PAM 12/14/17 - Jazz Festival Inspiration

Elmeator Morton, My Mom When She Had a Black Car, 2015, acrylic on canvas board, photo taken
by me on 12/14/17

This painting reminded me of music because it showed movement in the brushstrokes. The
application of paint also suggests an effortlessness, as if each color was painted without any
thought put into it, connecting to the improvisational nature of jazz. I could translate elements
of this painting into my Jazz Festival photos and poster by using graphic and contrasting colors,
photographing motion and camera shake, and focusing on texture and shape.

Minor White, Pilaster and Hood Molding, Dodd Building (Southwest Front and Ankeny), 1938,
gelatin silver print, photo taken by me at PAM on 12/14/17

This photo inspires me to use shadow and intense lighting for my Jazz Festival photos. I remember seeing many urban photos of buildings, sidewalks, and bridges on album covers and previous examples of poster for the festival. I want to take a photo of an interesting Portland building or location that includes texture and harsh lighting like Minor White’s photo.

“‘Apparition: Postcards From Eye See You’ is a series of digital images created during my recovery from a stroke that left me legally blind in 2012. The birth of these images began deep within my damaged brain, as it would begin to make new neural connections, resulting in startling but vivid visual hallucinations from a condition known as Charles Bonnet Syndrome.”

https://www.photolucida.org/artist-detail/?cmid=11035

J. Fredric May, Authors Hallucination No.3 “Les”, digital image

https://www.photolucida.org/artist-detail/?cmid=11035

J. Fredric May, Authors Hallucination No.89, digital image

https://www.photolucida.org/artist-detail/?cmid=11035

J. Fredric May, Authors Hallucination No.19, digital image

https://www.photolucida.org/artist-detail/?cmid=11035

Old Self Portrait

This is a collage I made when I was a lot younger, probably between ages 7 and 9. I used Photoshop to add the spider and lengthen my nails and teeth. It shows my early interest in collage and photography and my humor. My hair was actually red at the time of the photo, which is something similar to me today since I still have my hair dyed. I remember my dad taking photos of me like this one in his studio and then helping me Photoshop them. This one became a poster on our wall for a few years and I would always smile when I saw it because of what it reminded me of and because it is so ridiculous.

Newer Self Portrait

This photo was taken by my mom at the Chihuly Museum in Seattle during spring break of last year. I like this photo because it’s an honest portrait. I never want my photo taken during trips or get togethers, but my mom always takes them anyway. I don’t enjoy being in front of the camera at all and prefer to be behind it. So, in rebellion, I usually make a face at the camera or I don’t smile, but I like this one most because it is truly candid. I remember not wanting my photo taken, but this one is actually my real reaction, not one I put on to rebel. This portrait also shows me in an artistic environment and although it’s not visible in the photo, I had my Holga camera around my neck.

Self Portrait


Erwin Blumenfeld. Self-Portrait with mask. New York, ca 1958
https://www.pinterest.com/pin/309692911854453437/


Claude Cahun, 1929
https://vaultreview.wordpress.com/2014/02/07/claude-cahun-and-her-divided-selfs-written-by-brittany-ball-snellen-university-of-alberta/

Claude Cahun, 1925, from artsy.net

Alec Soth, "The Unselfie," https://www.newyorker.com/culture/photo-booth/seeing-themselves-photographers-self-portraits#slide_ss_0=12

Lee Friedlander https://fraenkelgallery.com/portfolios/1960s-self-portraits

Danny Treacy, from blueskygallery.com (left) and pinterest.com (right)

Thomas Florschuetz, from pinterest.com

Janieta Eyre - http://www.janietaeyre.com/incarnations#9

Shokoufeh Alidousti

left:http://www.pressherald.com/2013/11/24/art_review_by_daniel_kany_/

right: https://www.flickr.com/photos/artsandartists/7805788820

Jerry Uelsmann

• Years active: Late 1960s-currently

• Current Age: 83
• My favorite work of his was made during the anti-war movement, JFK, Lyndon Johnson, war in Vietnam, fight for civil rights for minorities, counterculture (“hippies”, “free love”, nonconformists), Woodstock, and riots since 1964

http://www.history.com/topics/1960s

• Began teaching photography in 1960

• Photographer Henry Holmes Smith was Uelsmann’s teacher in 1957 at Indiana University (IU) and he had a great influence on his work. At the time, photography still wasn’t considered to be an artform. He considered Smith, along with other teachers, Ralph Hattersley and Minor White, to be his primary influences.
• He was influenced by surrealism, specifically René Magritte, Max Ernst and Man Ray, who he was introduced to at IU.
• He first became interested in photography in high school and started experimenting with singular mode photography in the 1950s. It wasn’t until he graduated IU in 1960 that his experimentation took off.
• “ I have a great fondness for the ’60s. I was influenced more in terms of the broader culture at the time, and the positive support and attitude toward the arts from colleagues at the university.” http://www.bandwmag.com/articles/jerry-uelsmann-on-the-fringes-of-understanding
• “My creative process remains intrinsically linked to the alchemy of the darkroom. Basically, I’ve been in the darkroom for 60 years, and although I see the incredible options digital provides, the bottom line is [that] the technique has to fit with the ideas and images. All my work is on film, and the darkroom has been the environment in which I create my work. If I was 20 years younger I would work digitally, but I love the ambience of the darkroom and the fluidity of my working process.” http://www.bandwmag.com/articles/jerry-uelsmann-on-the-fringes-of-understanding
• “Assembling images in the darkroom further enhances his creative process because he considers creative photography an experimental form of art which gives him the freedom to express his artistic vision on life and of not having to complete a photo at the camera. He photographs different objects specifically for use in his darkroom. He typically shoots various things on light box in order to create a white background and objects on black velvet so as to assemble the negatives later in his darkroom.” http://famous-photographers.com/jerry-uelsmann/

Jerry Uelsmann's Work:

Quest of Continual Becoming, 1965

http://www.catherinecouturier.com/exhibitions/previous-exhibitions/jerry-uelsmann-untitled/

Apocalypse II, 1967

https://artblart.com/tag/jerry-uelsmann/

Navigation Without Numbers, 1971

http://painting2013msmc.blogspot.com/2013/10/jerry-uelsmanns-navigation-without.html

Uelsmann's Influences:

Henry Holmes Smith:

Refraction Print from Portfolio II: The Work of Henry Holmes Smith, produced and published by the Center for Photographic Studies, 1973.

https://traubephoto.com/tag/henry-holmes-smith/

Untitled Refraction Print - 1950   

http://henryholmessmith.com/gallery_-_1/gallery_-_4

Refraction Print from Portfolio II: The Work of Henry Holmes Smith, produced and published by the Center for Photographic Studies, 1973.

https://traubephoto.com/tag/henry-holmes-smith/

Max Ernst:

The Antipope, Max Ernst, December 1941–March 1942, Oil on canvas, 63 1/4 x 50 inches (160.8 x 127.1 cm)

https://www.guggenheim.org/artwork/1188

Forest and Sun, Max Ernst, 1927, Oil on canvas, 66 x 82.5 cm (26 x 32 1/2 in.)

http://www.artic.edu/aic/collections/artwork/185760

Response to "Editor's Comments: Imaginative Photography"
     The three types of photography are documentary, personal narrative, and imaginative. There are four types of imaginative photography: hyper real, symbolic, new physical universe, and new psychological universe. Documentary shows the world as it it, with the photographer taking a step back from the subject. Personal narrative is the photographer's own story, however, it often needs to have a purpose and a way that the viewer can connect with it. Something needs to be universal about it. Imaginative photography creates a new world from imagination, and not just from Photoshop manipulation.
     I believe my work has fallen into all three of the categories at some point in my photography life. My favorite shooting technique is found subject matter. I like the spontaneity of going on a walk with a camera, searching for something interesting. It's how I usually work. I don't like to plan out shoots very much. Because of my love of finding subjects and simply photographing them without changing them, I think my work can fall into the documentary category.
     I think that my work can fall into the personal narrative category because I use photography as a personal outlet, however, I do not think I use this type as much as the other two.
     I think my work falls into imaginative quite often. I think it primarily fits into hyper real and


My Work:
Documentary: Found Subject Matter

My Work
Personal Photography:

My Work
Imaginative:

Other Examples of Categories:
New Physical Universe:

Andrew Ilachinski, from Microworlds
http://www.sudden-stillness.com/


Kim Kauffman, Simile, from Illumitones
http://www.synecdochestudio.com/html_files/itones-simile.html


Kim Kauffman, Polyrhythm, from Illumitones
http://www.synecdochestudio.com/html_files/itones-polyrhythm.html

New Psychological Universe:

Carol Golemboski, Safe, 2001, from Psychometry
http://carolgolemboski.com/psychometry_img.html


Carol Golemboski, Dr. French's Posteriors, 2003, from Psychometry
http://carolgolemboski.com/psychometry_img.html


Carol Golemboski, Dress Form #1, 1998, from Psychometry
http://carolgolemboski.com/psychometry_img.html

Abelardo Morell
Morell was born in Cuba during the Cold War, but his family later moved to New York in 1962. He is one of few artists who uses Camera Obscura. He projects images of cities such as Boston and New York inside rooms so that cover the walls and appear upside down. He blacks out the room and makes a 3/8 inch hole. He uses cliche verre, a "a technique of reproducing images which a glass plate coated with collodion is etched and photographed against a black background" as well as photograms.
The above quote is from:  https://www.icp.org/browse/archive/constituents/abelardo-morell?all/all/all/all/0

"Cuban-born photographer Abelardo Morell surveys both the intimate and the majestic in his photographs of American people, objects, and landscapes. Morell initially worked in the tradition of Lee Friedlander and Gary Winogrand, photographing street scenes in New York. His interests later shifted to a more intimate yet still pedestrian scale, capturing black-and-white images of domestic objects. In 1991, Morell returned to the street, shooting scenes on a grander scale with a self-constructed camera obscura. The return to this centuries-old technology allowed Morell to better understand the origins of his medium and capture cities at a scale he felt was appropriate for comprehending them. In recent years, he transformed his camera obscura into a mobile tent, moving it to locations throughout America to capture landscapes on a monumental scale." https://www.artsy.net/artist/abelardo-morell?


CAMERA OBSCURA: VIEW OF CENTRAL PARK LOOKING NORTH – SUMMER, 2008
http://www.abelardomorell.net/project/camera-obscura/


CAMERA OBSCURA: IMAGE OF MILL ALLEY IN ROOM WITH DESK, LAWRENCE, MA, 2002
HTTP://WWW.ABELARDOMORELL.NET/PROJECT/CAMERA-OBSCURA/


CAMERA OBSCURA: THE EMPIRE STATE BUILDING IN BEDROOM, 1994
HTTP://WWW.ABELARDOMORELL.NET/PROJECT/CAMERA-OBSCURA/


CAMERA OBSCURA: IMAGE OF MILL ALLEY IN ROOM WITH DESK, LAWRENCE, MA, 2002
HTTP://WWW.ABELARDOMORELL.NET/PROJECT/CAMERA-OBSCURA/


CAMERA OBSCURA: TIMES SQUARE IN HOTEL ROOM, 2010
HTTP://WWW.ABELARDOMORELL.NET/PROJECT/CAMERA-OBSCURA/


CAMERA OBSCURA: 5:04 AM SUNRISE OVER THE ATLANTIC OCEAN. ROCKPORT, MASSACHUSETTS, JUNE 17TH, 2009
HTTP://WWW.ABELARDOMORELL.NET/PROJECT/CAMERA-OBSCURA/


CAMERA OBSCURA: VIEW OF EIFFEL TOWER IN THE HOTEL FRANTOUR, 1999
HTTP://WWW.ABELARDOMORELL.NET/PROJECT/CAMERA-OBSCURA/


CAMERA OBSCURA: IMAGE OF BOSTON’S OLD CUSTOMS HOUSE IN HOTEL ROOM, 1999
HTTP://WWW.ABELARDOMORELL.NET/PROJECT/CAMERA-OBSCURA/