patrickgomme:

Patrick GOMME 2011 CHAIR CORPS - 80X120 CM

patrickgomme:

Patrick GOMME 2011
CHAIR CORPS - 80X120 CM

arcs on Flickr.

arcs on Flickr.

awaitingthegreatcollapse:

A blank canvas

awaitingthegreatcollapse:

A blank canvas

summer greens
rock and male body

elements

As summer moved along and begins to wind down, I’ve been reviewing some things and generally reflecting on my practice. There have been many ups and downs lately, something that is not always easy to go through.

We had a lovely vacation to Rocky Mountain National Parkat the beginning of the month. As I expected, most of what I made there was of the simply scenic and vacationey type. Not…

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estranged on Flickr.

estranged on Flickr.

squashed on Flickr.

squashed on Flickr.

slow on Flickr.

slow on Flickr.

wedding dance

wedding dance

PhotoMidwest Fest 2014
artistic still life with body

decay

It’s probably already two weeks ago, now, that I found out that I had two photos accepted into PhotoMidwest Fest 2014. This year, the theme of the show is “Of midwest, by midwest,” so it’s pretty clear that my work falls into the latter category. The juror is Wally Mason , curator of the Haggerty Museumat Marquette University in Milwaukee. I’d submitted four works, so to have two accepted…

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shadows

shadows

pastels on Flickr.

pastels on Flickr.

inlandwest:


ACLU (link):
This is a statement from one of the plaintiffs speaking at Thursday’s press conference announcing the ACLU’s lawsuit challenging the government’s controversial Suspicious Activity Reporting program.
Good morning. My name is James Prigoff. I am 86 years old and a retired senior corporate executive, having been president of a Levi Strauss division and previously the senior vice president of the Sara Lee Corporation in Chicago. I am also a professional photographer – in fact, I have been a photographer for most of my life. My specialty is photographing murals, graffiti art, and other community public art. I am the co-author of three books utilizing my photographs, one of which, Spraycan Art, has sold over 200,000 copies. My photographs appear in countless other publications and my photography has been exhibited at the Smithsonian in Washington and in many other galleries. I have lectured on photography and public art in museums, universities, and venues worldwide.
I have never had an experience like I had when attempting to photograph the “Rainbow Swash” outside Boston in 2004. Let me explain.
The Rainbow Swash is an iconic piece of public art near Boston painted on the circumference of a 140-foot high liquefied natural gas storage tank in 1971 and repainted in 1992 at an adjacent site. It is actually one of the largest copyrighted pieces of art in the world. The original artist was Korita Kent.
I went to Dorchester, Mass., to photograph it, but before I could take a picture, I was confronted by two security guards who came through their gate and told me I could not because the tank was on private property. I pointed out that I, being well outside the fenced area, was not on private property – but they insisted I leave. If one goes to Wikipedia there are number of excellent close-up shots for the entire world to see.
A few months later, I found a business card on the front door of my home in Sacramento from Agent A. Ayaz of the Joint Terrorism Task Force, asking me to call him. One of my neighbors, an elderly woman, told me that two men wearing suits had come to her door to ask her about me, her neighbor.
When I called Agent Ayaz, he asked if I had been in Boston recently. At that moment I realized that the security guards at the Rainbow Swash site must have taken down the rental car license plate number and reported me to a law enforcement agency. I never gave the guards any information about myself, so I must have been traced across country via my rental car record.
So, consider this: A professional photographer taking a photo of a well-known Boston landmark is now considered to be engaged in suspicious terrorist activity?
I lived through the McCarthy era, so I know how false accusations, surveillance, and keeping files on innocent people can destroy their careers and lives. I am deeply troubled that the SAR program may be recreating that same climate of false accusation and fear today.
Photography is an important part of my life, and I plan to keep photographing public art and public places that contain WPA murals and other architectural sites – as I have been doing for 69 years. Why have my artistic pursuits landed me in a national database potentially linking me to “terrorist” activities? There is no reason for it. This program must be stopped.

inlandwest:

ACLU (link):

This is a statement from one of the plaintiffs speaking at Thursday’s press conference announcing the ACLU’s lawsuit challenging the government’s controversial Suspicious Activity Reporting program.

Good morning. My name is James Prigoff. I am 86 years old and a retired senior corporate executive, having been president of a Levi Strauss division and previously the senior vice president of the Sara Lee Corporation in Chicago. I am also a professional photographer – in fact, I have been a photographer for most of my life. My specialty is photographing murals, graffiti art, and other community public art. I am the co-author of three books utilizing my photographs, one of which, Spraycan Art, has sold over 200,000 copies. My photographs appear in countless other publications and my photography has been exhibited at the Smithsonian in Washington and in many other galleries. I have lectured on photography and public art in museums, universities, and venues worldwide.

I have never had an experience like I had when attempting to photograph the “Rainbow Swash” outside Boston in 2004. Let me explain.

The Rainbow Swash is an iconic piece of public art near Boston painted on the circumference of a 140-foot high liquefied natural gas storage tank in 1971 and repainted in 1992 at an adjacent site. It is actually one of the largest copyrighted pieces of art in the world. The original artist was Korita Kent.

I went to Dorchester, Mass., to photograph it, but before I could take a picture, I was confronted by two security guards who came through their gate and told me I could not because the tank was on private property. I pointed out that I, being well outside the fenced area, was not on private property – but they insisted I leave. If one goes to Wikipedia there are number of excellent close-up shots for the entire world to see.

A few months later, I found a business card on the front door of my home in Sacramento from Agent A. Ayaz of the Joint Terrorism Task Force, asking me to call him. One of my neighbors, an elderly woman, told me that two men wearing suits had come to her door to ask her about me, her neighbor.

When I called Agent Ayaz, he asked if I had been in Boston recently. At that moment I realized that the security guards at the Rainbow Swash site must have taken down the rental car license plate number and reported me to a law enforcement agency. I never gave the guards any information about myself, so I must have been traced across country via my rental car record.

So, consider this: A professional photographer taking a photo of a well-known Boston landmark is now considered to be engaged in suspicious terrorist activity?

I lived through the McCarthy era, so I know how false accusations, surveillance, and keeping files on innocent people can destroy their careers and lives. I am deeply troubled that the SAR program may be recreating that same climate of false accusation and fear today.

Photography is an important part of my life, and I plan to keep photographing public art and public places that contain WPA murals and other architectural sites – as I have been doing for 69 years. Why have my artistic pursuits landed me in a national database potentially linking me to “terrorist” activities? There is no reason for it. This program must be stopped.

summer

summer http://wp.me/s14HTF-summer

man submerged in prairie grass

sinking

Work is progressing, if slowly.

There’s been a broadening of my practice, of late. One aspect of that is the technique of layering. Usually, what I want is two photos that complement each other. Other times, it is the more typical process of using a texture layer, as here. It’s been clear to me for a while that the inclusion of layers adds layers of meaning if done effectively. I like to,…

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untitled on Flickr.

untitled on Flickr.

abstract

abstract