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Bryan Wolf, “Eclipse watchers” (Grid M9).
On Saturday, my article The Grid Project: A Photo-Survey of Portland was published in The Oregonian. It was my first ever piece for The Oregonian, a paper which was founded in 1850 and predates official Oregon statehood which came about in 1859.
I wrote: “In 1995, Christopher Rauschenberg assembled a team of a dozen photography enthusiasts. Together, they sliced up a AAA map of Portland into square mile segments and resolved to hit the streets of each corresponding square and photograph, once a month, until no more squares remained. By 2004, they had documented all 89 squares within the city limits. At that time, the only thing to do was to start over. In September of this year, the Grid Project will complete its second full photo-survey of the Rose City.”
I wrote the article because The Grid Project is raising Kickstarter cash to replace its old, limited-function website with a new-spangly site with full on search, more images and happy-wide-eyed-users. With four days to go, just over $600 more is needed, so it looks like it’s going to make it.
When I arrived in Portland 18 months ago, folks at the Grid Project were some of the first I wanted to meet. Even though I don’t shoot photographs they let me join them for a meeting and look over images. Many of the Gridders are now friends.
The Grid Project is amazing. Here’s why:
1. It’s all about community.
2. It’s done for the love of photography; no one’s getting paid.
3 It’s a simple premise, but collectively 20 or so photographers have documented a changing Portland over nearly two decades. The estimated 40,000 images they’ve made is an incredible resource.
4. The Portland Grid Project invented the formula. The methodology has since been repeated around the globe in towns and cities such as Bradford, England; Toronto, Canada; Vancouver, WA; Victoria, BC; Rome, Italy; Providence, RI; Eugene, OR; Central Oregon; Napa Valley, CA; Philadelphia, PA; Forest Grove OR and Santa Fe, NM.
If you fancy a fancy print you should throw some money in the pot. Here’s some fine Grid Project images to stroke your eyeballs
Ann Kendellen, Pendleton Park, SW 53rd and Iowa, January 2011 (Grid N6).
BlakeAndrews, 2007, (Grid J12).
Bruce Hall, Kid on the Sandy Blvd overpass for the 205 freeway, (Grid J12).
Carole Glauber. “Frankie’s Franks” SE 82nd, 2011.
Christopher Rauschenberg, SE 15th Avenue, 2008 (Grid L9).
David Potter. “Inside of Marci MacFarlane’s car” North Interstate Avenue and Going Street, May 29th, 2005 (Grid J8).
Lisa Gidley. NE 42nd Avenue near Sumner Street, September 2011.
Nancy Butler, “Untitled” (Grid N9).
Bruce Hall, Off NE Fremont, (Grid K11).
Mark Barnes, “Jessie”
Mark Barnes, “Foster Rd”
Patrick Stearns (one image in a set of three) (Grid K8, 04/99).
David Potter, (M14, August 2000).
Patrick Stearns (one image in a set of three) (Grid G4, 04/00)
Flood: “I generally dislike separating photography from a larger art scene, but I feel that distinction in Portland much more than in New York. There are a lot of Portland based photographers and few spaces to exhibit their work alongside other mediums, and even fewer spaces that have a collector base. It creates a line between artists and that of hobbyists, amateurs and straight photographers.”
© Teresa Christiansen, from Trace Psychedelia.
The Eye On PDX series continues with Teresa Christiansen.
Blake Andrews asks the questions most others might shy away from. Read the full interview on Blake’s blog.
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BA: I love Trace Psychedelia. What is your experience with psychedelic drugs?
TC: The word “psychedelia” in the series title refers less to drugs than to the genre of music and art associated with that term. I also wanted to allude to the experience of seeing everything in immense detail through a heightened perceptual state of mind. I experienced this when I first moved to Portland after living in New York City my entire life. During my first spring here, I walked around with my camera, in awe of the dense greenness of everything. I painted onto the surface of the photographs that I took not only as a way to recreate this experience and the excitement I felt about being in a new place, but also as a way for me to put my photography in dialogue with painting.
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Blake has posted the latest in our Eye On PDX series. He spoke (at length) with Jason Langer. The conversation swoops over the achievements of Langer’s career beginning with his apprenticeship with Michael Kenna. Much of the conversation is Langer passing on the wisdoms that Kenna passed on to him.
Langer says, “I wrote a postcard to Kenna every year with my photo on one side and when I was ready to graduate in 1989 he was ready to hire his first assistant. I jumped at the chance, moved down to the Bay Area and got paid $6/hr. to babysit, mop floors, wash dishes- anything he needed- and of course all the photo related things. Souping film, making contacts, drymounting and matting prints and getting them ready to ship.”
“Kenna told me was that it takes about 10 years to figure out what you want to photograph- what your subject is- and it takes that much time to get good at it- and in the meantime, don’t show your work, until it’s ready- keep the photos under your bed and keep working. There is no rush. That’s a lesson which shocking (to me) has gone out the window- people don’t take ANY time to let their images stew in the pot. It takes AT LEAST this to create a signature style and subject matter- or so I thought. Now – seemingly- it doesn’t matter.”
Read the full conversation: Q&A with Jason Langer
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Thor. © Clarke Galusha
“It’s the best show of portraits I’ve seen in Portland in a long time,” said Blake Andrews when he told me he was interviewing Clarke Galusha whose tintype portraits of children are on display at Newspace Center for Photography in Portland through November.
“For many of the subjects in this project, this might have been the first picture-taking experience where they were not asked to smile,” says Galusha who only learned to make tintypes a few months ago!
Tell us a bit about your new series Arrangements.
First of all, Arrangements needs a proper title, but it’s a work in progress so I suppose it’ll do for now. In Arrangements I’m referencing the current language of photography of post-productions, studio practices and manipulations. It’s definitely a trend and it is a shift that has opened the door for a lot of people to experiment. We’re seeing a lot of the same imagery. Lots of patterns and fabrics, and mirrors to create something – props that are about perception and optics.
But I’m looking for naturally occurring abstractions. Arrangements is basically an old school approach to new school imagery. I’m recognizing moments [of light, color and form] when they happen in real life. I’m interested in photography that is out in the real world. I mean, taking a moment and making it into a two-dimensional image, that’s always seemed abstract to me.
My friend Sarah Palmer won the Aperture prize. Sarah is doing constructions in the studio. Her work looks at signs in visual language. I am interested in these signs and symbols and contemporary visual language but finding these things out in the real world.
When I was in SVA grad school, if anyone shot straight photographs, people were really concerned that it would be placed within the realm of documentary. In a lot of people’s eyes, the straight photograph isn’t artistic like it once was. Paul Graham’s essay The Unreasonable Apple is really important; he’s the most interesting photographer dealing with straight photographs and with sequencing.
You have a particular relationship to nature?
I’m a rock climber so my connection is direct and physical. I’m in awe of towering cliffs and the sublime nature of mountains. I don’t know whether it’s dumb to talk about climbing. Is it that interesting?
I think so. You spend weekends on rock faces. You don’t spend all your time chasing photographs.
It’s easy to get burnt out about something if you obsess over it constantly, especially if you want to keep it going all your life.
I’ve been taking pictures since I was 14 and even then I was serious about making a good photograph. Now, photography is part of who I am and what I do, but I’m not constantly doing it.
Why do you go climbing?
I can’t get the high any other way. I like aggression but I don’t like aggression put on me by someone else. I like pulling hard on a hold and using my muscles. Doing something that is scary but I don’t have to worry about anyone else injuring me. It’s not like wrestling or football.
And photography? Fun or bruising?
The best thing for me is when I start working on an image and figure, ‘Yes, there’s something here.’ I do love having exhibitions, putting something together and having it on the wall. It can be laborious and frustrating but when it’s on the wall it is super rewarding.
The pace that you’re working at, it seems like photography fits in between all the other stuff in life.
At this point in my career, I don’t feel pressure to be producing tons of work. I have no gallery. I have no expectations set upon me except from myself.
I go in waves of producing a lot and then looking at what I’ve done. I’ve been fairly consistent with shooting for the last year and I feel good about it. That’s where the new language comes into play. I don’t think I can have a deadline with my photography. I only know it when I see it.
That’s refreshing, no?
I’ve been studying photographs for a long time and I’m interested in new images. I can see something and know what focal length I want to shoot it at before I even pick my camera up.
I need to change my environments pretty often to find new things. I’ll walk around the neighborhood just to get my eye going but I rarely get something. Being in new places help, which is another reason why I really like photography. You have to be in the place at the time to make the picture. I could never work in a studio.
How do you characterise the Portland photo scene?
The Portland photo scene has a lot going for it and I’ve really only been exposed to what I assume is a small portion. Many of the photographers I’ve met I’ve known about for some time – Shawn Records, Teresa Christiansen, Corey Arnold.
I’ve only been here a year but already feel like I have a strong community of peers. In terms of the gallery scene, I think it’s growing. Spaces like Ampersand Gallery & Fine Books are indicative of a new sensitivity to fine art and vernacular photography praxis here in Portland.
Click images for full 2000-pixel wide view.
Kirk Jones is, like many, a photographer with a wandering path. Jones has worked with newspapers, assisted at a large commercial studios, and custom printed Pulitzer Prize winning photographer David Hume Kennerly‘s photographs.
Between 1994 and 1999, Jones freelanced in South East Asia, mainly in Vietnam and Cambodia. Upon returning to the U.S., he concentrated on web design and now manipulates Gigapixel imagery as a Senior Computer Scientist at Adobe. Three years ago, he made a return as a practicing photographer.
“I have slowly been easing myself back into the photographic world,” says Jones. His independent work has been published on CNN.com and NYTimes.com, his images featured in a documentary on Jesse Bernstein. He exhibits locally.
Over the past year, Jones has photographed clearcut logging, the urban growth boundaries that exists near Portland, OR, and the migrant work force that caters to the Oregon wine industry.
Black & White images from Jones’ Clearcut series and colour images from his Farm To Table series.
Prison Photography (PP): You’ve photographed a lot of different places, but I picked these because they were recent, close to our city of Portland and about economics, industry, nature, and the region’s culture. Why the interest in clearcut logging?
Kirk Jones (KJ): Witnessing the clearcuts along the Western Oregon highways recently, I experienced the same emotions as it did when I was young and gazing from the car window. Most of us that live here, and those that visit, at some point witness these open landscapes – often behind the veil of trees left standing along the roadside.
Photography is a medium to express what I observe happening close to home. Logging is an multi-faceted issue and something that contributes to our economy here in Oregon.
I have a long history of considering nature and my place within it. I grew up in the Midwest and lived in Northern Minnesota until my junior year of high school. The area is known for lakes and forests and natural beauty, but it is also an area known for timber and for massive strip mining.
Attending college at Evergreen in Olympia, WA – around the time of the spotted owl movement – sparked my affinity with the environment. Evergreen College was, and remains, a magnet for environmentalists and environmental theory.
I recall during trips to the coast that the lumber companies left a thick row of trees along the highway to mask the reality of what was going on behind; I felt like they were trying to hide something.
Click images for full 2000-pixel wide view.
PP: This work is in the legacy of Robert Adams, Eirik Johnson, Christopher Lamarca and many others who look at the Pacific Northwest landscape with wry, open eyes. How should we be relating to our natural resources, in life and in photography?
KJ: Without a connection to your natural surroundings it is difficult to connect to feelings of being alive. We are fortunate to live not only in an area of amazing natural beauty, but in a country that (hopefully) will continue to pursue the protection and respect for nature. It’s a fight.
I’m not advocating that natural resources shouldn’t be consumed around us, but I believe there are right ways to do this and wrong ways. I don’t think strip mining and clear cutting are responsible short or long term.
If photography can help illustrate, change or illuminate crisis, then I have faith that imagery can be a catalyst for crisis management.
PP: How do you characterize the Portland photography scene?
KJ: It has been quite a while since I was more entrenched in the photo scene. During the early 1990′s I worked at a large commercial studio in Portland as well as at The Film Lab located on the NW Park (gone now).
At that time there was a lot going on and you could feel Portland growing. I traveled and worked abroad before returning to the region a few years ago so I am just now reconnecting with photography in Portland.
I’ve gone to strobist shoots, stay active on a few mailing lists for local photographers, and test equipment for the teams at Gigapan. I look at local work when I can. The Portland photography scene appears to be healthy and there are a ton of cool things happening. I’ve been working on individual projects over the last few years and look forward to connecting with others.
Doug Lowell, from the series Seated
Eye On PDX is spreading its wings. It’s not migrating and flying the coop, but rather subdividing itself and doubling the product.
From beside a fire pit last month, I asked Blake Andrews if he wanted join the meandering inquiry into photographers here in Portland, OR. Blake hopped on board. The fact Blake lives in Eugene, two hours south, does not effect his credentials. He’s up here every other week to shoot, talk and gallery-hop. Besides, he knows everyone here that needs to be known; he lived in Portland years ago before it was post-Cool.
Eye On PDX is an ongoing series of profiles that feature a brief interview with a PDX photographer accompanied by a handful of photos.
Doug and Blake’s to-and-fro is lively and considered – the photobook as poetry and the importance of ideas over place. Read the full interview with Doug Lowell.
One point of clarification. When Blake says, “Pete will handle all of the photographers who are imprisoned felons and I will handle the rest,” he is having a lark. Any photographers I interview who work in Portland and happen to be felons will not be imprisoned.