Topic: Northeast (64 posts) Page 1 of 13

New Show

Boston Up

I took some photographs to the Boston Society of Architects (BSA) this week for a show that will be up through the winter. I am showing with longtime friend Peter Vanderwarker. The BSA is planning an opening reception for January 30th.

The show features work I made in 70mm black and white infrared film in the early eighties of downtown Boston. It is called Boston Up.

If you don't know of the BSA they offer a wide variety of programming, classes, lectures, and exhibitions, all centered around the built environment. They are on Congress Street in Boston.

The Boston Society of Architects/AIA is committed to professional development for our members, advocacy on behalf of great design, and sharing an appreciation for the built environment with the public at large.
Established in 1867, the BSA today consists of nearly 4,500 members and produces content for a diverse array of programs and publications, including ABX and ArchitectureBoston.
A chapter of the American Institute of Architects, it is a nonprofit, professional-service organization.
The BSA is located at BSA Space. BSA Space features more than 5,000 square feet of gallery space for creative explorations of the potential of design to inspire, create community and transform the world we inhabit. BSA Space is also home to the BSA Foundation (formerly the Boston Foundation for Architecture).

For more information and open hours please go to: Boston Society of Architecture

Topics: Northeast,Analog,Digital,infrared

Permalink | Posted January 12, 2019

26 Dollars

After spending a night in NY, we headed back to Boston by way of New Haven to see the George Shaw painting show at the Yale Center for British Art and have lunch with Phillip Prodger. Phillip is the former curator of photography at the Peabody Essex Museum in Salem and has recently returned to the States from London where he did a stint at the National Portrait Gallery.

Before I tell you the $26 story let me share some of Shaw's paintings with you.

Quite often these are large, on up to  5 or 6 ft, mostly enamel on metal. Here is the      opening statement

Don't know if you can read it so small but it speaks about his inherent preoccupation with the fine art of painting and the prevailing medium of the day, photography. 

These are extraordinary paintings, "take your breath away" beautiful and, for me, they both validate present day painting but validate much of my work that points at things like fences, that allows shadows, blank walls and everyday objects pulling back in space, made earlier in my career in black and white and now in color. 

photograph: Neal Rantoul from Fences and Walls

painting: George Shaw

painting: George Shaw

Affirming is the sense that Shaw and I look at the world  in similar ways. Uncanny, really, that someone unknown to me until now has been working in a manner that is somewhat aligned to mine. 

Looking for proof? Easy. Go to Edgartown Beach Club and the blog post:

here   (hint: the author of the series is me, working under the pseudonym Marc Meyers)

photograph: Neal Rantoul

painting: George Shaw

26 Dollars: Heading back to Boston on the Mass Pike we stopped for gas. I am standing there filling up and this man comes up to me. He's got an elaborate story about a dead fuel pump in his pickup truck, a towing charge, a weekend in New London for Coast Guard veterans on a cutter, a chipped tooth, his two daughters, needing bus fare to Portsmouth that is $66 and then shows me the $40 in his wallet. He's $26 short and can I help hm out? I ask him if he's asked others before me. He says, yes, one other. I ask how'd that go? He says not well. I don't hesitate and hand him first my card saying he needs to call or email to get the address to send me the $26 when he gets home. He says he will do that. I ask him his name. He says Dave O'Malley. He's middle aged, looks together and is with me every step of the way. I hand him $26. He looks me square in the eye and says thank you, you are a life saver and then shakes my hand. It is now five days later and I have heard nothing from Mr Dave O'Malley.  I am a sucker or it is money well spent?

My email: here

Yale Center for British Art in New Haven, CT  here through December.

Topics: Martha's Vineyard,Color,Black and White,Northeast

Permalink | Posted December 17, 2018

Took the Prints

Took the three mounted prints to the studio yesterday and went over this morning to frame them: one 36 inch square and two 46 x 34 inch prints. A very small section of the"hits of the summer". Washed car, went back over to my new place later to meet up with the moving helpers bringing stuff from the storage unit in Dedham. Slow midday, with an errand to a new-for-me supermarket in Belmont in quite amazing heat, like an oven, then, in late afternoon this most wonderful light show of clouds and dark skies came through, as changing weather coming in, can hear thunder in distance as I write this. My new place has great sky, never had that in my old place. I photographed them:

What were the three prints that I framed?

The abandoned Hardee's in Spruce Pine, NC

The mother of all crops of kudzu in Hickory NC shot in May

and the newly renovated Saltonstall Bridge in Boston, made in July

add to those the two portfolios I made in the early summer called "Menemsha" and "Spruce Pine NC 2018" and the summer doesn't seem like a total wash.

The three big prints are hanging in my studio. Let me know if you'd like to see them:

Heads up: next chance to see work is this year's Allston Open Studios the weekend of October 13 and 14. Hope to see you then.

Topics: Northeast

Permalink | Posted September 12, 2018

Something New on Site

Just a quick post to write that I have new work on the site.

Spruce Pine: here

These were made in late May and early June (2018) while teaching at Penland in North Carolina. Each year I teach there I photograph in the early mornings in town before class, often with students. There are portfolios from 2012,  2013 and 2014 as well.

Menemsha: here

I made these in late June after returning from North Carolina. Menemsha is a small fishing village on Martha's Vineyard. Same thing: get up early, go shoot, every day.

Topics: Northeast,Southeast,Color,Digital

Permalink | Posted August 11, 2018


Note: I wrote this in late 2016, have edited it now-2018-and believe it is still relevant. I never published it til now.

A while ago I wrote a blog (here) about some new work I made under the pseudonym Marc S. Meyer. In it, I took us into his personality and medical issues, I interviewed his theoretical wife and described the circumstances behind his motivation to make the Gravel pictures (you can see these here). The post was about his motivation and his excitement at making them but didn't really get us inside the actual pictures.

This post will.

Landscape photography: has a bad reputation. And for good reason. So much "yawn" work out there, so many one-shot wonders, so much overdone, overcooked, over sharpened, over HDR'd and just poorly made. Is this simply an idiom that is over? A manner of making photographs done to death and steeped in such tradition, history, and genealogy that it just isn't relevant or interesting anymore? Meyer's new work of gravel pushes back against just this idea. His theory goes like this: traditional landscape photography is over (remember this is supposition), so, photographing great landscapes is not of interest anymore. Shoot something very prosaic like mounds of gravel and imbue these with the same awe, monumentality and universality and you may have an effective commentary on our collective plight. This is the present paying for past sins, isn't it?

Overfish the incredible wealth of George's Bank, the fishing grounds off the New England Coast and what have you got? No more fish. Not so good: a severely overfished resource, making for government quotas, catch limits and federal agent monitors on boats. Go down to the fish market in the harbor of Menemsha, on Martha's Vineyard where there really isn't a "fleet" anymore, and a good percentage of what is there in the cases came from far far away, maybe even another continent.

Same principle with these new pictures.  Marc doesn't believe the idiom is dead he just thinks there has been little work that's been productive or real thought put into it that he's seen in recent years. 

So, photograph nothing (or as little to nothing as you can find), invest in loading the quiver full of emotional, romantic and spiritual arrows that hit bullseyes, make beautiful prints, display them and publish them to gauge the effect. The results could be HUGE (sorry, couldn't resist, writing this as Trump headlines the news every day).

As I look at these new photographs by Meyer I am impressed with their formal rigor, yet I am struck by their light touch and the number of connections they make. Yes, this is classic picture making but it also is very new as the subject's been removed. Marc believes it makes sense to minimize content so as to allow his efforts to come through.  I find this inescapable in his pictures.  I am now looking at what he's done to something, pure and simple. Accuracy? Fidelity to the original? Literally true? No, not interested, it would seem. But still largely representational. The only analogy I can come up with is it is like being hit over the head with a felt-tipped hammer. Not such a big deal until it is. There is a metaphor in here, and it centers around the idea that we're done, its over, we have fucked it up. How did I get to that? Just look at the work (here). Utopian view of the days ahead, sweetness and light, a better world just around the corner, messiah-like predictor of wellness, opportunity and prosperity? Or an admission that there is nothing truly new, significant, monumental or pure to photograph so we have to make due with what we have.  Hard to keep an attitude of the glass half full these days, isn't it? Marc's sense would seem to be that we need to invent new definitions for things, new ways of approaching, new ways of thinking about where we live and what we do as the planet's primary species possessing the biggest brains and the capacity to destroy everything in our path. Let's be clear, this plight is unique to us, no other animals have wreaked such havoc with where we live.

Back to earth and Marc's pictures of gravel next to a supermarket in mid Massachusetts made on summer afternoons. This is, after all, what we've got. 

In having a beer a couple of weeks ago with Jamie Stringfellow, the editor of the newspaper the Martha's Vineyard Times, she made the somewhat provocative statement, as an islander, that she partly liked what the island was becoming. More year round, better food, stores staying open more through the winter months, more culture, lots to do in February as well as in July. Of course, traditional Vineyarders used to hunker down in those winter months. Want a quart of milk and live "up island" off season? 20-minute drive at least. All that's changing, along with mega homes in the thousands of square feet and a large service industry springing up to provide services for the rich and mega-rich.  And the expectation that what there is on the mainland should be on the island too, at a cost, of course. 

My point. Change is endemic to where we live, how we live and what our priorities are. We will give up to get, yesterday's priority forgotten and tomorrow's on the horizon. In relationship to our medium of photography, it's easy to predict the demise of the use of the traditional camera, the SLR or DSLR, even the mirrorless may be on the block soon as Apple and Android take over those functions. 

And, oh yes, what does the gravel pit look like now in 2018, almost two years later?

Hobby Lobby

Topics: Northeast,Color,Digital

Permalink | Posted March 25, 2018