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Landscapes 2018 Exhibition

JUROR’S AWARD: Sarah Christianson
DIRECTOR’S AWARD: Roger Grasas
HONORABLE MENTIONS: Annette Burke, Rachelle Bussieres, Tim Goodman, Roger Grasas, Dave Jordano, Sarah Christianson, Carol Erb, Tim Greyhavens, Emmanuel Monzon,  and Paul Sisson.

 

ARTIST IMMERSION SATURDAY
Artists can opt to join us for Saturday morning individual portfolio reviews with our Executive Director. Saturday afternoon there is a private artist portfolio share where the artists are given the opportunity to discuss their work, receive feedback and professional development advice. Selected Artists are welcome to join for all or part of the Saturday events. Free for members, for non-members.

 

JUROR | Allie Haeusslein
Allie Haeusslein is the Associate Director of Pier 24 Photography in San Francisco. She is involved in all facets of the organization’s operations including exhibitions, publications, and public programs. Haeusslein has written for several artist monographs and contributes to publications such as Art21 Magazine and Aperture. In 2017, she curated the central exhibition at the inaugural edition of PHOTOFAIRS SF, focusing on contemporary approaches to the Western landscape by photographers based primarily in California and the Pacific Northwest.

 

IMPORTANT DATES
Exhibition Dates | June 13 – July 7, 2018
Public + Artists’ Reception | June 22, 2018

 

Juror’s Statement

Since the medium’s inception, the landscape has been a subject of great and continual interest to photographers. The earliest known photograph was neither a portrait nor a still life; it was a view from the upstairs window of the French inventor Nicéphore Niépce’s home. Whether through pictures of backyards, cities, or nature in its most pristine forms, photography provides a vehicle for understanding our surroundings.

Over 2,000 photographs were submitted for consideration for this exhibition, a volume that attests to the continued resonance of the environment as a source of inspiration. The submitted photographs range from the built environment and other evidence of the presence or impact of people on the land to sprawling, unspoiled vistas and views of the smallest details drawn from nature. The approaches taken were equally varied from black-and-white to color, analogue to digital, documentary to conceptual.

The photographs included in this exhibition speak to this diversity, offering a broad- strokes interpretation of the landscape, a subject that no single exhibition can expect to fully describe. I was most attracted to those photographs that opened up with further reflection, or drew my attention to facets or viewpoints of the landscape that I might otherwise have never noticed or considered. I was captivated by those images that tell stories,—or make me craft my own stories—through their subtlety and ambiguity. Typically, a good photograph does not require a paragraph explaining its significance or the surrounding context. All that is necessary of the viewer is close, concerted looking.

I selected photographer Sarah Christianson for the Juror’s Award. Christianson submitted three compelling, well-executed photographs from her body of work When the Landscape is Quiet Again: North Dakota’s Oil Boom. Individually, the photographs allude to a landscape in flux—a landscape in turmoil—but they retain a sense of mystery. They are eerily quiet photographs with an understated ambivalence that separates her approach from one that is purely journalistic or editorial. With only these three pictures, a compelling narrative begins to unfold about a particular place at a particular moment. And yet, Christianson uses a single case study to describe a wider issue in contemporary society: our fraught relationship to the land and its resources. _ Allie Haeusslein

 

 



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