Read the review at photo-eye.

Purchase the catalogue at photo-eye and Booksmart Studio.

It was great to see many new and old faces. We both had the pleasure of meeting Tony Bannon, Director of the George Eastman House, whom commented on the high quality of work being shown.

Thank you to Andy Super, Gallery Manager at Booksmart Studio for all the work he did in bringing the exhibition together, and thank you to Eric Kunsman, our publisher at Booksmart Studio, for continuing to support and believe in our project.

Thank you to all our girlfriends and friends who willingly (I swear!) gave up their time to hang the exhibition: Katie, Hannah, and Eric.

Thank you to Shannon Johnstone and Sonja Thomsen. Shannon flew in from North Carolina and Sonja flew in from Milwaukee. It was wonderful to see and catch up with you both. We had a blast.

And a special thank you to my parents for making the drive all the way from Syracuse in a snowstorm AND staying the entire 3 hours. That’s love.

A few pictures from opening night…

Sonja made some pics and a post, too. 

On the left is myself talking to Shannon and on the right is Ethan talking to Sonja.

I will be using my large format camera to photograph the people and landscape for a traveling exhibition and book that will be used to raise funds for A River Blue. Details will be announced in the spring/summer of 2009.

To raise funds for the trip, I am offering a selection of my limited edition prints at substantially reduced prices.

Please visit www.davidwrightphoto.com/blog to support my trip, A River Blue, and Africa.

Thank you!

At 4 the show is done and that means that if people want to take the photographs, they can. It’s not a commodity in terms of, “I’m putting these up and then I’m going to take these down as if there’s some worth for that.” The worth is the moment in which they’re up – that 3 hour time period in which it’s all up and together.

Kenneth Josephson. New York State, 1970 (http://www.artic.edu/aic)

Culled from the permanent collection, the images that comprised the Art Institute of Chicago’s recent photography exhibition (on view from June 14 to September 7, 2008), “A Mind at Play,” celebrated the photographic medium’s inherent subjective experience.  Thematically, the exhibition sought to separate photographs that act as records of what is in front of the camera in order to highlight those that contain moments more contingent, witty, serendipitous and inspired.  The exhibition showcased the work of more than fifty artists whose influence spans the history of the medium.  Selected by a team of curators and employees at the museum, “A Mind at Play” boasted a comprehensive display of photographs –  everything from an image by Nadar made in 1863 to an inkjet print by contemporary Chicago photographer Suzette Bross (Blue, White and Red with Wheel, 2007).  Certainly not lacking breadth, “A Mind at Play” showcased some of the medium’s most prominent – Duane Michals, Robert Frank, Kenneth Josephson and Joel Sternfeld – to name a few.

At a time when the discussion regarding the photographic medium and the role of digital technology is making weekly headlines, “A Mind at Play” seemed appropriately poised as a retrospective of  the non-digital era.  Although there were a handful of digital inclusions, the gallery walls were filled almost entirely with silver gelatin prints.  Understandably, this bias lends itself to a conversation about contemporary photographic philosophy.  In speaking to the photographer’s ability to manipulate viewer perception, a question arises about the tools photographers are using today versus those used in decades prior.  Particularly when considering contemporary photographers such as Andreas Gursky, Gregory Crewdson or Jill Greenberg (all embrace computer based post-production techniques in order to reconstruct and redefine photographic reality), how should the manipulation of viewer perception be defined?    Raising this question, “A Mind at Play” ignored that subjectivity, curiosity and experimentation are all inherent qualities of photography regardless of the argument between digital versus analog image making.

Positioned to parade highlights from the collection and attract viewers with the promise of tongue-in-cheek images, “A Mind at Play” hit the mark.  The gallery was overflowing with funny and intelligent images.  Entertainment aside, the Art Institute failed to acknowledge changes in contemporary photographic practice, leaving viewers stuck with a Modern vernacular.  Philosophically this omission, albeit justifiable, seemed negligent – ultimately leaving the viewer asking for more.

I was first introduced to the work of Harry Callahan by Kate Izor, good friend and Photography Program Manager at the Maine Media Workshops. Kate and I became companions through an intense, 11-week Photo II class at the Rochester Institute of Technology. Kate was my TA and I was her student.

A deep connection immediately began to emerge between the photographs Harry Callahan had made and how I viewed the world.

Since that day I have had a vested interest in Harry’s work and I often find myself searching for his photographs, books, quotes, interviews, and articles.

Tonight I stumbled across a New York Times interview regarding the photographs he made of his wife, Eleanor.

“I never refused when he wanted to take a picture,” said Eleanor Callahan, the 91-year-old widow of the photographer Harry Callahan. “I never complained, whatever I was doing. If he said: ‘Come quick, Eleanor — there’s a good light,’ I was right there.”

Read the rest of the interview here.

What other photographer’s have had photographic muses? I am curious. Post a comment.

hole (spring) 2008 © Sonja Thomsen

Who Gets What: a political show

Artists: The Franks, David Opdyke, Michael Ratulowski, Lisa Solomon, Sonja Thomsen, Krista Wortendyke

Running: September 5 – October 18, 2008

David Weinberg Gallery

300 West Superior, Suite 203, Chicago, IL 60654.

holes 2008 installation view courtesy David Weinberg Gallery.

petroleum 2008 installation view courtesy David Weinberg Gallery.