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June 14, 2014 – January 18, 2015

“This exhibition represents the most comprehensive assessment of photographer Wynn Bullock’s (American, 1902-1975) extraordinary career in nearly forty years. Bullock worked in the American modernist tradition alongside colleagues and friends Edward Weston, Harry Callahan, and Ansel Adams. This show presents the rare opportunity to see over 100 works of art by this innovative photographer.

The arc of Bullock’s innovative achievements is surveyed in Wynn Bullock: Revelations through more than 100 prints, from his early experimental work of the 1940s, through the mysterious black-and-white imagery of the 1950s and color light abstractions of the 1960s, to his late metaphysical photographs of the 1970s. Wynn Bullock: Revelations coincides with a major gift from the Bullock Estate to the High Museum, making Atlanta one of the largest repositories of Bullock’s work in the country.

Bullock’s work was guided by an intense interest in the mid-twentieth-century dialogue about the structure of the universe and humanity’s place within it. Drawn to the spirit of experimentation that marked scientific and philosophic endeavors of his day, Bullock used knowledge about quantum physics, special relativity, and the space-time continuum as a reference point for his own intuitive and deeply personal explorations of the world. Photography for Bullock was a way of meditating on the frightening and exhilarating idea that there is much more to the world than is commonly understood through ordinary perception, and he was passionate about conveying that revelation to others through his work.”

Find out more about this exhibit here.

Find out about the book Revelations here.

A concurrent exhibit Radiant Energy in Atlanta at Lumiere Fine Art Photography Gallery  features contemporary prints from three Collector Edition Portfolios produced by Lumiere in cooperation with the Bullock family estate – Classic Black & White, Color Light Abstractions, and Seascapes.

Find out more about this exhibit here.

Read a collection of quotes by Wynn Bullock here.

Find out more about Wynn Bullock here.

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Aug 6 – Sep 1

Aug 28 4- 6 pm  Gallery Talk

Maine Media Workshops, 18 Central Street, Rockport, Maine, 04856

“The works of father and son Paul Caponigro and John Paul Caponigro are featured in the photographic exhibit “Two Generations”.  Over twenty images by each artist highlight the two careers of this family of artists. Responding to interest in seeing their work together the show “Two Generations” was assembled and first exhibited in Rockport Maine at CMCA. Now it returns to Rockport at MMW fully updated.

The juxtaposition of traditional darkroom images and the more contemporary digital photographs may seem startling at first.  Both artists utilize a different medium and a different vision. Paul is a traditional straight shooter and John is a process artist. After careful inspection what is more apparent are the similarities, the vestiges of the fact that this is the work of father and son. it is apparent each artists work influences the other and many of their key interests are the same. Both artists share a deep reverence for nature, a love of stone, a fascination with the subtle palettes of the natural environment, and a strong dedication to their craft.”

Find directions and contact info here.

Preview the ebook Two Generations here.

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John Paul Caponigro’s Open Studio | New Work 2014 is open to the public for one weekend only – August 2nd and 3rd from 10 am to 5 pm with a talk by the artist at 2 pm. (Afterward, visits by appointment are available.)

This annual event unveils new highlights from the artist’s recent international travels north of the Arctic Circle and south of the Antarctic Circle with stops along the way in Iceland, Argentina, Morocco, and Namibia. Amid images of glowing auroras, crashing glaciers, colliding icebergs, thundering waterfalls, smoldering volcanoes, shimmering salt flats, shifting dunes, you’ll find the oldest desert, the largest salt flat, the windiest continent, the fastest moving glaciers, the wildest seas and more, all portrayed through the eyes of this unique artist.

This is a rare opportunity to view the artist’s new work presented in his own private studio / gallery. Come enjoy prints, drawings, paintings, books, and conversations with the artist during this very special event. Many of these items have never been seen before and some are often not made public.

For more information including previews, reviews, statements, audio, video, and press kit email info@johnpaulcaponigro.com.

Click here for directions.

View the slideshow here.

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Enjoy two inspiring exhibits by internationally acclaimed artist John Paul Caponigro - Around The World & Process.

Around the world unveils new highlights from his recent international travels north of the Arctic Circle and south of the Antarctic Circle with stops along the way in Iceland, Argentina, Bolivia, and Namibia Amid images of glowing auroras, crashing glaciers, colliding icebergs, thundering waterfalls, smoldering volcanoes, shimmering salt flats, shifting dunes, you’ll find the oldest desert, the largest salt flat, the windiest continent, the fastest moving glaciers, and more, all portrayed through the eyes of this unique artist.

Process displays many aspects of the artist’s creative process, both analog and digital – writing, drawing, painting, photography. John Paul shows how each discipline contributes to the completion of his finished works of art. This exhibit shows how artist’s get there is just as important as where they arrive and reveals that the creative process is a never-ending journey of discovery that offers many insights along the way.

The book Process is now available in print and electronically. It shows many more works than can be displayed and shares the personal insights of the artist. Preview it online at johnpaulcaponigro.com/store.

John Paul Caponigro’s Annual Exhibition 2013: Around The World and Process is a rare opportunity to view this artist’s work presented in his own private studio / gallery. The exhibit is open to the public for one weekend only – August 3rd and 4th from 10 am to 5 pm with a talk by the artist at 2 pm.

Come enjoy prints, drawings, paintings, books, and conversations with the artist during this very special event.

Preview select new works online here.

For more information including directions, previews, reviews, statements, audio, video, and press kit visitwww.johnpaulcaponigro.com or email info@johnpaulcaponigro.com.

Get directions here.

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See more images here.

Mentor Exhibition Invite

Artists learn and hone their craft in many ways, but perhaps no relationship is more instructive and lasting than one built with a mentor. Sharing a lifetime of knowledge with another artist—from favorite techniques and tools of the craft to inspiring self-criticism and deeper motivation—mentors can propel an artist forward, illuminate new creative territory and serve as a guide through periods of self-doubt.

For 40 years, Maine Media has fostered relationships between emerging and established artists through its intense and immersive courses, building bonds between teachers and students that have lasted decades and spanned the globe. Maintaining their relationships long after the lessons have ended, many of our students have gone on to become masters in their own right, and now pass on their knowledge to a new generation of emerging artists.

As part of the yearlong celebration marking our 40th anniversary, we are thrilled to announce the upcoming exhibition,Mentor: 40 Photographers, 40 Years, in partnership with the Center for Maine Contemporary Art. The exhibition will feature the work of some of Maine Media’s best-known master teachers alongside the work of their students, who continue the connection with Maine Media through teaching and mentoring.

Curated by Bruce Brown and Brenton Hamilton, Mentor will be on display from July 27 to September 22, 2013 at the Center for Maine Contemporary Art here in Rockport. We hope you will join us at the opening reception on July 27, or at the alumni reception on August 10 to celebrate the spirit of creative collaboration that is at the heart of everything we do here at Maine Media.

Find out more about the Mentor Exhibit here.

Learn about my Annual Exhibit here.


May 8 – June 1, 2013

Opening Reception Tuesday, May 7, 6-8 pm

Soho Photo Gallery is presenting a special exhibition during the month of May entitled “Seeing the Unseen: Equivalence in Photography” featuring 13 Soho Photo artists and guest artist John Paul Caponigro.

“Equivalence in photography is a term that sprang from the title Equivalents, which Alfred Stieglitz gave a series of his cloud photographs that he felt were like visual music. In this way, a tradition began of using what is seen to express an inner state or feeling that cannot be seen. This aspect of photography continues to evolve. As Minor White said, ‘The equivalent is one of those ideas that in practice grows by the efforts and accomplishments of the people who explore it.’ Today, photographers explore the ability of a photograph to use the immanent to convey the transcendent, expressing what might otherwise be ineffable.”

Preview the catalog here.

Read my essay Equivalence here.

American Premiere of Ken Carl´s Photography Exhibit: Joy Possible With Special Guest Jo McGowan, Executive Director of the Latika Roy Foundation.

“In India people with disabilities, who constitute almost four to eight percent of the population are still fighting to get equal access to healthcare, education, employment and inclusion in society. Despite the magnitude of the issue, both awareness of and scientific information on disability issues are lacking.”

Award-winning freelance photographer Ken Carl will be displaying various photographs from a spiritually-altering trip to India where he was sent to capture the essence of the Latika Roy Foundation, a resource center for children and young adults with special needs. Calumet Photographic, 1111 N. Cherry Ave., will host the display from May 9 to June 2, 2013, and all images will be printed by fotoflōt.

Through an opportunity with Momenta, an international journalistic based organization focused on creating unique opportunities for photographers and non-governmental organizations throughout the world, Carl’s goal was to expand his knowledge and horizon, capturing a glimpse of life in a part of the world with which he wasn’t familiar. In the end, Carl obtained much more of this venture.

Regardless of Carl’s years of experience and expertise, the project came with challenges. “After two days I just felt a sense of failure and it was really hard,” said Carl. Going through the initial photographs, Carl didn’t feel as though he was capturing what was necessary. “I thought, ‘I’ve been given this amazing opportunity and I can’t get an image out of it.’”

With that, Carl took advantage of the days he had left. Along with integrating himself even more at the foundation, he asked for permission from the executive director of Latika Roy Jo McGowan to visit students at home and photograph them along with their families.

During his visits, Carl was able to capture nothing short of amazingly true images that exhibited the struggles and realities of families with their special needs children.

“These children have disabilities yet that fact is not a barrier to being a positive light,” said Carl. “The human spirit can never be disabled.”

Two years later, with photographs full of color, emotion and joy, Carl is ready to give people outside of India insight into the school in Dehradun and bring awareness of those with special needs.

“This trip brought and heightened awareness in my photography,” he said. “I want to share the message that joy is possible through sharing, caring and treating each other well.”

Dates of Exhibition: May 9, 2013 – June 2, 2013
Reception: May 9, 2013 from 6:30 p.m. – 9 p.m.
Location: Calumet Photographic Chicago, 1111 North Cherry Ave.

Information on the event can also be found on Facebook.

Equivalence

May 1, 2013 | 2 Comments |

The idea of equivalence in photography is richly rooted in a time when photography was beginning to discover its own nature and continues to be a powerful force for discovering our own nature, which is greater than we think.

Alfred Stieglitz first used the term equivalent as a title for a series of photographs of clouds, whose aspirations were more musical than representational, and to describe a particular kind of activity in art and its result, “My photographs are ever born of an inner need – an Experience of Spirit … I have a vision of life, and I try to find equivalents for it sometimes in the form of photographs.”  In stating that his photographs have power “not due to subject matter” he suggested that photography, capable of but not limited to abstraction, can move beyond transcription without abandoning verisimilitude. The visible can be used to reveal the invisible; the external can be used to reveal the internal.

Extending what Stieglitz started, Minor White stated, “When a photograph is a mirror of the man, and the man is a mirror of the world, then Spirit might take over.” Equivalence embraces and elevates the debate over whether photographs are windows (onto the world) or mirrors (into the soul) and whether they are taken (through distant observation, objective to varying degrees) or made (through immediate interaction, subjective to varying degrees), illuminating many more levels of an evolving process. Through equivalence the photographic object created becomes a reflection of both the external things it represents and the internal states of its creator. This reflective capacity is extended to the viewers, who re-experience this shared process in their own ways.

White remarked, “One should photograph things not only for what they are but also for what else they are.” and “Equivalence is a function, not a thing.” He did not mean to suggest that equivalence was merely a rhetorical device. Equivalence is more than a rhetorical device, not a simile that suggests shared commonalities (this is like that), not a metaphor that observes shared qualities through the power of transformation (this is that), but a process inclusive and transcendent of both. Like a simile its power starts with the recognition of shared qualities and like a metaphor its power lies in transformation, but an equivalent transcends both through a heightened state of self-awareness, even to the point of transforming the self through its accompanying effects of clarity and commitment.

A change of perspective is a change in state. Jean Piaget reminds us that, “What we see changes what we know. What we know changes what we see.” Perception changes reality – if only but not necessarily only because we are a part of reality. The more conscious the perception the stronger the change. Furthermore, the quality of consciousness one engages perception with influences what is perceived, what is produced, how it is received and the consequences that has. Acting on what one observes, choosing and sustaining one thing / quality amid many others, reinforces that state of being and this is particularly true if during observation one creates something tangible and durable and never more true if multiple related works are created. Often, during the process of manifestation perception continues to change, further extending this process of revelation and transformation.

Resonance is a consequence of equivalence. What we create can transform us. We then become cocreators, creating not only things and ideas but selves. What we create can also transform others, triggering cascades of sympathetic vibrations, if we imbue our creations with a persistent resonance, brought on by intensity, clarity and connection (connection to subject, medium, self, and others). Through the experience of art, the powers of perception and transformation can be awakened, in both the ones who create directly and the ones who reperceive indirectly. Just as whether something is seen or unseen depends on a degree of sympathetic vibration, whether this capacity is activated depends on whether an equivalent resonance is produced in the viewer, which is influenced by the clarity and intensity of transmission and the capacity of the viewer to receive it. In this process, the connections between all things are highlighted. In this light, photography, like all forms of art and many other disciplines, is an agent for heightened perception and thus an agent for change.

Equivalence is born out of a state of being and the equivalent is a record of and a catalyst for that state of being, which can be reenacted by others. Equivalence is a process of revealing and exploring not only our greater nature but also our connection to and unity with a greater spirit / energy field. Equivalence is a shared lived process of revelation and transformation. Equivalence is not a process reserved only for photography, it is possible in every medium, it is not only for artists, but for each and every individual. It is universal. The question that still burns is not does it happen, but when it happens how intensely and with what quality does it happen?

Stieglitz set a shining example for us all. He demonstrated that the full power of our photographs lies not in special subjects or moments but in what we bring to the picture, which can be much more than technical skill, compositional prowess, and cultural awareness. Through photography we can simultaneously bear witness to things / events, affirm our connection / participation with them (even if only as observers, no small thing), and clarify our understanding / interpretation of the confluence of everything that is brought to bear in each moment and the continuing resonances they produce. More than an intellectual interpretation or emotional expression, this is a process of holistic integration. The photograph can be much more than a material trace of another material; it can even be much more than a trace of light and time; it can also be a trace of spirit, the energetic confluence of body, mind, and emotion, either single or multiple.

White reminds us that this process of self-realization is open to everyone, “With the theory of Equivalence, photographers everywhere are given a way of learning to use the camera in relation to the mind, heart, viscera and spirit of human beings. The perennial trend has barely been started in photography.” Though all photographers do it, not all photographers do it with equal clarity or intensity. Regardless of what level they engage this process, whenever photographers break through to new levels of consciousness the results are transformative for the photographer and the viewer and even the viewed, sometimes subtly and sometimes dramatically.

Read Minor White’s essay Equivalence: The Perennial Trend.

The exhibit Seeing The Unseen: Equivalence In Photography opens in NYC at Soho Photo Tuesday, May 7.

Exhibit – Two Generations / Father & Son

Opening Reception: March 28, 2013, 5–6:30 pm

March 20 – April 10, 2013

Manchester, NH

New Hampshire Institute Of Art

French Building Gallery

“The works of father and son Paul Caponigro and John Paul Caponigro are featured in the photographic exhibit “Two Generations.” Over twenty images by each artist highlight the two careers of this family of artists. The juxtaposition of traditional darkroom images and the more contemporary digital photographs may seem startling at first. Both artists utilize a different medium and a different vision. Paul is a traditional straight shooter and John is a process artist. After careful inspection what is more apparent are the similarities, the vestiges of the fact that this is the work of father and son. It is apparent each artist’s work influences the other and many of their key interests are the same. Both artists share a deep reverence for nature, a love of stone, a fascination with the subtle palettes of the natural environment, and a strong dedication to their craft.”

Find out more here.


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