Getting to know the Photographers who didn't go to Yale, are not dead and made it!

Photographer # 1: Julie Blackmon: Win a highly Regarded Juried Photography Competitition!

Ken Tanaka said:

Here in Chicago, for example, Cathy Edelman's Gallery is among the few that specializes in photographic art and sometimes picks up new names. Julie Blackmon is a good example of someone who is slowly breaking into the higher art echelons, and is represented by Edelman (among others), without a strong pedigree. Her work is very fresh and creative, but might have been lost in the vast crowd had she not won 1st place in a 2006 Santa Fe competition. That's an event that gains attention, which it did. Her work is now being collected and her prices have risen commensurately.

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Ken,

Thanks so much for bringing this to us. I remember first seeing her wonderful image of a family on a sofa, Candy 2007 at the LA art show several years back. I took a snap and promised myself to learn more then time went by and the opportunity with it.

Apart from whether or not we might reach that level of artistic performance and recognition, winning a place in a fine gallery, the actual artwork here is so interesting. I'd like to take this opportunity for us to learn more. To me, it has some essence to me of work by Rockwell and Loretta Lux in constructing what appears like day to day scenes that become iconic and metaphorical. Here, there are likely a whole lot of other artists I do not know as geometric considerations become even more important in the layouts.

Are these composites? It's amazing how one has an infant standing on a Highchair, 2006. I'd only dare do that by doing a composite and adding the little guy to the chair in photoshop! In the Front Porch, the pose of the infant by the coffee table is nothing less than an amazing pose or chance achievement!

I'd love to know more of the influences and peers of Cathy Edelman's work and any hints on how the images are built.

Asher

Asher,

I think you mean Julie Blackmon's work.

I met Julie at her first Edelman show. She's a quiet, rather shy early middle-aged mom. She had been a pro photographer until marriage and motherhood applied the brakes. She lived (I believe) somewhere near St. Louis and became bored stiff as a home mom. So she dug out her Hassy and lights and began using her kids (and their friends), and her family as subjects. She claims her work, at least at that time, is straight...believe it or not. She sets up the lighting and the camera and then, like a smart wildlife photographer, lets a scene take shape. (A little scary as you look at some of those scenes, eh?) She had some very funny stories to tell about some images, and she tells them is a rather dry deadpan middle-Midwestern style which made them all the funnier.

She shoots film, scans the frames on her own Imacon, then manipulates the tonality in Photoshop (Mac). She was then printing on a 24" wide Epson at home. It does not appear to me that she's changed this process.

So, to the extent of my limited knowledge, that's Julie's story.

Ken Tanaka said:

Asher,

I think you mean Julie Blackmon's work.

I met Julie at her first Edelman show. She's a quiet, rather shy early middle-aged mom. She had been a pro photographer until marriage and motherhood applied the brakes.

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Ken,

That explains the skill! She can light any subject.

Ken Tanaka said:

She shoots film, scans the frames on her own Imacon, then manipulates the tonality in Photoshop (Mac). She was then printing on a 24" wide Epson at home. It does not appear to me that she's changed this process.

So, to the extent of my limited knowledge, that's Julie's story.

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Well the material quality is covered then by solid experience, top gear and craft. The spiritual and esthetic side of this is directed by some dry mime humor. But who stands behind her and whispers in her ear? Do you feel that my ideas on influences are pertinent or would you have other thoughts on where her work is influenced and placed.

I cannot imagine kids stay still for this unless heavily bribed with ice cream, cookies or a new puppy!

Asher

Photographer # 2: Gil Garcetti: Attach Oneself to Something Famous!

Ken Tanaka said:

Hello Curtis,

Showing work in galleries in higher-end markets is a very different proposition than craft fairs and small galleries. (You don't actually want "bigger" markets but, rather, more sophisticated markets.) These days, being accepted for any sophisticated representation often requires art world pedigree. It also helps if you've established any basis for collectibility (i.e. folks who follow your catalog). Failing such attractions, it's unlikely you'll get picked up at all.

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If one wants a place in fine galleries, remember it's really tough. It's not that one's work may not be especially remarkable or engaging rather it's the presence of pedigree. That can be achieved in a number of ways. s Ken points out, winning a reputable juried competition is one way. Gill Garcetti, of O.J. Simpson prosecution fame, had at least one rung up the ladder. Bypassing the Walt Disney concert Hall authorities that refused him access, he went to the Iron men's Union! There he found common cause to highlight their role in making one of the greatest new concert halls and Frank Gehry masterpieces.

Despite major blockage by the WDCH bosses, wearing a Union badge, Gil went up on the scaffolding by lift and photographed the iron workers.




That led to his books Iron: Erecting the Walt Disney Concert Hall, Frozen Music and a series of talking tours. He followed withDance in Cuba and Paris: Women & Bicycles





His name is now established beyond fame brushed on him by Marcia clark and O.J. Simpson. He leveraged his "15 minutes" in the spotlight to join his name to one of the exciting new icons of the architectural and music world, the WDCH in Grand Avenue L.A.

So being "famous" can be another ticket, assuming you have something worthwhile to go public with!

Asher