Sunday, December 11, 2011

The Great Yellow Father, 2011

I first began buying lab products directly from Eastman Kodak in 1980. Between then and 2008 when they ceased direct distribution I probably purchased close to 2 million dollars worth of paper, chemistry and film. When we started Color Services in 1988 Eastman Kodak had been the dominant supplier in the industry for nearly 90 years. It’s omnipotence was unquestioned and its technical superiority a matter of fact. Now, as 2011 winds down it seems increasingly likely that their days may be numbered. They are burning through cash reserves at a rate that is not sustainable; their stock has been downgraded to junk status, there are reports of abandoning employee pension health insurance, and increasingly the financial media mention bankruptcy as a real possibility. Suffice it to say that wherever the financial truth may lay they have lost their inimitable swagger – the kind of swagger that they historically used as a tool to keep their professional customers as well as their competitors in line.

We still make analog prints and process film. It remains a good business and it remains our industry heritage. To do these things we continue to use Kodak’s products. I still use their films in the course of making my own work, as do many of our clients. We all have a stake in their survival and ongoing viability. Over the past 31 years the quality and reliability of their products has been remarkable, even when one takes into consideration the c print stability issues that we have and continue to face. Their products have always worked reliably and understandably. At the height of their TSR field representative network days there was always an answer to any technical question one phone call away.

I have to admit to some mixed feelings about all this. Great products aside, Kodak treated us as if we were pretty inconsequential and at the tail end of their TSR days in the mid 90’s. Their reps made it clear repeatedly that they would do their best to put up with us (our standards were much higher than most commercial labs) and I often was left with the impression that we were regarded as more of an annoyance than an asset. I also remember the last order that I placed directly with them - I had always ordered by telephone, rhythmically reciting one catalog number after another to the same fellow that that I had been ordering from for several years. He had over 30 years with the company and was approaching retirement and hoped he would make it there. Eventually I came to the last cat # - C41 Final Rinse, and after making awkward small talk about the upcoming Rochester winter we both knew that it was the beginning of some sort of an end.

Saturday, October 8, 2011

Judy Haberl at Gallery Kayafas


Judy Haberl at Gallery Kayafas
October 22 - November 26, 2011


Gallery Kayafas
450 Harrison Ave
Boston, MA 02118

Victoria Sambunaris at Albright-Knox Art Gallery


Victoria Sambunaris: Taxonomy of a Landscape
Friday, October 21, 2011–Sunday, January 22, 201

Each year for the last ten years, Victoria Sambunaris (American, born 1964) has set out from her home in New York to cross the United States by car, alone with her camera. Her photographs capture the expansive American landscape and the natural and fabricated adaptations that appear throughout it. In conjunction with the Lannan Foundation in Santa Fe, New Mexico, the Albright-Knox will present a selection of approximately forty photographs from Sambunaris’s body of work, marking the artist’s first solo exhibition at a major American museum. Hauntingly beautiful in their documentation of the declining American terrain, Sambunaris’s images celebrate the intersection of civilization, geology, and natural history, featuring trains in Texas and Wyoming, trucks in New Jersey and Wisconsin, the oil pipeline in Alaska, uranium tailings in Utah, and a unique view of Arizona’s Petrified Forest. Together, they present a sparse and vast landscape dotted by human intervention that is distinctly American. The exhibition will also include a comprehensive archival installation featuring maps, journals, and additional records of the artist’s travels.

gallery website

Albright-Knox Art Gallery
1285 Elmwood Avenue
Buffalo, New York 14222

Laura McPhee at Carroll and Sons



Laura McPhee: Something About Love
September 7 – October 29, 2011


Carroll and Sons
450 Harrison Ave
Boston, MA 02118


Jocelyn Lee at Rose Gallery


Jocelyn Lee
Nowhere but Here
Rose Gallery

September 24, 2011 - November 19, 2011

“Photography is not about fact or truth; but it is about a casual relationship between light, subject, and receptive material. Light reflects off an object and accumulates on a sensitized surface, marking it so as to resemble that object. Things that we see as well as things that we do not see are held in relationship to one another, and the photograph—unlike a painting or drawing becomes a mysterious but irrefutable anchor to a real event in space and time. This does not mean that the photograph cannot lie or distort; it can do both. But hidden within that illusion is always an umbilical cord to an actual moment.”

—Jocelyn Lee, nowhere but here


Rose Gallery
Bergamot Station Arts Center
2525 Michigan Ave
Santa Monica, California, 90404


Monday, September 26, 2011

Willard Traub at the Danforth Museum


Recovery 1, photograph

September 11, 2011 - November 6, 2011
Members Preview Reception: Saturday, September 17, 6pm - 8pm
Poetry Reading: Sunday, September 18, 1pm


Photographer Willard Traub will read poetry and prose poems he's written to illuminate photographs in Recovery.

Exhibition catalogs available, with a portion of sale proceeds to be donated to Be the Match Foundation, the national clearinghouse for bone marrow transplant donors and recipients.

Artist Talk: Wednesday, September 21, 12:30pm


About the Exhibit

Willard Traub: Recovery is an exhibition of unique photographs that impose the lens of human experience on the healing process, Traub’s strong, emotional images directly connect us to an artist who might have been critically ill, but remained actively engaged. In her essay for the exhibition catalog, Karen Haas, The Lane Collection Curator of Photographs at the Museum of Fine Arts, Boston, compares Traub’s pictures to the early photographs of Alfred Stieglitz or still lifes by Josef Sudek. She also remarking on their complexity. These pictures “are political,” she observes, allowing Traub “to gain a much-needed sense of control in the face of this seemingly out-of-control disease.” And, they are “also symbolic, as he has come to see them as signifying larger issues, such as love, loss, sustenance, and healing.”


About the Artist

Willard Traub is a Massachusetts based photographer whose interests range from the commercial photography of architecture to teaching to fine art photography. Recipient of numerous grants and awards, including a Photography Fellowship from the Massachusetts Cultural Council and a Polaroid Foundation Grant, his work is represented in private, museum and corporate collections, both nationally and abroad. The artist currently lives in Wayland, MA and works from his studio at the Saxonville Studios in Framingham.


For more information on the exhibition,

Monday, September 12, 2011

Milestone


This week John Liz will mark one of those milestone birthdays. In honoring his request for no organized celebratory attempts I will not disclose what day nor which milestone.

John and I started working together on August 26th, 1985 at Spectrum Color Labs in Boston. A few years later when I left to co-found Color Services I tried to convince him to follow. His loyalty to the late Walter Urbanowicz, Spectrum’s founder, prevailed, leavened I would guess by a certain amount of doubt as to his prospects in joining a startup with little assurance of survival. I tried a couple of times in the ensuing years to convince him to jump ship, to no avail. When Spectrum closed it’s doors suddenly in 2006 there was no real question for either of us and once again we were working together.

I haven’t known a harder working or more dedicated individual. Before most of us are awake each and every morning John is already at work in the lab. He makes everything and everyone around him better. Photography and life still excite him. Anyone who has notched a milestone or two knows how important and rare that is.

One day it is 1985 and as a young fellow you put your head down and set to work at the task at hand. Seemingly overnight it is 2011 and when you look up that youth and those years are rapidly receding in the distance…

For those years and all the good work, thank you John.

Happy birthday from us all.

Wednesday, August 3, 2011

Jim Dow’s American Studies presents a vision of America at once familiar and foreign; a country constantly reinventing itself visually, both discarding and preserving elements of its past, in a relentless, unplanned process of change.

In American Studies, Dow gives us unpeopled spaces, each resonating with a unique and telling history. A landscape, for Dow, is fashioned by ordinary individuals leaving their mark on their surroundings through everyday acts, unconscious of the enduring effect these changes have on our world. Our signs and billboards, barbershops, office buildings, libraries, pool halls, private clubs, courthouses, and motels—these places belong to a world made primarily by and for American men, and are naturally imbued with that identity.

Obsessive by nature, once praised as “dumb, in the honorific sense of the word,” Dow takes photographs that depict how Americans purposefully create environments and transform their aesthetic power—spiritually, historically, and sometimes commercially. His method has evolved from an early black and white directness, deeply influenced by photography greats Harry Callahan and Walker Evans, to richly detailed color studies of American vernacular culture. In these beautifully realized images, made in every corner of the United States over nearly 40 years of American travel, Dow catalogs aspects of American culture that are seemingly commonplace yet always astonishingly unique.

Jim Dow studied graphic design and photography at the Rhode Island School of Design during the 1960s. From that time forward he has been the recipient of numerous commissions, fellowships, and grants that have allowed him to travel and photograph as well as exhibit and publish extensively. His subjects include folk art, roadside architecture, signs, county courthouses, baseball parks, soccer stadiums, private clubs, barbeque joints, and taco trucks. He is fascinated by the way people leave their mark on both the rural and urban landscape and seeks to preserve this through photography. He lives in Boston and teaches at Tufts University and the School of the Museum of Fine Arts.