Black and White 2019 with Juror Geoffrey Koslov

August 7 - September 7, 2019

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Index
Installation Image
Image by Daryl Love
Index
Installation Image
Image by Daryl Love
Index
Installation Image
Image by Daryl Love
Index
Alice No. 2
Kevin Horan
Director's Award
Artist's Website
Index
Dance of the Lusitano
Mary Aiu
Artist's Website
Index
Childhood
Richard Ashmore
Index
Dune Waves 3
Danielle Austen
Artist's Website
Index
Truck Broke Down
Todd Bradley
Artist's Website
Index
Bailey
Pam Connolly
Artist's Website
Index
HOLDUP in the HOOD_2
Francis Crisafio
Artist's Website
Index
Oregon Lighthouse
Keith Davidson
Index
apocaliptico
Diego Leiva
Index
Alone 1
Danielle Goldstein
Artist's Website
Index
Lilli and the crow
Chris Grismer
Index
Out of Place
Wesley Hunget
Index
Mask with Eye
Jerrie Hurd
Artist's Website
Index
Maya on the bed
Julie Jacobs
Juror's Honorable Mention
Artist's Website
Index
The Suspicion And The Lies
Diana Nicholette Jeon
Artist's Website
Index
Mary, Irish Travellers Series 2018
Jamie Johnson
Artist's Website
Index
The Plains
Karen Kirkpatrick
Artist's Website
Index
Clear Creek Golden, Colorado
Dennis Lane
Artist's Website
Index
The First Wildflowers
Melissa Lazuka
Director's Honorable Mention
Artist's Website
Index
Unbroken
Bob Marckese
Juror's Honorable Mention
Index
Ancient Bristlecone Pine
Steven Martin
Artist's Website
Index
Hard Times Comin'
Sirous Partovi
Artist's Website
Index
Red Pepper
GIUSEPPE PERSIA
Artist's Website
Index
Pigeon Tender
Elizabeth Purdum
Index
Poinciana Integration
Jodell Roberts
Artist's Website
Index
Broken Dreams
Lynne Schafer
Artist's Website
Index
Please Don't Go
Terry Scopelliti
Artist's Website
Index
I-5
Nicolo Sertorio
Artist's Website
Index
WinterKill (Cottonwood) - Asymmetry
James Sidinger
Artist's Website
Index
Onion
Paul Sokal
Artist's Website
Index
Sheepshead
S. Gayle Stevens
Juror's Honorable Mention, Director's Honorable Mention
Artist's Website
Index
Spine De/ReConstruction
Wayne Swanson
Juror's Honorable Mention, Director's Honorable Mention
Artist's Website
Index
Untitled from Trauma series
Manuela Thames
Juror's Honorable Mention
Artist's Website
Index
Panels
Robert Warren
Artist's Website
Index
Duct Work 2
Robert Warren
Artist's Website
Index
Sharecropper Family
Charter Weeks
Artist's Website
Index
Kyoto Serenade #8
Sandra Chen Weinstein
Artist's Website
Index
Contrast 2
Patrick Whitaker
Index
In Search of Forgiveness
Rebecca Zeiss
Juror's Award, Director's Honorable Mention
Artist's Website
Index
Grana : 5400
Yelena Zhavoronkova
Artist's Website

Location

Carnegie Center for Creativity

200 Mathews, Fort Collins, CO

Gallery Hours

Wednesday-Saturday: 12:00-6:00pm; Free Admission

IMPORTANT DATES

  • Exhibition Dates: August 7 – September 7, 2019
  • Public + Artists’ Reception: August 17, 2019

Black and White 2019

The image submissions for Black & White 2019 demonstrate expressions of the human condition, being human and consequences of human activity.  On the surface, the images might be seen as a diverse and unrelated selection of 40 photographs.  Despite a broad diversity of technique and approach, each artist validates that there is no one way for photography to expose the world.  With each cycle though the images, an increasingly close examination of the photographs reveals mysterious underlying connections. The touchstone becomes whether the image will help us see the world differently; and, importantly, challenge what we think and how we emotionally connect.  Each of these images is a powerful step in creating an interesting dialogue about who we are.

 

A black and white image is a unique tool to turn a photograph into an object of art for conversation.  Within each photograph the gradations of black, grey and white stir sensations and hold our attention through the unique visual translation of a world of color.  That intensity becomes a visual voice.  A photograph, as a reflection of the subject before the lens, unconsciously or consciously, is an inner expression of the photographer’s own being and life experience.  The images here, through the eyes of these photographers, speak to us as people with emotion and connection. Viewers will be well rewarded to study each image and how that image connects into and with the other selected images.

 

The selected photographs defy classification in any one genre that would neatly explain how we should approach the image.  There is street photography, vernacular, conceptual, portraiture, still life, landscape, photo collage, performance, documentary and constructed images. These images are not “straight” photographs. These images are not single statement images. We cannot just check-the-box to see these as a “proper” portrait or landscape.  It is not that we see, identify, categorize, recognize; or, in the sense of:  “I see it, I get it, I know what it is, let’s now move on…” . An image with voice spreads across many “characterizations”.  An image such as these cannot be harnessed in one place.  A photo of “Sand Dunes” relates to an image of a “Red Pepper”, whose sensuous curves and lines relates back to images of a less obvious rock landscape taken in “Clear Creek Golden, Colorado.  The image of “Alice No.2” has a human quality and personality that comes through as much as “Mary, Irish Travelers” or “Hold-Up in the Hood 2”.  While “”Childhood” or “The First Wildflowers” might appear to be vernacular, there is a wonderful balance in their composition. It triggers in our mind memory (hopefully) of a similar time, that makes us feel young again. Yet, these contrast sharply with the burned out landscape in “Apocaliptico”.  Each image resets whether that experience, captured in that moment, was part of our becoming or factor of our condition.

 

Our common life experience is demonstrated as well in the images that are posed or constructed. Those images are premeditated.  The artist takes the time to stage or build what we see. “In Search of Forgiveness” becomes a powerful image with multiple hands grasping at liquid that may symbolize time and our inability to stop and grasp its passage. “Untitled From Trauma Series”, a woman hugging a stuffed animal in “Maya on the Bed’ ,  the diptych of “The Suspicion and The Lies”, plastic figures posed in “Please Don’t go” and a dramatically posed nude  in “Mask with Eye” speak to inner emotion, and human impact on ourselves and our environment.  We see everyday challenges to society in “Unbroken”,  “Sharecropper Family”, “Pigeon Tender” or “Alone 1” and others. Each of these black and white photographs has the potential to open the viewers eyes, if the viewer’s eyes and mind are open.

 

There is a special beauty in a still life image that simply invites us to appreciate the world around us, despite the constant barrage from daily and nightly news.  One can just enjoy the simplicity of “Onion”, “WinterKill”, “Out of Place”, or the alternative process used to create “Sheepshead”.  Alternatively there is a quiet drama in “Spine De/ReConstruction”, “Grana:5400” and “Ancient Bristlecone Pine”.

 

An additional joy is experienced in seeing the actual image on the wall as an object of art.  We don’t know if the artist view himself as a photographer, or as an artist using photography as a tool, like a paint brush, to create photography-based art.  The image, whether film or digital, is only one part of what the visual image communicates.  We might say: “the image is everything”.  Indeed, it is.  However, the path to creating the physical image will change what the camera captured, if even a camera was used.  There are different ways of printing, framing, mounting and exhibiting these created works that cannot be communicated, felt or appreciated on our ubiquitous computer or iPhone screens. Appreciating what the artist captured in the photograph they visualized and shared is just one part.  The other is the material realization of the vision.  It is the subsequent processing of the image that can add an additional visual impact.  The presentation of that created/printed or projected image is yet another factor changing our approach to the image.

 

The strength in these images does not stop at all with what we see on-line in any one image. In the exhibition, how the images position with each other, even though each may be a different artist, will affect what we may think and how we might react.  These 40 images speak loudly, individually, and create a visual chorus when seen together.  The successful composition and use of light of these black and white images invites us to spend time enjoying each image. We deprive ourselves of the fullest appreciation of these photography-based objects of art without including the actual exhibition experience.

 

Geoffrey Koslov, Co-Founder, Foto Relevance Gallery, located in the historic Audubon Place District of Montrose in Houston, Texas.

ARTIST HONORS AND AWARDS

All selected artists’ work is exhibited in our Exhibition Space and in the Online Exhibition complete with artist website links. C4FAP also provides professional installation images, event Press Release and social media promotions with an audience of 180,000+ followers internationally. All artists and friends are welcome to celebrate the exhibition with us at the Reception.

  • JUROR’S AWARD:  Rebecca Zeiss
  • DIRECTOR’S AWARD:  Kevin Horan
  • Hahnemühle PAPER AWARD : S. Gayle Stevens
  • HONORABLE MENTIONS: Julie Jacobs, Melissa Lazuka, Bob Marckese, Manuela Thames, Wayne Swanson, S. Gayle Stevens, Rebecca Zeiss
  • TRAVEL SCHOLARSHIP: Manuela Thames

 

Questions? http://www.c4fap.org  |  970.224.1010  |  Email coordinator@c4fap.org