Polaroid 420

(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

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

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

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

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

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

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

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

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

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

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

Social Currency, The Shared Photograph

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

Working title of the project - Truth from Perceptions

Two New Projects And Their Inspiration

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!

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

(click to enlarge)

Indiana Small Towns Project Exhibit

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

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..

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

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

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

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

Click to Enlarge

Exhibiting at Cobblestone Grill, Zionsville, IN

Click to Enlarge

Carmel International(?) Art Fair

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

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

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

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

New Work

Exploring more of a graphic direction...

Click on photo to enlarge.