle lens. This would be the project's tool. Using a hand held cameral was important. Wanting to be mobile and photograph at will, I did not want to be saddled with a tripod. I ran a quick test roll to see if the camera was in working order and realized that I would need better metering, so against my better judgement, out came the spot meter - a light meter that measures the reflectivity of a tiny spot within a scene. Employing no metering or through the lens focusing since using the plastic cameras, all of this kind of jolted me a little bit.

So, out of all of this the project "Truth From Perceptions" was born. One of the first photographs that I made came from the wall of Satch's studio. It seemed like an appropriate starting point.

Untitled

Polaroid 420

2011-06-06T09:17:00.011-04:00

(click on photo to enlarge)

The day that I met Angi Skaggs and Matt Lafary at Square Rootz Deli in Fountain Square, Matt had a little Polaroid 100 camera that uses pack film. I guess I just don't keep up with current offerings from photo companies because I had no idea that Fuji made pack instant film that would work with these fabulous old cameras.

I have been in Polaroid depression since they quit making Type 55 which, for years, was my bread and butter film for my Speed Graphic. So I was pretty stoked to find out about what I had been missing.

With help and advice from Angi and Matt I began looking for a Polaroid camera that would work with the Fuji pack instant film. I figured I could run across something when out looking for materials for Satch's art. I did find a few for decent prices but the condition was not to great and their shutters didn't seem to work well at all.

After another conference with Angi and Matt I was informed that these cameras have an unusual battery that makes the shutter perform correctly and that the batteries could be purchased online. Aha!

So, again I began searching and came up with nothing even after visiting what seemed like hundreds of places looking for Satch stuff.

One morning while, at the behest of Satch, we were cruising the rural countryside for yard sales, on the fringes of being in the "sticks," I found it - a Polaroid 420, brand new in its case - there were even some flash cubes! After procuring the required battery it was time for a test to see if the 420 could do its thing. Having a couple of original packs of Polaroid film was also a bonus, so we loaded one pack and made a test photograph in our little garden. Voila! Success! - with big thanks to Angi and Matt.

Afterwords as I looked at the test photograph it occurred to me that the test photo looked exactly like an old Polaroid photograph that my Grandmother may have taken of my Grandparent's (Ralph and Edith Kern) garden.

I look forward to seeing where this new camera takes my photography.

Question

2011-05-13T13:20:00.004-04:00

Have "we" been good stewards of photographic art?

I think not. The proliferation of the digital imaging, easy manipulation and social networking has taken photography down a path that I am not fond of.

New Photograph

2011-04-18T11:02:00.004-04:00

It has been a while since I posted a new photograph. This is from the new series Truth From Perceptions.

Satch Exhibits Recent Work - Paintings and Assemblages

2011-04-02T21:30:00.008-04:00

Nine to Five

During the month of April the artist Satch presents her annual exhibit at Henry’s on East Coffee Bistro.

For her entire life Satch has been making art. Painting, photography, sculpture, jewelry making and assemblage are all directions that she has explored.

Weary of the corporate world that was an unrelenting series of glass ceilings, Satch took her leave and began pursuing her artistic vision.

Employing abstract painting and assemblages, and combinations thereof, Satch creates art as an autobiographical release and to process perceptions about life’s path.

Satch’s art is in many private collections and she has shown in numerous solo exhibitions as well as group exhibitions in London, Chicago, Indianapolis and Union Pier, Michigan.

Satch says: “I am delighted to be exhibiting at Henry’s on East Coffee Bistro. This is the second year that Henry’s has hosted my work and I truly appreciate the opportunity. This exhibit will showcase recent artwork and assemblages, most of which will be shown for the first time.”

http://satch-artist.com

Friday, April 1 at 7:00am – April 30 at 12:00pm

Henry’s on East Coffee Bistro
627 North East Street
Indianapolis, IN

Hours:
M-F 7 a.m. to 7 p.m.
Sat. 8 a.m. to 7 p.m.
Sun. 8 a.m. to 4 p.m.

Social Currency, The Shared Photograph

2011-03-22T15:33:00.005-04:00

Ron and Andy Chen discussing our piece (photo by Satch)

Since the Social Currency, The Shared Photograph exhibit will be coming down this Friday I thought that I would post the artist statement about the exhibit and its concept. Soon I will be posting photographs and a description of our piece.

Social Currency, The Shared Photograph - Artist Statement

The concept of this exhibition, photography as social currency, challenged me to take a closer look at the contemporary state of photography. Social currency is information shared that encourages further social encounters, increases one's sense of community, helps form one's identity and potentially provides status and recognition.

The digital age has ushered in a period in history where the "visual" dominates nearly every aspect of our day to day life. The incredible ease of producing a picture and making it immediately available for 24/7 viewing on social networks, photo-viewing websites, PDAs, etc. is transforming the very essence of photography.

Historically photography has been an analogue print medium. Today it is primarily a digital medium that has unique parameters and a transformed aesthetic; the computer screen emits light where a printed photograph reflects light.

This new aesthetic combined with instant access is propelling photography into internet parameters that both broaden and restrain it. The democratic culture and psychology of cyberspace certainly affects the work that is produced. Short attention spans and the consumer’s ability to interactively click through a series of images nearly requires the picture maker to bring forth bold, high-powered photographs. This is not a favorable tenor for investing time required to create and appreciate meaningful images.

The case could be made that these new circumstances are merely a result of high-tech contrivance and the hyper-democratic philosophy of social media. The vast numbers of individuals easily producing millions and millions of photographs, all of which are vying for attention on various networks, have revolutionized picture making, but it also has resulted in a fuzzy line between public and private imagery. While these images strive to create social currency the question must be asked, what is the constructive and quantitative effect? With the immense amount of images constantly bombarding the social network collective, it is hard not to envision a future meltdown calling into question the value of their social capital.

The portrait is so ordinary in contemporary life that it is nearly impossible to conceive of a time where it did not exist. The advent of the printed portrait photograph on paper, the carte de visite (1857) and the cabinet card (1866), resulted in the extensive exchange and collection of personal photographs thereby giving the general public the ability to seek a social identity.

Today, the explosion of the digital age’s easy-to-use cameras and social networks has ushered in history’s next watershed moment of using portrait (and self-portrait) photography as an integral element in forming one’s identity within a social dynamic.

Ron Kern, February, 2011

Pete Brown at Kellar Mahaney

2011-03-14T14:07:00.009-04:00

Pete Brown at Kellar Mahaney

During the month of March The Kellar Mahaney Gallery in Zionsville is exhibiting Pete Brown's stencil and aerosol based art. Full disclosure, Pete is a friend of mine and is a fellow artist represented by Lolly Mahaney. And, I am by no means an art critic. I like Pete's work so I thought I'd post about it.

It's terrific to see art shown in Zionsville that is somewhat out of the norm. Pete puts his own unique stamp on pop cultural icons and subjects as diverse as oompa loompas and exotic wildlife.

I especially like the pieces in the show that are on wood. There's something about how the paint works into and around the wood's grain that makes the work feel organic.

Never Shoulda Left

My favorite work in the exhibit is Never Shoulda Left which shows Barney Fife in a place a lot less friendly than Mayberry. He has blood on his uniform's pants and hopefully has more than one bullet for his revolver that he's holding in his hands. The wood grain makes for an ominous sky. Hand drawing by Pete and a piece of (real) police caution tape across the bottom complete this piece.

Check out the exhibit. Kellar Mahaney is easy to find; it is directly north of the Friendly Tavern.

(Click on the photos to enlarge)

Social Currency, The Shared Photograph, Opening Reception

2011-03-05T15:01:00.004-05:00

Here's a short video from the First Friday, March 4, 2011 opening reception for Social Currency, The Shared Photograph at the StutzArtSpace:

Dan Grossman's Article on the Exhibition (Nuvo)

Dan Grossman's Review of the Exhibitions (Nuvo)

Carmel Artists Ron Kern and Satch Exhibiting at Stutz Art Space

Ron Kern and Satch collaborated on a conceptual piece that is a part of the critically acclaimed group exhibition, curated by Andy Chen, “Social Currency, The Shared Photograph.”

Intertwining historic carte de visites and cabinet cards with contemporary portraits from Facebook, along with other contemporary and historical elements including a self-portrait made by Ron, the piece compares and contrasts the historical and contemporary use of portraits as the means to develop social currency.

Satch - “This is the first time that we have collaborated on a project of this size. It was very exciting to see the piece come together. This exhibit examines picture making as a part of our daily lives that we rely on which to communicate and create social interaction.”

Ron Kern - “The exhibit’s concept challenged me to take a closer look at the contemporary state of photography. The incredible ease of producing a picture and making it immediately available for 24/7 viewing is transforming the very essence of photography.”

Social Currency, The Shared Photograph
Monday - Friday 11 a.m. to 2 p.m. or by appointment
Cost - Free

Stutz Art Space
Stutz Business Center
212 W. 10th Street, Suite B110
Indianapolis, IN 46202

It Is About Time, The Time Is Now

2011-03-04T13:52:00.012-05:00

I have been struggling with finding the words to write this blog entry about Thornton Dial's new exhibit, "Hard Truths," at the Indianapolis Museum of Art. So, I've decided to go with more of a stream of consciousness and simply begin writing, see where it takes me and attempt to follow myself.

Joanne Cubbs Addresses the Reception

First, about the exhibition's well attended opening reception - It was our good fortune that we had arrived early as the documentary by Alabama Public Television, "Mr. Dial Has Something to Say" was playing in IMA's Davis Lab. Satch knew about Mr. Dial and his work but I was unacquainted. Being able to watch the entire program helped me begin to comprehend Mr. Dial's work and his long and complicated journey. The film was also a good introduction to the passion and dedication of Bill Arnett of the Souls Grown Deep Foundation.

Maxwell Anderson

Satch and I had been speculating as to whether Mr. Dial would be present, but we were hopeful. Very soon after we emerged from the Davis Lab, we realized that, yes indeed, Mr. Dial and his family were present. And, almost immediately, we recognized Bill Arnett.

IMA's Director Maxwell Anderson, as well as the exhibit's Curator Joanne Cubbs made terrific comments about Mr. Dial and his art and how the IMA's exhibition finally delivered to Mr. Dial his long coming acknowledgment as a master (my word).

There was a lot of hubub around Mr. Dial as the pleasure and delight of the evening's significance was palpable.

Hubub Around Mr. Dial

Satch and I sought out Mr. Arnett to offer our congratulations. He was quite cordial and we had a short chat about the exhibition and its importance.

We enjoyed a nice visit with Kyle Ragsdale and Jean Easter.

It was time to visit the exhibition. We had an inkling of what we were going to experience as IMA had purchased one of Mr. Dial's works and they had displayed two works as an exhibition preview. But we were not prepared for the amount of work (70 pieces) that displayed the skill of a artistic genius.

Photographing Mr. Dial and Family

Mr Dial's work transcends simple interpretation, it engages and challenges the senses on many levels - spiritual, political, aesthetic, emotional, intellectual just to name a few that immediately come to mind. It addresses the human condition in an unfiltered way that is free from academia, expectation and stereotype. It is contemporary art of the purest form.

I will leave to you, the reader, to do a little research and learn about the culutural origins of Mr. Dial's work. I do recommend that visitors to the exhibition take the time to watch the previously mentioned documentary before viewing the art.

Secondly - Satch and I wanted to briefly meet Mr. Dial but he was obviously getting tired and he was trying to finish his dessert! So rather than impose ourselves we briefly spoke to his son who assured us that our message would be delivered to Mr. Dial.

Bill Arnett (on the left)

Thirdly - The next morning we went back to the museum so we could spend more time with the art. At the top of the escalator that comes up from the garage entrance we ran directly into Bill Arnett - we had a nice long talk. He was very generous with his time. Arnett's passion and dedication to Mr. Dial and African American art is immeasurable. Throughout the last thirty years he has taken a lot of hits, but how anyone can question what this gentleman has made possible and what he has preserved for history is beyond my comprehension.

Satch and Kyle Ragsdale

In closing this long entry, I want to attempt to briefly explain how I see Mr. Dial's art. His work examines and makes meditative statements about the human condition and the historical role that humanity has played, and plays, in our journey. Ultimately his work requires me to look inward and think about what my responsibility is in the world and, in many ways, suggests a path, but a path that I must discover for myself. The physical construction of his work is complicated yet seamless. It relates to the subject matter in a way that challenges the imagination. In other words, the art and its message are in absolute harmony.

It is wonderful that IMA has curated this exhibition that presents Mr. Dial and his work in the proper light and context.

Big and Huge kudos to Maxwell Anderson and all of the staff at IMA. It is exciting to see our "little museum" step up to the plate and make a difference. Between "Hard Truths" and the 2010 La Biennale IMA is having quite a year.

Satch and I plan on making many more visits to IMA to view Mr. Dial's work. I may have more to say about it on another day.

Below are three videos and three links.

New York Times

Time Magazine

Indianapolis Star

StutzArtSpace

2011-03-01T13:33:00.006-05:00

Yesterday Satch and I were able to hang our piece, "Life in the Present Connected to the Past," without incident. After getting a preview, the exhibit, "Social Currency, the shared Photograph," promises to be excellent and the opening should be a blast.

Here are a couple of photographs from yesterday, one made by Satch of Andy Chen (exhibitor and the Director of the StutzArtSpace) and I discussing the piece and one that I snapped of Andy after he was finished hanging the exhibit!

There's going to be a live Twitter feed during the exhibit's opening so those that cannot attend will be able to check it out.

Andy Chen and Ron Kern

Andy Chen

Indiana Small Towns Project

2011-02-27T17:49:00.004-05:00

On my website I have posted the Indiana Small Towns exhibition from this past January at The Harrison Center for the Arts!

Stutz Exhibit Pt. II

2011-02-26T14:39:00.006-05:00

So Satch says that I am not allowed to post anything else showing the piece, which now has a title - "Life in the Present Connected to the Past."

She would like everybody to see the piece during the exhibit's opening at the Stutz this coming First Friday. (Scroll down to see updated description of the piece.)

New Work - Truth from Perceptions

2011-02-22T21:11:00.001-05:00

Social Currency, The Shared Photograph

2011-02-21T11:27:00.018-05:00

Stutz Art Space - Opens First Friday March 4, 5 to 9 p.m.

Satch and I are collaborating on a piece for the Stutz Art Space exhibit, Social Currency, The Shared Photograph, curated by Andy Chen.

Intertwining historic carte de visites and cabinet cards with contemporary portraits from Facebook, together with other contemporary and historical elements, the piece compares and contrasts the historical and contemporary use of portraits as a means to develop social currency.

A recent self-portrait of Ron made with a Polaroid SX-70 was scanned and then printed, combining the two historical modes of photography, analogue and digital. This photograph is displayed next to a red velvet Victorian photograph album cover featuring a mirror. By looking into the mirror the viewer may create their own transitory self-portrait enabling them to become a part of the piece. Encased by a computer screen frame these two elements of the piece are mounted onto an easel. The easel would have presented an album of carte de visites and cabinet cards in a prominent place in the Victorian home.

The intertwined photographs are shown in an accordion-like manner so that when viewers are looking at the various photographs they will be somewhat facing each other, rather than simply standing next to each other. The hope is that this will engender viewer interaction that will create social currency.

I will be updating the blog with more information as we get closer to the exhibit. Below is the conceptual sketch for the piece.

Conceptual Sketch

Satch constructing the piece

First Photograph from the New Project

2011-02-17T11:19:00.002-05:00

Working title of the project - Truth from Perceptions

Two New Projects And Their Inspiration

2011-01-29T09:10:00.004-05:00

Currently I have seven projects that are all good ideas and need to be pursued. Over this last week a couple of events crystallized the direction that I have chosen - I am going to concentrate on two projects.

The first one is a continuation of a new direction that I am very excited about. The second project is an expansion of a past inspiration and direction - I will be pulling out an old camera and putting it back in service.

The inspiration for these two projects come from different paths. The first project is inspired by the discovery of an interior element within an existing photograph and my ongoing study of light and how it reacts within simple forms.

The second project is inspired by my nephew's extraordinary poetry and Matt LaFary's and Angi Skaggs' exploration of various vintage film cameras. The result of this project will be a collection of small intimate prints.

The Harrison Center for the Arts! exhibit from my archive, Indiana Small Towns Project, will be coming down this next Monday. It was a privilege to exhibit at the Harrison Center and everybody there was and big help and more than a pleasure to work with. Big and Huge thanks to Kyle Ragsdale for showing this work. The Harrison Center show has spurred me on to dig through my archive to find all of the project's photographs. Work is ongoing for an exhibit of the expanded collection.

Peace.

First Friday at The Harrison Center for the Arts!

2011-01-08T09:15:00.013-05:00

What a great crowd last evening at The Harrison Center for the Arts! Seeing old friends, meeting new friends and having such an excellent opportunity to share my work made for a wonderful and memorable evening.

Congratulations to Tim J. Harmon, all of the participating artists and the patrons for a successful Sign Show which raised money for the Horizon House.

Big and Huge thanks to everybody at The Harrison Center, Kyle Ragsdale, Joanna Beatty Taft and Pam Allee - it is a privilege to exhibit at The Harrison Center for the Arts!

Crowd at The Sign Show Opening

Here's a short video made by Satch

Project Statement for Indiana Small Towns Project at The Harrison Center for the Arts

2011-01-05T16:30:00.000-05:00

(click to enlarge)

Indiana Small Towns Project Exhibit

2010-12-22T14:18:00.008-05:00

Opening Janury 7, 2011 at the The Harrison Center for the Arts I will be exhibiting a selection of 13 images from my Indiana Small Towns Project.

From my archive, these images were made between 1992 and 1995. This will be the first time that these photographs have been exhibited.

Writer and poet Karen Stroup has written about the photographs and what they represent. Her writings will be available at the exhibit.

This exhibit is in tandem with the Sign Show. The Facebook event page has all of the particulars regarding The Harrison's Center's January First Friday events.

IMA Andy Warhol Exhibit Opening Party, October 9, 2010

2010-12-16T18:20:00.007-05:00

So, I'm a little late in posting some snapshots from the Warhol Opening...

Daniel Axler and Maxwell Anderson

The party was great! It sure appeared that everybody was having an excellent time. There were people of all ages, which was really cool. The DJ played music from various artists that had Warhol connections, which was cool as well. Not everybody found the music to be all that fab. On our way out Satch and I had a nice conversation with an older couple that had a different opinion. I asked them what they thought of the music and the gentleman said, "I don't call that music, I call that noise!" So, the anti-rock and roll establishment lives on in Indianapolis. Somehow that is comforting especially now that I can hear David Bowie et al when shopping in the local Kroger grocery store.

Maxwell Anderson's Shoes

The exhibit is pretty special. It has a nice cross section of pieces through the length of Warhol's career. My favorite room is the last one with his screen print self portraits. Yet again, IMA is to be commended for another top-notch special exhibition. I strongly recommend that you get to it if you have not. It is open until January 2, 2011.

Barkeep

The Party Floor

Party from the VIP Lounge

Empty Coke Bottle and Ealf-Eaten Cup Cake

Andy would be pleased with all of the stuff for sale

It's been a while..

2010-12-09T09:42:00.002-05:00

Click to enlarge

...since I have posted anything. I've been working on some new directions so I haven't been producing any finished work. Here's a photograph that I made late this fall with a plastic trash camera. It does not have a title yet.

Day of the Dead 2010 Snaphots and Short Video

2010-11-01T14:41:00.005-04:00

I've posted a gallery of snapshots from The Indianapolis Art Center's Day of the Dead Celebration. Again, The Art Center outdid themselves and hosted an incredible community day for the City of Indianapolis.

High quality entertainment, arts and crafts, shrines (inside and out), special exhibits and a great crowd made for a special afternoon and evening. Click on the link above to go to the photographs.

Here's a very short video of the Processional in the Art Park through the outdoor Shrines:

Day of the Dead Celebration

2010-10-28T13:41:00.001-04:00

Photograph from last year's Shrine Exhibition

If you are in Indianapolis this Saturday do not miss the Day of the Dead celebration at the Indianapolis Art Center from 3 to 8 p.m. This is one of Indianapolis' greatest community events.

Apologies

2010-10-27T19:18:00.003-04:00

My apologies for not updating the blog for a while. I have plenty to post but have been busy with new work.

Head over to my website to see some of the new work and I'll try to get busy here on the blog after I catch up on a couple of things.

Peace.

Ron

Biennial Iron Pour, Indianapolis Art Center

2010-10-08T23:18:00.000-04:00

Click to Enlarge

Exhibiting at Cobblestone Grill, Zionsville, IN

2010-10-08T23:16:00.000-04:00

Click to Enlarge

Carmel International(?) Art Fair

2010-10-03T10:49:00.001-04:00

Carmel International Art Fair

Satch and I went to the Carmel International (whatever) Art Fair last Saturday. It was a beautiful morning and their was a pretty good crowd. As with any event in Carmel, the stroller brigade was out in full force. The art being offered was pretty typical for the average art fair. We always are impressed with all of the effort that is required of the artists and craftsmen to transport, set up and tear down their tents and other apparatus that is required to display the art.

Head

We had the pleasure of meeting Mary Lou Hess, an artist from New Albany, Indiana. She is a fine printer and her work was enjoyable and inspirational. We did purchase a print (shown above) that immediately spoke to both of us.

Mike and Karen Stroup

2010-09-17T20:00:00.011-04:00

Mike Stroup with "The Crossing"

Wednesday evening Satch and I were invited by Mike and Karen Stroup to attend, at the University of Indianapolis' Christel DeHaan Fine Arts Center Art Gallery, the 2010 Invision photography exhibit.

The evening began at Santorini's, a fine Greek restaurant in the Fountain Square area. Karen treated us to a feast of Greek foods fresh from Santorini's kitchen - hummus, Tzaziki, feta, olives, delicious pita bread, etc., etc. We were warmed by the towering flames while the server prepared Saganiki (flaming goat cheese). Karen, Mike and Satch enjoyed a bowl of mushroom soup while I attacked a Greek salad. The meal was finished off with Galaktabouriko, a sweet Greek custard garnished with powdered sugar and cinnamon. This is so good that is almost wrong.

Karen had set up the evening to celebrate Mike's work in the exhibit. We were so pleased to be asked to be a part of it.

Vowing to return in the near future, we bid αντίο to Santorini's and the four of us headed down to the exhibit. The Gallery in the Fine Arts Center is beautifully accomplished. It is a simple rectangular cube, but an inviting, room with high ceilings and excellent lighting. The design of the room makes the exhibited art the focus.

Mike exhibited four pieces, as did the other Invision artists. He chose to show two pairs of photographs. The first pair is from a fair and the second is from a location somewhere in rural America.

The fair photographs are studies in dimension, light and motion and human connection. The rural photographs are studies in, life's choices and journey and mortality.

Mike's contemporary work is full of various emotions. It is thought provoking but in an emotional way that is vague, leading the viewer to introspection. When I say his work is emotionally vague, I mean this in the best possible way. His work isn't "in your face" but it draws one in, evoking emotions that requires one while studying the work to mentally interact with the photographs.


The Crossing

"The Crossing" (I believe that is the correct title) just knocks me out. The elements and light in the photograph, in tandem with Mike's treatments, produces a photograph that is, in my mind, essentially flawless.

So, big and huge congratulations to Mike and the work he is exhibiting at the 2010 Invision exhibit. He told me that he is continuing to pursue his current direction and will be producing more work in the near future. I will try to patiently wait.

And, big and huge thanks to Karen and Mike for an excellent evening.

I've always been a supporter of Mike and his work and Satch and I deeply value our relationship with Karen and him. In the past I have written about them and how important they have been to me personally and to my work. Here's a link to a past post on my blog. I invite you to please take the time to read it. Thanks.

Dinner At Fitgerald's - A Very Short Film

2010-09-12T10:18:00.008-04:00

I am working on a long post about our Labor Day Weekend in Michigan; but here is a taste in a very short film from Labor Day Night dinner with artist Harry Borgman, gallery owner, Craig Smith and Satch.

Self-portrait

2010-09-09T16:14:00.003-04:00

Made this little self-portrait is Satch's studio yesterday... (Click on the photograph to enlarge.)

New Work

2010-09-01T15:57:00.003-04:00

Exploring more of a graphic direction...

Click on photo to enlarge.

New Series

2010-08-21T23:35:00.008-04:00

Here's a screen shot of some working photographs from a series, Beauty Misleading, made this past week. Click on photo to enlarge.

And, I have posted some additional new work on my website.

IMA's Storage Facility

2010-08-17T09:19:00.013-04:00

Satch and I had the unique opportunity to visit the Indiana Museum of Art's art storage area. It was a chance to see that the mission of the museum is much more than simply the exhibition of art work. Preserving the many works is a huge task that is obviously taken more than seriously. Everything is well thought out - organization and cataloging, earthquake protection, fire suppression, visibility without handling the object, etc., etc.

Emily Blyze, Jesse Speight and Satch at IMA

Even though the storage area has expanded over the years, they do need more room. The museum has undertaken a deaccession program that sells items that do not meet the mission of the museum or are duplicates (or very similar) of items already in the collection. The proceeds from that program are used to acquire more art. Jesse Speight, Superintendent of Storage and Packing, commented that the museum’s desire to acquire art is insatiable therefore the future need for additional storage space is continuous.

It was interesting to hear that only a scant 5% of the museum’s collection is on display. I always figured that the museum stored more than it exhibited but that number really surprised me.

Big and Huge thanks to IMA’s Jesse Speight and Emily Blyze, Member and Donor Relations Coordinator, for giving us the opportunity to experience the museum’s storage areas. During the tour Jesse shared some interesting stories about his job and gave us an excellent perspective of this hidden, yet incredibly significant, part of IMA.

Entry to IMA from the underground parking garage

Sidenotes: This opportunity was just another example of how IMA is making sure those interested stay engaged with and learn about all things at the Museum. IMA is the crown jewel of Indianapolis, IMHO. I will write more about how I feel about this in a future post. I will say, for now, that IMA doesn’t seem to be missing a beat in providing the city, and the world for that matter, with a first class museum.

Streams (Digital photograph made at IMA before the storage area tour)

New Video from Website

2010-08-12T14:37:00.004-04:00

Here's a video that shows a series of images as I talk about my artistic vision. You can see a higher quality version on my website.

New Website

2010-08-09T16:14:00.002-04:00

I've been working on a new website that will gather all of the galleries of work into one easy to access location - Ron Kern Photographer.

Working on a few new photographs

2010-08-04T17:31:00.002-04:00

Got out this past weekend while it wasn't so incredibly hot and made a few photographs. This one is from a potential series, "Looking Up at Buildings."

New Online Gallery

2010-07-20T21:30:00.005-04:00

I have posted a new online gallery for the collection of photographs at the Kellar Mahaney Gallery in Zionsville, Indiana. It is located in the right column below the artist statement.

Time Tunnel Fruit

2010-07-20T15:40:00.004-04:00

Still struggling with the Impossible Project materials, but having a little more luck. Click on image to enlarge.

Study

2010-07-10T09:05:00.002-04:00

Making some digital studies for the "So Satch Says" series. Click on photograph to enlarge.

Promoting in Zionsville

2010-07-03T09:34:00.003-04:00

Satch and I have been very busy promoting our work at the Kellar Mahaney Gallery. Over the past two weeks we have met many new people and received excellent feedback on our work. Lolly, the owner of Kellar Mahaney Gallery is a top notch hostess and has the nicest gallery in Zionsville, IMHO. Zionsville's does have it going on when it comes to their gallery scene and village vibe. Check it out soon

First Friday, Kellar Mahaney Gallery, Zionsville

2010-07-02T10:13:00.004-04:00

This evening please join Satch and I at the Kellar Mahaney Gallery where we will be showing and discussing our work. The Kellar Mahaney Gallery will be open from 6:00 to 9:00 p.m., or maybe later.

That's right, Zionsville galleries also "celebrate" the first Friday of every month with extended hours and exhibition openings - ART AFTER FIVE.

Indystar.com article - click here.

Brick Street Gallery Walk

2010-06-22T21:10:00.010-04:00

Update: Link to IndyStar.com article

Update: The weather is looking to be perfect for the Brick Street Gallery Walk!

Satch and I will be at the Kellar Mahaney Gallery this Friday (June 25, 2010) from 6:00 to 10:00 p.m. for Zionsville's Brick Street Gallery Walk. We will be showing and discussing our work and Satch plans to be painting. The gallery is just north of the Friendly Tavern. Please stop by and see us and check out the Kellar Mahaney Gallery. Lolly, the owner, features a fine array of paintings assemblages, sculpture and photography. The gallery is bright and welcoming and you won't find a nicer gallery owner anywhere.

Main Street is closed to vehicle traffic so the bricks are only open to art lovers on foot. The streets are lined with artists, there are music performances and all of the galleries are having open houses. Zionsville's Village atmosphere makes for an incredible evening. This is one of the nicest annual art events in greater Indianapolis and definitely the most underrated.

We hope that you can make it to Zionsville for a part of, or the entire, Friday evening. Goodness knows Zionsville has some fab restaurants. I might just have to sneak over to Plum's Upper Room for a piece of their amazing carrot cake towards the end of the night...

The photograph shown in this post is a part of my collection at the Kellar Mahaney Gallery. It was made at St. Mary's in downtown Indianapolis. As always, click to enlarge the photograph.

Kellar Mahaney Gallery

2010-06-21T10:36:00.003-04:00

Click on the poster to enlarge.

Michigan

2010-06-14T17:24:00.005-04:00

Yesterday we returned from Michigan. We timed it perfectly so that we were caught right in the middle of a severe thunderstorm for the last five miles. Luckily, no hail.

Satch's opening at the Craig Smith Gallery was great fun and it was outstanding to see her excellent work on the walls of such a fine gallery. And, it was very cool for some good friends from Indianapolis to come up for the opening.

She will be posting her take, and some photos, on all of it in just a little while. When she does I will link to the post from here.

It was a pleasure seeing Harry Borgman, and his fiancee, Gloria Bursey. We also went to a lecture and exhibit at the Krasl in St. Joseph featuring a Craig Smith Gallery artist, Judith Mullen. Finally getting the chance to meet her was a treat as we have admired her work for many years.

All in all, it was quite a trip. The lake is always rejuvenating and we were able to spend some nice time walking the beach. I did attempt to make a few photographs. I'll know more about that on Wednesday.

Digital Photgraph from Satch's Camera

2010-06-12T12:14:00.003-04:00

Beach Sand and Two Rocks

Satch and Craig Smith

2010-06-12T08:20:00.003-04:00

Craig Smith and Satch discussing "WHAT UP! TEXT AS ART MMX"

Satch - WHAT UP! TEXT AS ART MMX - Craig Smith Gallery, Harbert Michigan

2010-06-08T22:14:00.005-04:00

Click on images to enlarge

Jim's Ride

2010-05-17T08:52:00.006-04:00

Here's a new piece from a recent trip to Michigan.

I thought that I would update this post with some commentary regarding "Jim's Ride."

This photograph was made in Michigan during "Art Attack" weekend. At first glance this appears to be another photograph of an old vehicle. Upon closer inspection the vehicle's fender's appear to be out of scale, there is no break in the body for the hood, there are no sides and there is no windshield. Those familiar with old cars probably don't recognize the make or the model.

All of this is because this is hardly a car. Rather it is a piece of art depicting the front of a car constructed by Jim Brandys of Three Oaks, Michigan. It is three dimensional, but greatly flattened out.

The light was perfect. Framing the photograph against the meadow and woods knowing the depth of field would render an impressionistic backdrop with no road in sight, along with the fact that, at first glance, this very real looking automobile is not at all real gives the scene a surrealistic appearance.

Satch and I had a chance to meet Jim and had a really nice talk. He is incredibly witty and with me being notoriously gullible, he got my goat more than once. He graciously invited us to his studio and we look forward to visiting his studio on our next trip.

As always, click on the image to enlarge.

New Work

2010-05-06T15:43:00.002-04:00

Someone Else's Dream

So Satch Says 2

2010-04-25T13:26:00.003-04:00

Here is another photograph in what may become the series, "So Satch Says." (Click on the photograph to enlarge)

More New Work

2010-04-24T11:04:00.008-04:00

Another new photograph (click to enlarge).

Made at a downtown Indianapolis building - this portion of the building is symmetrical, with the exception of the vent that protrudes from the sheet metal, which I really liked.

I isolated the wall's elements and presented them at an obtuse angle. Interesting elements at the edge of, and elements extending beyond, the boundaries gives the photograph tension.

New Photograph

2010-04-22T16:42:00.004-04:00

Here's a new multiple exposure photograph that was made late last week (click to enlarge). I hope to have some more new work coming soon. This is the most autobiographical photograph that I have ever made. Making the photograph, I actually surprised myself.

Weegee at the Indianapolis Museum of Art

2010-04-19T11:43:00.049-04:00

360 degree panorama of the exhibit

Shots in the Dark

Photographs by Weegee the Famous

Without any fanfare, on Saturday April 17 the Indianapolis Museum of Art (IMA) opened their Weegee exhibit, “Shots in the Dark.

On the way home from a camping trip in Kentucky, two women purchased a trunk at a yard sale. Inside the trunk were 210 vintage Weegee prints and 62 letters. The trunk was assumed to be at one time in the possession of Wilma Wilcox, Weegee’s companion. The material was shown to an Indianapolis rare documents dealer. Subsequently, through purchase and a partial gift, IMA acquired the collection. Although the collection is small as compared to the Weegee archive in the International Center of Photography, the collection of photographs represents a wide overview of Weegee’s career so it is a very nice addition to IMA’s modest photography collection.

Weegee’s (Arthur Fellig) career is a storied one of photographing crime scenes and the seedy side of New York City. He also experimented with darkroom and in-camera manipulations, even having a Hasselblad and other cameras with a kaleidoscope attached to its lens!

On Saturday friends Denis Ryan and Mary Ann Kelly, Connie Price, my wife Satch and I met for lunch at the Nourish Cafe and then took in the exhibition.

“Shots in the Dark” presents 48 photographs. The exhibit appears to reflect the entire collection as it presents a broad overview of Weegee’s work. Not only are there the expected journalistic photographs, but some of his more “artistic” photographs, such as darkroom manipulations of the Mona Lisa, Picasso and Bette Davis and a kaleidoscope image of people entering London’s Tate to view a Picasso exhibition are shown.

The photographs are grouped in a thoughtful way. The photographs are shown in context with similarly themed images. The prints are exquisite. The photograph’s accompanying explanations are well written and full of information helping the viewer understand the work. The inclusion of quotes from Weegee is a very nice touch and almost makes one feel that Weegee himself is guiding a tour of the exhibit.

The work is framed in lightly colored, somewhat wide, wooden frames and the wall colors are sort of a light “latte” color. (This was the same presentation theme used for the exhibit "Paired Photographs.") While this scheme matches nicely with the hardwood floor, simple narrow dark frames and a more neutral gray wall color would better complement the work; in my opinion, of course.

The exhibit being limited in scope only whetted my appetite. It is always easy to complain and want more of something, but the high quality of this exhibit really did make me wish for another roomful of Weegee’s work. I fear that IMA will believe that this exhibit is adequate for presentation of the Weegee collection. Here’s hoping that a comprehensive exhibit of the collection including all of the prints (that are suitable for exhibition) along with the letters along with the letters will be organized and shown in the near future.

“Shots in the Dark” is the third exhibition of photography over the last two years. “On the Road Again with Jack Kerouac and Robert Frank” featured 83 photographs from Robert Frank’s seminal work, “Le Americains” along with the 120 foot long original scrolled transcript of Kerouac’s “On the Road." “Paired Photographs” explored various themes by pairing historic, modern and contemporary photographs from the museum’s collection.

It is great that the IMA, under the direction of Maxwell Anderson, is embracing photography. That being said, while briefly speaking with Mr. Anderson at the Tara Donovan opening we found out that IMA does not have a photography curator. He did encourage us to write to the curators at IMA and request more photographic exhibitions. And I would encourage the readers of this blog to do the same.

Don’t miss “Shots in the Dark.” It is a great opportunity to see the work of Weegee, one of photography’s masters.

Photographs from IMA's Weegee collection

New Work and "Variations"

2010-04-12T11:23:00.011-04:00

Here are a couple of new pieces that I've been working on. They were made with my new Holgamod. I really don't have much to say about the photographs at this point; maybe later. The top image is entitled "So Satch Says" and the lower image, "Sentries." And, yes, you have to click on the images to enlarge. (Hi Roz.)

Thanks to everybody that came out to the reception for the "Variations" exhibit.  The exhibit looks great and presents a nice cross section of work that examines four very different approaches to the art of photography.  

Big and Huge thanks to Ginny Taylor Rosner and Lesley Meier for all of their hard work in making the exhibition an exceptional reality - and especially for their dedication in making art a part of  the community.

Pinhole

2010-04-03T11:47:00.004-04:00

Here's a new piece from the pinhole, and the first one to be posted on the blog. The photograph was made two weeks ago on the first warm day of Spring at IMA. As always, click on the photograph to enlarge.

Variations, A Gathering of Photographic Ideas

2010-04-01T11:47:00.017-04:00

Click on Postcard to Enlarge

Opening  March 31, Irvington's Bona Thompson Memorial Center hosts the exhibition, “Variations, A Gathering of Photographic Ideas.”  Presenting new works are K.C. Ferrill, Craig McCormick, Joel Butler and myself.  The exhibit runs through May 16.

I appreciate the opportunity afforded to me by Ginny Taylor Rosner to be included in this exhibition of fine photographic artists.  The suite of six photographs that  I am showing reflect the present day’s political and economic climate and the corresponding search for inner spirituality.  The photographs are nailed into pine frames handmade by Ed Satchwill II.  It is exciting to be a part of an exhibition in such a historically significant building as the Bona Thompson Memorial Center.

An artist's reception will be from 5:30 to 8 p.m. on April 9, where the photographic artists will be available to discuss their new work.

The exhibition is sponsored by the Irvington Guild of Artists, INvision:  Alliance of Photographic Artists and the Irvington Historical Society.

For additional information call Ron Kern at (317) 507-7888.

Bona Thompson Memorial Center
5350 University Avenue
Indianapolis, Indiana 46219

(317)353-2662

Hours of the Exhibition
First Fridays, April 2 and May 7, 5:30 - 8 p.m.
Wednesdays 1 - 3 p.m.
Saturdays and Sundays 1 - 4 p.m.
and by appointment

The location of the exhibit is on University Ave. just west of S. Downey Ave. 

View Larger Map

Group Exhibit +

2010-03-28T22:07:00.004-04:00

Delivered suite of six photographs to the Bona Thompson Memorial Center today. I'm excited about the exhibit and am looking forward to showing some new work.

I have now compartmentalized my work into three approaches. The work in this exhibit reflects the present day political and economic climate and the corresponding search for inner spirituality. All the images were made with a Holga camera. The photographs are nailed into simple pine frames made by Ed Satchwill II (Satch's brother). The photographs are covered in window pane glass. The photographs and the framing are integral in the presentation of the subject matter.

(Maybe some really big Satch news coming soon...)

Tamales

2010-03-24T11:06:00.000-04:00

Went to Broad Ripple Village last evening for tamales at La Piedad. Excellent. Afterwords Satch and I walked down to Big Hat Books to check out Kyle Ragsdale's exhibit. Big Hat was supposed to be closed but the owner, Elizabeth Barden let us in to view the exhibit.

Kyle's work is excellent and the exhibit presents an inviting cross section of variation of techniques and expressions. My favorite piece is entitled, "Procession." Kyle's exhibit, in one of our few independent bookstores, serves as a reminder that the greater Indianapolis art scene is incredibly rich. And for the quality of work, the art, for the most part, is astonishingly affordable.

American Dream II

2010-03-16T11:23:00.003-04:00

The second time I visited the scene, the sign had changed to "For Lease." The business was gone but, on the porch, the flag still flew. This time I wanted to examine the scene from several points of view.

Today the sign is gone, the flag is gone. Is this scene a metaphor for the decay and loss of the American Dream?

I do plan to return to the site and photograph the empty window and flagless front porch.

This photograph is entitled "American Dream II."

American Dream I

2010-03-16T11:18:00.002-04:00

I first came across this scene late last fall. The hand painted sign at that time proclaimed, "Hiring." In my mind this was good news. The scene was soon to change.

This photograph is entitled "American Dream I."

New Work

2010-03-16T10:04:00.004-04:00

Here's a new Holga image. It is entitled "High Treazon." As always, click on the image to enlarge.

Working on the images for the April exhibit at the Bona Thompson Memorial Center. More info when I've got a little more time.

New Work

2010-03-10T14:00:00.003-05:00

This is a new piece that I've been working on for the last week. Click on the photograph to enlarge.

More info coming soon about a group exhibit at the Bona Thompson Memorial Center in Irvington (Indianapolis).

Satch Exhibits New Work From The Series "Below Here Lies Nothing" At Henry's On East Coffee Bistro

2010-02-27T18:54:00.006-05:00

My wife, Satch, has a new exhibit.

Opening March 1 at Henry's On East Coffee Bistro in the Mass Ave District in downtown Indianapolis, artist Satch presents new work from her series, “Below Here Lies Nothing.” Featuring thirteen paintings and seven assemblages, the exhibit runs through March 31.

Fresh from the 2009 group exhibit Postcards from Dystopia at Nolia's Gallery in London England, Satch has been busy creating paintings by "re-purposing" canvasses and constructing assemblages that recycle vintage ephemera and discovered objects.

"I am excited to be exhibiting at Henry's. This is a terrific chance for a great many people to experience my work," Satch said. "The work from my new series, "Below Here Lies Nothing," a pun that refers to repurposing canvasses, examines human relationships - how we feel about, speak of and live with each other."

An opening reception will be from 6 to 10 p.m. on First Friday, March 5, where Satch will be available to discuss her new work.

For additional information call Ron Kern at (317) 507-7888 or visit http://satch-artist.com

Henry's On East Coffee Bistro

627 North East Street

Indianapolis, IN 46202

(317) 951-0335

Monday through Thursday 7 a.m. - 7 p.m.

Friday 7 a.m. - 10 p.m.

Saturday 8 a.m. - 9 p.m.

Sunday 8 a.m. - 4 p.m.

Sign, Saugatuck, Michigan

2010-02-03T16:53:00.006-05:00

I have been photographing this sign for many years. This Holga triptych is the best one yet. This sign has been well maintained for all of the years that we have been visiting Saugatuck, so somebody is very committed to getting this message across to all of those that pass by.

Click on the photograph to enlarge. (I'm starting to think may I should have named the blog "Click to Enlarge.")

A Departure

2010-02-02T11:05:00.002-05:00

Here's a departure from the plastic camera images. Satch found some forgotten digital files.

Over the course of last year I made several digital photographs as an exercise in minimalism. I liked this one. As always, click to enlarge.

New Work

2010-01-28T11:16:00.001-05:00

Starting on a new project. More information will be coming in the future. Here's a work photo from the project.

Satch IMA Portrait No. 2

2010-01-08T17:30:00.003-05:00

Another recent portrait from IMA. No alteration or additions from photoshop on this one. Again, click to enlarge.

Portrait of Satch

2010-01-08T16:19:00.005-05:00

Here's a portrait of Satch with the Holga at one of IMA's European galleries. I had some fun with photoshop and made the environment surreal. The holes in the bottom of the boots are real. Click on photo to enlarge.

Noblesville, Indiana

2009-12-08T12:44:00.003-05:00

Here's a new photograph that is part of a new piece on which I'm working.

Carmel Artist Satch featured in London Group Exhibition

2009-12-04T14:40:00.006-05:00

I am thrilled that Satch was chosen to produce a work for this exhibit:

Opening with a private reception on December 3 Nolias Gallery in London England presents "Postcards from Dystopia," an international exhibition of thirty artists presenting visions of a menacing universe with a collection of postcard sized works. This group exhibit is in conjunction with a showcase of larger paintings of ominous dystopian territories by Tutte Newall and Andrew Hladky. The exhibition runs through December 21.

In May Carmel artist Satch was selected to produce a work for the exhibit. Her work entitled, "Unknown Pleasure" depicts the long lost pleasure of conceiving and bearing a child into the world. Re-population has been replaced with a surgical procedure and all women eventually become barren. It is an assemblage including a vintage wood box, nails, assorted paper and a commercial hair trimming attachment.

Dystopia is a futuristic or imagined territory where a universal menace prevails. Our present culture holds a fascination with the concept of our own ordered civilization's collapse into chaos. Curated by Tutte Newall, 'Postcards from Dystopia" explores this idea by delving into the realms of the imaginary and issuing visions from a dystopian and desolate environment.

Located in Bankside at 60 Great Suffolk Street, London SE1 0BL, Nolias Gallery is just five minutes from Tate Modern.

For additional information contact Satch via email, Satch@indy.net and visit her website, http://satch-artist.com where the work, "Unknown Pleasure" can be viewed.

New Work

2009-12-03T12:52:00.003-05:00

This photograph was made on a recent trip to Bloomington, Indiana where Satch and I took in an amazing Bob Dylan show.

New Work

2009-11-23T08:58:00.003-05:00

This photograph was made in Noblesville, Indiana using the shape and form of silos along with an afternoon of incredible light.

More New Work

2009-11-11T08:58:00.003-05:00

Greater Faith House of Prayer, Central Avenue, Indianapolis. I had been looking to make this photograph for at least the last year. On this sunny afternoon, everything was just right.

New Work

2009-11-07T14:28:00.007-05:00

Taken in the rain looking into the sun which was veiled with cloud cover - an elevated gasoline advertising sign from an abandoned truck stop on a Michigan highway.

I feel like a portion of my work is starting to take on an undertone of the recessionary, yet still consumer driven, times in which we live.

A couple of reminders

2009-11-05T07:28:00.004-05:00

Two Reminders:

Singular Images at Midland Arts and Antiques Market Downtown and The Spirit of Place: Northern New Mexico at Midland Arts Carmel, run through November 30th.

and

"A Petite Format Exhibit" at Zionsville's Kellar Mahaney Gallery opens at Noon this Saturday. Click here for an article about the exhibit from the Indianapolis Star.

A Petite Format Exhibit

2009-10-28T08:52:00.004-04:00

I am providing four photographs for the following exhibit:

"A Petite Format Exhibit"
Small Art Works for the Gift-Giving Season
 Selected Local and Regional Artists 
November 7, 2009 through January 16, 2010 
Kellar Mahaney Gallery 
270 South Main Street in Zionsville, Indiana  

The Kellar Mahaney Gallery is a premier gallery of contemporary fine art in Zionsville. If you have never been to the gallery, I invite you to make the drive to Zionsville to visit. The space is great, there is an excellent variety of work and the staff is warm and friendly.