Rayko’s 10th Annual International Juried Plastic Camera Show
Opening Reception: March 1, 6-8PM
Exhibition on View: March 1 – April 23, 2017
RayKo’s 10th annual juried plastic camera show will include images from around the world by 89 different artists! Along with the juried show, we will also exhibit photographs by the featured artists from our past 9 years of fantastic plastic shows: Veronika Lukasova, Aline Smithson, Michael Emery, Roy Berkowitz, Michael Borek, Thomas Alleman, Robert Holmgren, Sam Grant, Michelle Bates, James Rohan, Ernie Button, Jennifer Shaw and Gordon Stettinius. It’s a landmark show, so we’re thrilled to show some history in what could be the last exhibition ever at RayKo Photo Center. Come celebrate these artists and all this film photography this spring!
RAYKO PHOTO CENTER
(415) 495-3773 | email@example.com | 428 Third Street, SF
Into The Light
A Photography Exhibition curated by Judy Walrgren
February 11 – March 18, 2017
Opening Reception: Saturday, Feb. 11, 4-7pm
Gray Loft Gallery
2889 Ford Street, 3rd Floor
Oakland, CA 94601
Root Division is thrilled to be participating in this year’s ArtSpan Open Studios! We’re proud to be providing subsidized studio space for 31 emerging artists in the heart of the city! Come by and see what our Studio Artists have been up to!
Studios will be open Saturday & Sunday from 11 AM – 6 PM. Plus get a sneak peek of the 15th Annual Benefit Art Auction in our gallery! Preview works here: squareup.com/store/root-division.
Current Studio Artists
|Kimberley Arteche, BGSTF
Leigh Ann Coleman
Rea Lynn de Guzman
Claire R. Lynch
Sofia Sinibaldi, LTAF
Indira Urrutia, LTAF
Photography Exhibition by Professor Andrea Schwartz Massalski
Please join Andrea Schwartz Massalski for a solo exhibition of her photographic series titled LOCAL TREES. This series was done over a few years living between Capitola, CA and Berlin, Germany. The work represents a conceptual idea of place and beauty. Blaise Rosenthal wrote about these photographs, “Massalski’s impulse to isolate begets a process of composition based on editing, involving removal and emphasis, that demands that formal considerations are taken into account. But what allows these images to succeed beyond simple pleasantly or formal exercise is the unique combinations of contrasting aspects that coexist within them. The photographs express both an innocent earnestness as well as a wry and deadpan sense of humor. They seem to be the product of an intense curiosity restrained by the resolve to neglect and resist interruption into their space.”
Andrea would be happy to greet you at the show. Please contact her if you would like to join her at the gallery to view and discuss the work in person. Contact: firstname.lastname@example.org
Closing Reception | October 29, 2016 | 1:00-3:00
2125 Delaware Avenue
Santa Cruz, CA 95060
Faculty Spotlight: Photography Exhibition “Paramnesia” and Artist Talk by Professor Naomi VanderkindrenPosted: September 2, 2015
Louie-Meager Art Gallery
Exhibit runs: August 28 – September 28, 2015
Monday and Wednesday: 11:00am – 4:00pm
Tuesday and Thursday: 10:00am – 3:00pm
Reception and Artist Talk: Thursday, September 17, 2015 at 4:00pm
The Louie-Meager Art Gallery at Ohlone College presents the photo series, Paramnesia, by artist and CCSF Photography and Ohlone College instructor Naomi Vanderkindren. The exhibition will be on display from August 28 through September 28, 2015. Ms. Vanderkindren will present a lecture on her work on Thursday, September 17 at 4:00pm in the gallery.
Ms. Vanderkindren’s ongoing series, Paramnesia, takes the viewer through conflicting interpretations of reality. She utilizes historic techniques and stylistic approaches that create suggestions of old photographs. These encourage the viewer to feel connections to history, though hers is a fabricated one. On closer inspection, the viewer finds a modern world, rather than an historic one, complete with power lines and litter. In the end, the world we find in her images is one that distorts rather than informs. Like the memory disorder of the same name, Paramnesia is an ever-changing amalgamation of objective truth, expectation and fantasy. This is a world that exists only through photographic illusion.
There is a There There
November 14 – December 12, 2014
The gallery will also be open during the 9th Annual Jingletown Winter Art Walk: Dec. 6 & 7, 11 – 6 pm
2nd Friday closing reception: December 12, 6 – 9 pm
Gray Loft Gallery is pleased to present There is a There There.
This end of year salon-style show gives a nod to Gertrude Stein’s philosophy of living with art and supporting artists with arrangements of furniture and art to create this milieu. Work in the exhibit includes painting, photography, sculpture, mixed media, art furniture, textiles and jewelry.
Participating artist Stephanie Williamson is exhibiting a series of photographs made with vintage Brownie cameras
GRAY LOFT GALLERY
2889 Ford Street, third floor
Oakland, California 94601
Saturdays, 1:00 to 5:00 pm
Sundays by appointment
FIVE QUESTIONS WITH PHOTO PROFESSOR STEVEN RASKIN
To see more photographs visit http://www.stevenraskinphotography.com
How did you become involved in photography? Describe the journey that led you to your current relationship with the medium.
I began making photographs in my mid-twenties, primarily because I had a couple of housemates who had gotten involved and it looked like fun. My earliest work was frankly pretty boring – flowers, family, and fire trucks. I was primarily self taught and moved from color slide film to B&W within a couple of years. Ask me sometime how to improvise a darkroom in a rented bathroom! What also happened at that time was a major change in my life circumstances – an unexpected loss that I considered a “moment of agonizing reappraisal” – when one’s circumstances and the decisions that led to them come into painfully sharp focus. I needed a distraction, I needed answers to fundamental personal questions, and I desperately needed to explore and express myself. I discovered that making photographs could fulfill all of these requirements. I found that photographs could facilitate a conversation that I needed to have with myself, and they became an amazing tool for self-discovery. I consider every photo I’ve made since then to be a self portrait in one form or another.
I was passionate about making images, took a couple of classes here and there, and became an active member of the photography community flourishing in the Bay Area in the late 1970s and 1980s. I started exhibiting work in 1978 and was teaching photography by 1982. I found that sharing my passion for image-making and my skills in doing so was an avocation that was extraordinarily fulfilling. My bread-and-butter came from another career entirely, but by the late 1980s I realized that teaching was the direction my life needed to go in. I enrolled at California College of Arts and Crafts (now known as CCA rather than CCAC) in their graduate program in Photography. At the time there were only two of us in the program, so I had the benefit of incredible resources in the faculty and facilities at CCAC. My son was born and I left my job, both in the month before school started. Big changes were in the works!. I expected to motor through grad school as fast as I could and get on with building a new career, but once I started I realized that this was one of the most important opportunities in my life. I invested myself fully in the program, and took every class I could. What should have been a two year program I managed to stretch to three, and only left when my grad advisors were pushing me firmly towards the door. If there were a doctoral program in Photography I’d still be there. I graduated in 1991 with an MFA “With High Distinction” in Photography, immediately started teaching at UC Extension in SF, and soon found adjunct teaching work at College of Marin, Academy of Art College, Foothill College, and City College of San Francisco. I worked at those of schools until I landed this full-time job at City College in 2000. I continue to produce my own work, though ironically not at the level of production that it used to be. Full time teaching is way more than a full time job! That brings me to the present. As member of the CCSF faculty for 23 years, I think of my students, and colleagues as family.
Which photographers have influenced you?
I think most of my primary influences come from my formative years in photography. I loved the narrative dreamscapes of Duane Michals, and his ability to weave incredible stories through a handful of images. His in-camera multiple images and the scrawled writing on the photos spoke to me of the psychological potential of photos. Likewise, Jerry Uelsmann’s surreal composites are like waking dreams. Cartier Bresson, Robert Frank, Dorothea Lange, Dianne Arbus, ‘Danny Lyon, Ralph Gibson, Lisette Model, Lee Friedlander – the list goes on and on. I got very involved in landscape photography, though not in terms of depicting place. Rather, I found that landscapes were a perfect metaphor through which I could explore my psyche. I also became fascinated with early landscape photographers and the life of a photographer in the days of glass plate and colodion. My master’s thesis explored how 19th century photography interwove with the exploration and expansion of the US and how that continues today. The civil war, the rise of an industrial nation, the use, exploitation, and also preservation of our natural resources – all of these things happened in part as a result of the efforts of photographers. Carleton Watkins, William Henry Jackson, Timothy O’Sullivan, Alexander Gardner, John Hillers, George Fiske…
Those photographers coupled with my love of the outdoors led me to a more current crop of photographers; those who understand their roots yet explore the landscape through fresh eyes: Robert Adams, Henry Wessel, Bob Dawson, Lewis Baltz, John Pfahl, Mark Klett, Richard Misrach, John Divola, Joel Sternfeld, William Garnett, Linda Connor, Robbert Flick, Kenda North, Peter Goin, William Garnett, Stephen Shore, Frank Gholke. The photographers of The Rephotographic Survey Project, and those of the New Topographics and The Great Central Valley Project. Is that list long enough? I’ve of course left out hundreds of other influences on my work, my attitudes, and my teaching.
As I mentioned, I think of my work as self portraiture, and used the landscape to describe moods, fears, and epiphanies. The emotional tone of my black and white work moved from certainty and serenity through confusion, noise, confrontation and fear, reflection, and ultimately naked revelation. At the conclusion of my grad program, a project that had been many years in the making came to a close. It took a few years for my work to begin to move on a new path.
What classes do you teach at CCSF?
That one’s easy. I teach PHOTO 51; Beginning Photography, PHOTO 81A; Intermediate B&W Photography, PHOTO 81D; Intermediate Digital Photography, PHOTO 60A; Beginning Photoshop, and I have on occasion taught PHOT 130; Portfolio Production, and PHOTO 50B; History of Photography Since 1945. PHOTO 81D is a new course, and I’m very excited to be teaching Adobe Lightroom and Photoshop as tools in service to image-making rather than as “applications classes.” Of course students’ continued interest in learning film and darkroom-based photography warms the heart of an old timer – it’s great for me to be active with both analog and digital tools and techniques. I truly love teaching 2nd semester courses – it’s an exciting time to be working with students. They’ve taken a beginning class and something has stimulated them to the extent that they are back again for more. What a great time to be available as an influence!
Tell us about your latest photographic excursion.
During the past year I revisited the American Southwest and the California desert – landscapes that I fell in love with many years ago. For a number of weeks I ranged through California, Nevada, Utah, Colorado, New Mexico, and Arizona. My work is no longer strictly landscape, but I found a richness of opportunity to make photos in all of these places nonetheless. It’s really enlightening to look at this current work next to the images I produced in these same areas 30-odd years ago. Fascinating to see how I and my vision have changed; perhaps more enlightening to see how I and my vision have remained constant. The newest work is called Error Messages. I’ve been working on it over the past 10 years or so. It centers around how we miscommunicate on a public scale, and frankly the pictures indulge my [often sophomoric] sense of humor. As I’ve aged, my need for angst has thankfully diminished! Still, I think there are personal and cultural truths to be found lurking among the paradoxes and enigmas explored in the photos.
Where can we see your work?
One of my projects before the start of the Fall 2014 term was to get my website up and running. No more excuses – I now have work available online at www.stevenraskinphotography.com. This site holds a sampling of what I’ve produced since the mid-80s. I’m very interested in the progression of ideas, so I intentionally included older work along with the newest. I encourage you to visit the site and I’d be delighted to receive any feedback or questions that might come up.