Earlier in October of this year, I was assigned a story by the New York Times to cover a piece that was both art history and travel. What an adventure! My husband and I live in Maui for four months a year, so it’s always great to have an excuse to head out and explore. I didn’t know that Georgia O’Keeffe had spent time in the islands. I was familiar with only one landscape painting of a waterfall surrounded by green cliffs by the artist, but I learned through the story that this painting was made by O’Keeffe after a visit to the lush Iao Valley on the island of Maui. It was so much fun to try and see that area, an area that I’ve been familiar with for quite some time, through the eyes of Ms. O’Keeffe. Although there was no missive to try and emulate what O’Keeffe painted, to try and see what she saw was a wonderful visual exercise. When I started puzzling together the time of year she was there, it made sense that she may not have been as taken in if she had been there in the dry, early autumn as we were at the time of the assignment. The waterfalls on Maui are fed by rainwater and currently the entire county of Maui is in a drought. However, another more obscure painting of two papaya trees in the Iao Valley was equally daunting to emulate as she had superimposed the unmistakable shape of the tree on backdrop of that lush valley. However, the majority of her time on the island was spent in the lush area of Hana. The story is on the New York Times’ web site here, but I can summarize our experience of following in the footsteps of this great painter. She had been commissioned by the Dole Pineapple Company in 1939 to produce two paintings promoting the pineapple company and was invited to Oahu to visit the plantation. She was disgusted by the fact that Dole wouldn’t allow her to stay on a working plantation because it was considered, “unseemly for a woman.” She immediately bailed on the project. Kudos to Georgia! Instead, after traveling around the territory of Hawaii, she ended up in Hana on the island of Maui where she created most of her paintings during this period. These stories are well documented not only through letters to her husband, Alfred Stieglitz, but also by her unlikely Hana guide, a 12 year old named Patricia Jennings, who was the daughter of the plantation manager where O’Keeffe stayed in Hana. Patricia is still alive and living on the Big Island of Hawaii. The author, Tony Perrottet, interviewed Patricia and was able to put together a living guide to Georgia’s time in Hana and the places where Ms. O’Keeffee painted. Those places are still intact and very visible to anyone willing to seek them out. This type of approach to travel is wonderful – not only does one get to stand and see precisely the same thing that Georgia did, the writer incorporated other destinations including where to stay, what to eat and other useful travel tips. For me, it was a treasure hunt. Having visited Hana many times, I’ve never considered it through the eyes of one of the most important American painters. Ever since my parents took me as a teenager to see an O’Keeffe exhibit at the Chicago Art Institute back in the ’80′s, I’ve long admired her work. This story was also a first for me in another way: there were far more photos published in the printed newspaper than there were online. These days, as a contributing photographer for many magazines, most of the visual content ends up not in print but online or in an iPad version, there’s still a thrill in seeing a large photograph running across two pages of the New York Times. Please read the article here. I’ve also put together a portfolio of the outtakes online here for your enjoyment. Aloha and mahalo for visiting!
Archive for the ‘fine art’ Category
Posted in assignment photography, editorial photographer, fine art, Hawaii, Maui, maui photographer, photographer, photography, Travel, travel photographer, tagged arts, dole pineapple, editorial photographer, georgia o keeffe, Hawaii, island, Maui, photography, photojournalism, tourism, Travel, travel photographer, travel photography on December 5, 2012 | Leave a Comment »
Posted in alt process photography, art, art show, conceptual photography, fine art, fine art photography, gallery opening, photography, tagged alternative process, arts, Blue Sky Gallery, fine art photographer, fine art photography, gallery exhibition, gallery opening, Kitteridge Gallery, Oregon, platinum print, Portland, Puget Sound, tintype, university of puget sound on August 21, 2012 | Leave a Comment »
The opening reception is on September 5th. Unfortunately, (or rather fortunately!), I have an assignment on the Oregon Coast at that time so I will not be in attendance. However, I encourage anyone in the area to go and see the exhibition.
More information, including gallery hours and location, can be found here.
If you aren’t in the Puget Sound area, my work will also be included in a show opening September 5th at the Blue Sky Gallery/Oregon Center for the Photographic Arts in Portland, Oregon. The show is entitled, “The Unseen Eye.” My piece that is being shown is part of curator W.M. Hunt’s personal collection. He purchased, “Neurasthenia #1,” and it has been chosen for exhibition at Blue Sky.
To view more of my personal work, you can do so by visiting seubertfineart.com
If you are interested in purchasing available work, you may contact any of the following galleries:
Thank you for your time!
Posted in art, multimedia, art show, gallery opening, fine art, fine art photography, QR Codes, conceptual photography, semaphore code, tagged art, museum, alternative process, video, multimedia, photos, biennial, fine art photography, contemporary art, installation art, performance, QR Codes, Disjecta, Semaphore on August 18, 2012 | Leave a Comment »
Yet another long overdue post…
This year I was one of 24 artists/teams selected for the citywide Oregon Biennial, Portland2012 which was held earlier this year. Portland2012, the Biennial of Contemporary Art, is a major survey of work by visual artists who are defining and advancing the contemporary arts landscape in the state. The show was presented by Disjecta and curated by Prudence F. Roberts.
My installation at Disjecta is titled, “The Digital Divide,” and consists of a series of QR codes installed in the gallery which, when scanned with a smart phone or other hand-held device, takes the viewer to videos and/or text. The artist statement follows below. You can view the installation on my fine art web site here. The videos can be watched by scanning the QR codes from your computer screen, or by visiting the multimedia portion of my web site. I would like to thank the fabulous people at Disjecta, Ms. Roberts, Marc Greenfield and all the volunteers that helped make this piece possible. Tri-Met was a wonderful sponsor and included some stills from the videos on the sides of buses and on bus stop shelters throughout the city of Portland.
The following is the artist statement for the piece:
To explore ideas of toxic waste, environmental impact due to rapid changes in technology, specifically communications technology, I have chosen to create a series of videos, which are accessible via QR codes using smart-phone technology. New methods of communication, (cell phones, smart phones, computers), have created forms of consumption which have had a direct correlation to the environmental impact of that consumption. Although not obvious, many natural resources are used to manufacture technological goods that we now rely on for communication. These materials are often harvested from third world nations, the most famous example being the Democratic Republic of the Congo where the thirst for Colton has fueled violent conflict. Some heavy metals are used in the manufacturing of communication technology such as cadmium, lead and arsenic. The rapid change in such things as processor speed and memory capacity has led to an enormous turnover in electronic hardware waste. (One statistic cites that the performance values of Information and Communication Technology double every 18 months.)
QR (Quick Response) codes are a type of matrix barcode, which consists of black modules arranged in a square pattern on a white background. They were designed by the Japanese in the early 1990′s to track vehicles during the manufacturing process. The use of the QR code is growing as a point-of-purchase symbol, where the consumer can scan the code and be taken to a video about whatever product to which the code is connected. The codes can be used for urls, text or numeric information. The problem is that the consumer must have a smart phone, access to the Internet and the application that allows the camera to read the code. Using QR codes as a method of communication, in order to see the actual visual information it conveys, most of which could normally be seen using our eyes through traditional media, one must use a camera. Eyes will simply no longer suffice to handle the task of reading, (i.e de-coding), the image.
Semaphore signal videos installed on the Internet, transmitted to the viewer via QR codes, emphasizes the digital divide that is currently prevailing in our global culture.
Working on the assumption that most viewers of this piece will not be able to read the semaphore signals as letters, (which form a sentence relevant to each location where the video was made), and that there will also be a number of viewers who will not have the relevant technology to read the QR codes, the piece will have effectively alienated the viewer from at least one critical portion of the piece, therefore encompassing both ends of the digital divide. I chose to use the Semaphore code because it is being phased out as a means of communication. Although it is still used in certain military situations, (such as refueling ships or moving munitions at sea), it will soon be gone as a method of communication. The Semaphore Flags system is used for conveying information at a distance by means of visual signals with hand-held flags.
Posted in alt process photography, assignment photography, editorial photographer, fine art, magazine work, maui photographer, multimedia, photographer, photographer in Portland, photography, video, tagged alternative process, ambrotypes, collodion, editorial photographer, fine art photography, magazine photography, photography, photojournalism, video on April 6, 2012 | Leave a Comment »
Last night, Oregon Public Broadcasting aired their twice weekly segment on art, called Oregon Art Beat. I was one of the three persons featured on the show. It is so strange to watch myself on tv, as I’m used to being on the other side of the camera. The piece is about the fact that I work both as an editorial photographer and a fine art photographer. I would like to thank OPB, Jule Gilfillan, Tom Shrider and Randy Layton for putting together such a nice piece. I’d also like to thank This Old House for giving OPB permission to photograph us working on location for the March 2012 cover. I am also grateful to Michele Greco for allowing herself to be filmed while we were working – so a big thanks to my favorite stylist/producer. Although this feels like more shameless horn-tooting, I really hope that you’ll take a moment to watch the video.
Posted in alt process photography, art, art show, fine art, gallery opening, tagged alternative process, ambrotypes, fine art, fine art gallery, fine art photography, gallery exhibition, miami beach on December 1, 2011 | Leave a Comment »
The Froelick Gallery, which represents my work, is part of Miami Aqua this year and has chosen several artists, including me , to be included in their gallery space in Miami. I’m thrilled to be represented at one of America’s largest art fairs, as Miami Aqua serves to bring West Coast artists to Art Basel in Miami Beach. Art Basel is arguably one of the most prestigious art shows in North America and this is the first year I’ve had work included in the fair. Charles and Rebecca chose to take some of my more diminutive pieces, including works from the series, “Tic, Tac, Toe,” and, “r e s t r a i n t.” If you’re in Miami, stop by the Aqua Hotel and say hi!
This image was made using the traditional wet-plate collodion process where a glass plate is coated in collodion, then soaked in a bath of silver nitrate, exposed using a high powered strobe system and then developed, dried and finished with sandarac varnish. They are then framed using glass mats and hand made wooden 8×10″ frames. All the pieces from the series, ” r e s t r a i n t,” are 5×4″ in image size. This piece is now SOLD.
When I looked at yesterday’s Oregonian Newspaper, I was quite pleased to read Barry Johnson’s article about Plazm Magazine’s new issue. In today’s economic climate, it’s extremely difficult for all media outlets to keep on keepin’ on, but even more challenging to publish an independent magazine about culture, art, and design, (among other esoteric subjects). Plazm Magazine received a grant plus some Kickstarter money in order to keep up its great work and just launched its most recent issue, number 30. To be associated with Plazm Magazine is a tremendous honor, but even better when my name is included with “seriously talented” people like John Jay, Todd Haynes and Yoko Ono. You can read the article here.
Posted in alt process photography, art show, collodion, fine art, gallery opening, large format photography, tagged ambrotypes, art, collodion, fine art gallery, fine art photography, glass plate negatives on July 8, 2011 | Leave a Comment »
Any ink is good ink and this morning I was pleased to read a review in The Oregonian of the group show that my work is in at the Froelick Gallery called, “Equine.” I made the piece that was curated into this show for my last exhibition, ” r e s t r a i n t.” When the gallery owner saw the piece, he decided to hold it for this show. The image is of a bridle with blinders and made with the wet plate collodion process. This piece has sold to a private collector, but I’ve included the image below and there is a link to the review here. It’s always satisfying when an arts writer understands the territory I’m negotiating with my work and this brief review is no exception. Thank you Bob Hicks!
Posted in alt process photography, art, art show, collodion, fine art, gallery opening, lecture, photographer in Portland, tagged alternative process, ambrotypes, fine art, gallery, glass plate negatives, Portland on April 12, 2011 | Leave a Comment »
During the month of April 2011, many galleries around Portland will be showing photography in tandem with events surrounding the Photolucida portfolio reviews. On Saturday, April 16th, photographer Ron Van Dongen and I will be giving brief lectures about our work at the Froelick Gallery. The gallery is located at 714 NW Davis St. and the event will start at 11am. It is free and open to the public. I will be talking about my most recent body of work entitled, “r e s t r a i n t,” a series of 4×5″ wet-plate collodion ambrotypes that are a meditation on the word restraint. If you can’t make it to the talk, you can see the work and read my artist statement at seubertfineart.com, my fine art web site. I look forward to seeing you at the gallery!
Posted in alt process photography, art, collodion, fine art, large format photography, photographer in Portland, photography, tagged alternative process, ambrotypes, art, collodion, glass plate negatives, photography on December 6, 2010 | Leave a Comment »
Greetings! The holiday season is upon us already… my how time flies. Last week was a flurry of assignments but with the annual slowing down of work around this time of year, I usually take some time to work on personal projects. This year is no exception. My good friend and mentor, Jody Ake moved to Portland recently and agreed to give me a refresher course on wet-plate collodion. For a one-person show in 2009 during Portland’s biennial photo festival, Photolucida, I showed a group of 25 full plate ambrotypes – a study of birds nests that I created during a workshop in 2008 at the Oregon College of Arts and Crafts that Jody taught. This piece was also included in the Tacoma Art Museum’s 2009 Northwest Biennial.
Since that show, I’ve been busily filling print orders and taking assignments and have not had a large enough block of time to get back into the wet darkroom… until now! Often I use my holiday card as a conceptually simplistic way to get my creative ball rolling again. I’m looking forward to continuing to work in the wet-plate process making not only ambrotypes, but also ferrotypes. Happy Holidays!