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Growing up in a suburb of Philadelphia, the maple tree in our front yard offered me an ideal perch from which to view the changing seasons. Passersby did not see me, and it was as though I became invisible and merged with the tree. The central limbs were offset in a perfect configuration to safely support me. The color and texture of the tree’s bark under shifting light of the changing seasons is etched in my memory. In early spring, the delicate, new leaves unfolded, spread, and deepened in color. During fall as temperatures dropped, the leaves transitioned from green with yellow tipped leaves to translucent yellow. Autumn wind rustled the tree, the leaves shivered, released, and fluttered to the grass below creating new patterns. I loved that tree.
Precious time outside exploring nature’s rhythms and patterns nourished me in ways that nothing else could. With my neighbor’s dog, I explored small pockets of undeveloped land that included streams, fields and bluffs that later became auto dealer parking lots. We walked among the trees that lined the perimeter of my elementary school property that shared a high, sturdy fence with the neighboring property, an eerily quiet complex. More recently, I learned that cyclotron research was located there.
While admiring qualities of light and wondering at the majesty of nature, I remember the rhythmic, swooping sound of a helicopter as its tandem rotors sliced through the calm, suburban air. For years, the hulking, green Chinook helicopters approached, circled, and returned to the nearby Boeing Vertol manufacturing facility for continued testing. Teflon and nonstick pans were enthusiastically marketed for food preparation in the modern, yet isolated lab-like kitchens. Children gleefully, raced their bikes into the billowing fog clouds behind the DDT trucks intended to control mosquitos.
Since that time, a steady evolving tension and tipping of a fragile balance of nature has occurred. Human amplified climate change is contributing to record temperatures, an accelerating pattern of extreme weather patterns and devastating floods and wildfires. We are learning how to cope and develop resilience in the face of challenges posed by climate change and the global pandemic. I hope that our perspective matures to a point where we fully recognize the fragility of this blue planet and work to develop clarity, connect and make wise choices as we care for our environment.
The Pandemic offered me the opportunity to explore trails in Woodward Park, Yosemite National Park, Asilomar State Park and Edison Lake a few weeks before the Creek Fire began. This exploration enabled me to see the effects our choices make on our environment. Photographs in the exhibit were made during 2020 and 2021.
Joan K. Sharma received an MFA from Indiana University, Bloomington and a BFA from Temple University’s, Tyler School of Art in Philadelphia. She studied for a year in Rome, Italy and a summer at Skowhegan School of Painting and Sculpture. She has lived in Switzerland and traveled extensively throughout the US, Europe, India, and Bhutan. These experiences increased her appreciation for the diversity and interconnectedness of our global community. Sharma joined the Department of Art and Design, California State University, Fresno in 2003. She co-directed two travel-study programs to India. Her photographs received awards from the International Photography Awards IPA, juried exhibitions in 2016, 2018 and 2019. Sharma’s work has been exhibited internationally in numerous solo, juried and group exhibitions and at the Fresno Art Museum, Spectrum Gallery, Gallery 25, Gallery 1825, Arte Americas and is in private and public collections.
In my dual role as President of the Board of Directors and currently exhibiting artist, I would like to bring attention first to the effort of the base team that is responsible for helping to make the recent fund-raising auction a success. Despite the setback of the Covid-related pandemic, we have also secured several grants to help fund our operation, and have re-opened our doors to the public. My message is one of hope that as citizens of Earth, we recognize our part in the overcoming of contagious diseases and unjust treatment of our planet and our fellow human beings. A new word has come to mind; something everyone should consider – ‘pandempathy’.
During the winter of 2020, more than 40% of Americans reported symptoms of anxiety or depression, double the rate of the previous year. That number dropped to 30% in June 2021 as vaccinations rose and Covid-19 cases fell, but that still leaves nearly one in three Americans struggling with their mental health. In addition to diagnosable symptoms, plenty of people reported experiencing pandemic brain fog, including forgetfulness, difficulty concentrating, and general fuzziness. Americans are slowly coming out of the pandemic, but as they reemerge, there’s still much trauma to process. Continued caution must be exercised as the Delta and other variants continue to spread. It’s not just our families, communities, and jobs that have changed; our brains have changed too. We are not the same people we were 18 months ago.
“EASE ~ finding one’s place” is the title of a solo exhibition of my art to be held during the month of August 2021 at the SPECTRUM Art Gallery in Fresno, CA.
The overall political tension of the populace during the last four to five years, and most especially during the last year, in which just about everything changed due to the COVID 19 corona virus, has given us a great need/cause for EASE. With new patterns of behavior having been mandated to ensure our safety, we started wearing masks to protect ourselves and others, we employed social distancing and seclusion. As an artist, I have always valued my undisturbed time alone in the studio. As a social human being, I crave interaction with others. In my time spent alone, I found myself inspired to affirm my personal space and place based on location, to create a significance of place interspersed with these current conditions and various aspects of personal causality and identity.
For this upcoming exhibition opportunity, I chose a self- imposed system and direction that would involve working with the fifth letter of our alphabet. My first inclination to do so was because it is the initial of my given name, secondly, the lower-case version of the letter ‘e’ has become ubiquitous as the prefix for anything and everything electronic, such as e-mail, e-trade, e-commerce, and Audi’s new electric car, the e-tron, etc. The letter E is also the most utilized of all the letters of the alphabet, which has proven to be quite valuable to code breakers. Then there is the plethora of wonderful words that start with E: Earth, ecstasy, elephant, elated, exuberant, elemental, exceptional, energetic, elusive, eucalyptus, excruciating and EASE.
By super-imposing a sans serif form of the letter E on a map of Fresno, CA, specific locations at the twelve corners or nodes of the letter were identified. The next step in the process involved exploring these twelve appointed locations, seeking the most interesting and inspiring visuals that would become photographs for the exhibit.
The chosen images from the exploration of the specified sites resulted in numerous images or “snapshots” that have been printed and will be presented as part of the installation. A large version of the letter E has been cut from a sheet of plywood, (approximately four feet by eight feet), upon which there is an enlarged map of Fresno. This table like structure will be situated in the gallery horizontally at approximately mid-thigh height. Each of the twelve locations are identified by street signs from the intersection they represent, and their GPS co-ordinates.
Friends and students of mine have been offered the opportunity to have their work in the gallery as an exercise in inclusivity and ‘relational aesthetics’. I invited them to create their piece of art based on their own personal expressions of and about the letter ‘E’.
I thoroughly enjoy utilizing the technical skills I have acquired over the years to communicate my observations and feelings about the world we share with all living things. The second and perhaps most important aspect of this endeavor is that by creating this installation, I am able to provide the viewers, in this time of great chaos, a sense of comforting EASE.
Please visit our online auction website to view the auction items and bid!
https://www.accelevents.com/e/SpectrumArtGallery40thAnniversaryArtAuction
In honor of its 40th Anniversary and ongoing mission to support photographic art and education in the greater central valley, Spectrum Art Gallery has been the grateful recipient of magnificent contributions by world renown and regional photographic artists. In addition, philanthropic donors have contributed works by prominent artists who are no longer with us. Their legacy will continue to reach all of us through your generous donations, which are featured in this online catalog including the Edward Weston 50th Anniversary Portfolio offered in our upcoming Auction 2020.
Edward Weston “Fiftieth Anniversary Portfolio: 1902-1952
Edward Weston (American, 1886-1958), “Fiftieth Anniversary Portfolio: 1902-1952,” circa 1952, Carmel, California, 1951, a complete portfolio of all 12 gelatin silver prints, from an edition of 100, printed by Brett Weston under Edward Weston’s supervision, each mounted and dated with the photographer’s initials in pencil on the mount, each stamped in ink with the print number on the reverse of the mount; with colophon, introduction by Edward Weston, a plate list, contained in folio, white cloth with flaps and black letterpress title, bound by Perry G. Davis, San Francisco, typography by the Grabhorn Press, The portfolio consists of these plates: Cabbage Leaf, 1931, Eel River, 1937, David H. McAlpin, New York, 1941, Eroded Rock, Point Lobos, 1930, Nude, 1936, Wall Scrawls, Hornitos, 1940, Guadalupe, Mexico, 1925, Church Door, Hornitos, 1940, North Dome, Point Lobos, 1946, William Edmondson, sculptor, Nashville, 1941, “Willie,” New Orleans, 1941, and Dunes, Oceano, 1936, photos each on artist mounted 16″ x 13.75″. All prints are in excellent condition overall. Two have been framed to museum standard for viewing in this exhibition. The included original portfolio case 16.5″ x 14″ x .75″ has warpage; so, all prints not on display have been stored in a separate, 100% archival portfolio box. This entire portfolio has been authenticated and appraised by Christian/Reilly registered by The Appraisers Association of America, Inc.
Spectrum Art Gallery considers the safety of the community and members our top priority. For that reason, we have decided to offer an online silent art auction instead of our usual live event.
In honor of its 40th Anniversary and its ongoing mission to support photographic art and education in the greater central valley, Spectrum Art Gallery has been the grateful recipient of magnificent contributions by world renown and regional photographic artists. In addition, philanthropic donors have contributed works by prominent artists who are no longer with us. Their legacy will continue to reach all of us through these generous donations, which are featured in this catalog and the following pages displaying the Edward Weston 50th Anniversary Portfolio offered in our Auction.
Edward Weston “Fiftieth Anniversary Portfolio: 1902-1952”
Edward Weston (American, 1886-1958), “Fiftieth Anniversary Portfolio: 1902-1952,” Carmel, California, a complete portfolio of all 12 gelatin silver prints, from an edition of 100, printed by Brett Weston under Edward Weston’s supervision, each mounted and dated with the photographer’s initials in pencil on the mount, each stamped in ink with the print number on the reverse of the mount; with colophon, introduction by Edward Weston, a plate list, contained in folio, white cloth with flaps and black letterpress title, bound by Perry G. Davis, San Francisco, typography by the Grabhorn Press.
The portfolio consists of these plates:
● Cabbage Leaf, 1931
● Eel River, 1937
● David H. McAlpin, New York, 1941
● Eroded Rock, Point Lobos, 1930
● Nude, 1936
● Wall Scrawls, Hornitos, 1940
● Guadalupe, Mexico, 1925
● Church Door, Hornitos, 1940
● North Dome, Point Lobos, 1946
● William Edmondson, sculptor, Nashville, 1941
● “Willie,” New Orleans, 1941
● Dunes, Oceano, 1936
Each photo is on 16″ x 13.75” mount board by the artist. All prints are in excellent condition overall. Two have been framed to museum standards for viewing in this exhibition. The included original portfolio case 16.5″ x 14″ x .75″ has warpage; so, all prints not on display have been stored in a separate, 100% archival portfolio box. This entire portfolio has been authenticated and appraised by Christian|Reilly, registered by The Appraisers Association of America, Inc.
Second in a series of strictly online exhibitions, this virtual exhibition features member artworks exposed, edited, or symbolic of Hope.
Even in the face of danger, disease, and unrest, we have seen some of the most beautiful (and some of the ugliest) of humanity in the last year. And art certainly comments on the state of affairs in our everyday life. It is amazing how our art imitates life and what we are going through. And sometimes, it seems to not even be impacted, although I think many therapists may disagree!
In any case, it is no disagreement that this last year has not been the most delightful time for anyone. However, there is light at the end of the tunnel! So whether you are impacted directly by this pandemic, or if you are experiencing your own personal isolation beyond sheltering in place, we are all excited (and a bit impatient) about restrictions easing and normalcy soon returning. And this again brings to light, as it has throughout history;
When the darkness comes, there still remains hope.
For more information on any of these presented artworks or to purchase, please email Jesse Merrell at curator@spectrumphotogallery.org
First in a series of strictly online exhibitions, this virtual exhibition features member artworks exposed, edited, or symbolic of sheltering in place. These images were made close to home, catching up with image editing, or interacting with recent social and physical environments.
For more information on any of these presented artworks or to purchase, please email Jesse Merrell at curator@spectrumphotogallery.org
Spectrum Art Gallery is excited to announce a “Pop-up” exhibition of Small Works, a show that features artworks from members that measure no longer than 12 inches in any dimension. This is a popular exhibition format that our members will enjoy, and will bring options to the public of smaller, more affordable artworks. The other benefit of this exhibition is that due to the smaller submissions, it provides a venue for members to showcase a greater variety of work. Participants are encouraged to submit up to four works to the show. |
Mr. Rhames is a digital photographer who prints his own images using archival pigment inks on Fine Art archival paper. His photography includes portraiture, ‘scapes, nature, commercial and product imagery and weddings. The prints he displays in this exhibit are both monochrome and color.
The subject matter is from a larger body of work and is a collection of images capturing the distinctive beauty of medieval Irish – Norman architecture of some of Ireland’s lesser known historical sites.
In Rhames’ description of his exhibit, he states “While most people see these old Medieval ruins as just piles of rocks, I am irresistibly drawn to the eloquent poem of history that they whisper to me. Most often, I am completely alone with these stone edifices and, while photographing them from every conceivably interesting angle, able to hear their whisperings and envision the stories they conjure in my more than willing imagination.”
He adds, “The finished product of my photography seems to inevitably result in what those sites felt like to me more than what they looked like in the light of forensic accuracy. Many times, the finished product of my photography of these tangible historical markers seems to be “dark” in an emotional sense. I often wonder if that result is an expression of my knowledge that history has not been kind to my Irish ancestors. Particularly that history imposed upon them by my father’s Anglo-Irish ancestors.”
Mr. Rhames will present a discussion of his photography and techniques on Friday January 17th, at 7 PM at The Spectrum Gallery’s “Friday Photography Live”.
Mr. Rhames was first introduced to serious photography as a “rookie” police officer with the City of Fresno Police Department, assigned to the Identification Bureau (what is now called CSI), photographing crime scenes and other events requiring photographic evidence. The assignment was brief, but he learned “the basics”. Upon retirement, 40 years later, he gravitated to photography as a second career. He studied and completed the Commercial Photography Course with the New York Institute of Photography, continued his photographic education through intensive selfteaching methods and has been a licensed photographer since 2010. In successive years Fresno Fair Professional Photography Exhibition, he has been awarded numerous awards in the Professional Category.
Many years ago, Spectrum Art Gallery acquired a large collection of works donated by collector George Ollikkala. George was a life long art collector, a hobby he began in college. Although it took him a while to come to the conclusion that he was a collector, he actually had plans to open his own museum. He bought anything and everything: ceramics, etchings, Pre-Colombian art, paintings, bronzes, photographs. Whatever was available that he could afford. He loved going to Mexico, and was interested in Pre-Columbian art, with this part of the collection going to the Fresno Art Museum.
He was a fixture at Spectrum’s yearly auction and owned many pieces by gallery members. He passed away February 17, 2011 leaving his photography collection to Spectrum Art Gallery. This December, we will be exhibiting a selection of these works for our members and guests to enjoy. Be sure to stop in and see this amazing collection of various works from years past!
ARTIST ED GILLUM’S STATEMENT:
Framing an Idea
I always enjoy witnessing what students can come up with when assigned the imagining, the virtual imaging of an idea ~ simply, ‘describe the idea that you see in your imagination’.
WHAT IF ………………..
No tools, no materials, no technical processes, just the intuitive activity of the imagination. Right now I am having a blast framing the images for my upcoming exhibit. All the images have been created, and now the rest of the stories will be told with the frames, (framing), and other objects. The parts all come together, becoming a whole as each letter of the alphabet inspired me to choose a relevant image and then to decide just how to process each one in order to help create the right feeling(s). Now back to the ‘framing an idea’. I need to just put all the parts together and see if all the elements work as a whole, all the while hoping to communicate my response to and interpretation of what I experience in this life, and for as long as I am able, to tell another part of the story. Please come to the reception and see for yourself.
A quote from photographer Jeff Wall –
“All art is always an expression of affection of there being a world.”
Art that utilizes and incorporates text into the body of the objects that get created stands as a vital attempt to communicate in new ways. I find that ‘everything’ I see and experience is fair game to borrow/appropriate from and to utilize in my creative endeavor.
My solo show at SPECTRUM Art Gallery in November is titled, “ABECEDARIAN”, meaning related to the alphabet. It is a response to the arbitrary way in which our language forms itself.
alphabet => letters => words => sentences =>paragraphs => books, etc.
While this does offer excellent communication tools/ devices, so so much is misunderstood.
