ALAMEDA ON CAMERA AT FRANK BETTE CENTER
by Karen Braun Malpas
“Hello, is it me you’re looking for?” asked the gracefully aging island of Alameda. “Yes!” replied dozens of photographers in unison as they scoured her byways and surfaces for two days in February. The photographic results of their investigations are now on exhibit at the Center through May 29.
Since this was a photo-based show, not all the images were straight forward framed photos. Andy McKee provided 3-D glasses thru which to view the images he printed on wood. Eleanor Hockabout combined the poetry of words with poetic images, supporting and enhancing each other.
Some artists employed the principle of multiple unity by which the image consists of multiple parts. The sum of the parts is felt to be greater than the whole. Susan Hillyard showed three such pieces. One called “Liftoff at Airfield” tells the pictorial story of a man and his model airplane on Mount Trashmore. Time passes and circumstances change in the gaps between the three images.
The surfaces of Alameda were examined in their textural richness. Robin Young showed a glassy reflective puddle on the grainy sidewalk so that the resulting image exists on both an actual and an illusory level.
Color shouted in some pictures as brightly as neon, as caution tape, as bold declarative paint. But, a few black and white photos whispered seductively nearby. Gregory Pease, Brandon Meins, Ellen Rosenthal Shannon McCook and Ginnie Chabre all knew that color would not contribute and might detract from the mystery of their imagery.
Seven artists thought they could capture the rapture of a sunset. Four aimed at the moon. Reverent humans paying homage to the vast beyond and rhythm of the tides.
Many awards were given for a variety of specialties. I’m including here a division of my own. It’s called “Elegant As All Getout”. First place goes to Cha Dye for “Late Night Lights”. Honorable mention is a tie between Pablo Ramirez’s “The Devil is in the Detailing” and Neil Geller’s “The Red Door”. All have a purity and strength of design and artful use of empty space which functions as the thoughtful silence in a conversation.
This show hangs until May 29 with the gallery open Friday - Sunday, 11-5 with safety guidelines.
“Hello, is it me you’re looking for?” asked the gracefully aging island of Alameda. “Yes!” replied dozens of photographers in unison as they scoured her byways and surfaces for two days in February. The photographic results of their investigations are now on exhibit at the Center through May 29.
Since this was a photo-based show, not all the images were straight forward framed photos. Andy McKee provided 3-D glasses thru which to view the images he printed on wood. Eleanor Hockabout combined the poetry of words with poetic images, supporting and enhancing each other.
Some artists employed the principle of multiple unity by which the image consists of multiple parts. The sum of the parts is felt to be greater than the whole. Susan Hillyard showed three such pieces. One called “Liftoff at Airfield” tells the pictorial story of a man and his model airplane on Mount Trashmore. Time passes and circumstances change in the gaps between the three images.
The surfaces of Alameda were examined in their textural richness. Robin Young showed a glassy reflective puddle on the grainy sidewalk so that the resulting image exists on both an actual and an illusory level.
Color shouted in some pictures as brightly as neon, as caution tape, as bold declarative paint. But, a few black and white photos whispered seductively nearby. Gregory Pease, Brandon Meins, Ellen Rosenthal Shannon McCook and Ginnie Chabre all knew that color would not contribute and might detract from the mystery of their imagery.
Seven artists thought they could capture the rapture of a sunset. Four aimed at the moon. Reverent humans paying homage to the vast beyond and rhythm of the tides.
Many awards were given for a variety of specialties. I’m including here a division of my own. It’s called “Elegant As All Getout”. First place goes to Cha Dye for “Late Night Lights”. Honorable mention is a tie between Pablo Ramirez’s “The Devil is in the Detailing” and Neil Geller’s “The Red Door”. All have a purity and strength of design and artful use of empty space which functions as the thoughtful silence in a conversation.
This show hangs until May 29 with the gallery open Friday - Sunday, 11-5 with safety guidelines.