Longtime Amarillo-area resident and altruist Mary Emeny, who spent portions of 1967 and 1968 in war-torn Vietnam, will display a collection of her poignant photographs from that experience at Amarillo College. Emeny’s newly-restored photographs, depict the faces and spirit of the Vietnamese people she encountered during the Vietnam War. Emeny worked with the American Friends Service Committee in portions of 1967 and 1968. Her photo exhibit is titled “View from the Edge of the War Zone: Vietnam 1967-1968.
Mr. Barnett is a Vietnam veteran and the recipient in 1971 of a Bronze Star Medal.
The Emeny exhibit and the gallery talk are among many activities planned at AC this year in conjunction with the Panhandle PBS release of The Vietnam War, a 10-part documentary film series directed by Ken Burns and Lynn Novick, which premiered on Sunday, Sept. 17 and continues into fall.
“The Vietnamese people were caught in the middle, just trying to survive,” said Emeny, who also worked briefly with the Red Cross following the TET Offensive. “The war was the peoples’ enemy,” she said, “not one side or the other.”
Emeny is well known for her community service and humanitarianism. She helped either establish or re-organize the Don Harrington Discovery Center, Amarillo Habitat for Humanity, Wildcat Nature Bluff, the Panhandle Promise Project, and more. She was named the Amarillo Globe-News Woman of the Year in 2001. Emeny also is a member of the board for The Democracy Collaborative.
She recollects having had only “a point-and-shoot camera and mostly Fuji film” at her disposal in Southeast Asia.
Rowe is an associate professor of art at the University of Texas at San Antonio. In addition to photography, Rowe works in a variety of mediums including sculpture, interactive installation, and performance. Rowe says she is interested in breaking from traditional presentation strategies for photographs to engage viewers in a more interactive experience.
Through “Dwellings” she explores the subtle differences between pondering, reflection, meditation and rumination.
“I am interested in when these seemingly harmless contemplations turn to a more decidedly negative, and often detrimental, dwelling,” Rowe says. “I am intrigued by the dual meaning of the word dwelling."
“This series of photographs uses physical dwellings made from materials that, along with their environments, suggest a state of contemplation.”
Rowe received her master of fine arts degree for art photography from Syracuse University in 1996. She obtained her bachelor’s degree from the University of Northern Iowa in 1993.
Her work has been exhibited throughout the U.S. and in Canada. It is found in permanent and private collections. Rowe has collected numerous awards and honors for her work.
Lane is an associate professor of art at Texas Christian University. His fine art photographs have been in over 80 group and solo exhibitions and are in several private and museum collections nationally and internationally.
It was while pursuing a master’s degree at the University of Florida that Lane honed his knowledge and interest in highly manipulated forms of photographic imagery.
“My project (The Iterated Landscape) investigates using the landscape as a starting point,” Lane said. “But it’s inclusive of the traditional ‘straight’ photographic landscape as well as a large number of ‘iterations’ of those images – manipulations via hand work (painting and drawing on top of the image) and abstraction through manipulation via Adobe Photoshop.
“The resulting prints call into question the viewer’s concepts of beauty, the veracity of the photographic image and the nature of perception.”
This will be the second exhibition of photography at AC for Lane. His work previously graced the Southern Light Gallery back in 1995.
Regional roadside architecture, sculpture and signage are the essence of a photography exhibit, by Panhandle native and AC alumnus Jim Jordan, titled “Did You See That?”
“For creators of road art, no museum can possibly provide a venue like a busy highway where their efforts can be seen by countless motorists and passengers,” Jordan said. “I make frequent trips to Oklahoma, New Mexico and through the Texas Panhandle … and continue to mine a rich source of images.”
Southern Light Gallery, which has been in operation since the 1970s, is located on the first floor of the Ware Student Commons on the Washington Street Campus. Jordan is no stranger to the venue, having served as its director from 1993-2005.
He also has been a frequent exhibitor in museums and galleries – from the Buddy Holly Center in Lubbock to the Amarillo Museum of Art at AC – and his photo essay “The Palo Duro Suite” toured Germany for five years.
Jordan, who was born in Plainview in 1932, is a lifelong resident of the Texas Panhandle. He earned his associate’s degree in music at Amarillo College. He then worked for the city of Amarillo in the Water Reclamation Department for 33 years before retiring in 1988. He has long been highly active in the artistic and civic affairs of the Amarillo area.
Jordan has served as the president of the Amarillo Museum of Art, Amarillo Opera, Chamber Music Amarillo, Catholic Family Services, International Club and the Amarillo-Panhandle Humane Society.
Images of Japanese Internment in 1942, authorized, then confiscated, and finally released by the U.S. government.
The photographs, taken by the late Dorothea Lange (1895-1965), were commissioned by the U.S. War Relocation Authority (WRA); however, the images were deemed so critical that they were confiscated during the war and have only recently been published by the Densho Archive.
All the images are public domain and were downloaded from the Library of Congress or the Densho Archive.
Dorothea Lange made over 750 photographs of Japanese American citizens – before the evacuation, during the roundup, at temporary evacuation centers, and finally at Manzanar, the largest internment camp in California.
With her cameras, she unflinchingly documented their living conditions at the time.
The new exhibit was chosen to provide historical context for AC’s Common Reader, Hotel at the Corner of Bitter and Sweet.
That book by Jamie Ford is a bestselling novel that spotlights the volatile period during which thousands of families were relegated to U.S. internment camps.
Internment by the WRA was ordered by President Franklin Roosevelt shortly after the bombing of Pearl Harbor, and Lange was hired to document each step of the process. Even though the government denied her access to the worst conditions, her images were still so critical they were impounded.
To the observant wandering child, the landscape is a place of fantasy and fame. With this naive view, the scale of the world is skewed down; a field, a stand of trees, or an old road can hold the magic and possibility of the American west in 19th century frontier days. As I grew up and moved away, my childhood home remained in the same place. In the transition from adolescent to adult, my views of landscape have changed; but the woods near my parents’ house still hold the same mystique and wonder that I remember from my youth.
A Known World is a photographic survey and an archive of memories of growing up in North Texas. Using a large format camera and capturing with highly stable sheet film, I have created a visual archive with physical negatives to investigate ideas of memory, identity, and place. The photographs are of landscapes in which my friends and I had specific experiences. By making photographs at the sites I remember, and those that have been written of in our online forums, I have authentically documented our imagined world and my own memories of it. Geographic information plays a role in the presentation of the project, and reveals the distance we could travel from home as children in a simple, graphic way.Christian and Friends Old Heritage Road
By revisiting and picturing the landscape as an adult, I have collected and archived our memories of this place. These photographs are documents of a personal history; a meaningful childhood remembered.The Place the Caprican Empire Fell
The photographs on view of the Tuolumne River and the Altamaha River are part of a larger body of work that covers seven rivers: the Colorado, Missouri/Mississippi, Columbia, Rio Grande, Tuolumne, Altamaha and Hudson. The project looks at the complicated state of fresh water across the United States.
I recently moved from San Francisco, CA to Darien, GA, a small coastal town at the mouth of the Altamaha River. Leaving behind the dry and thirsty California coast was shocking to all my senses.
This change instigated my investigation into the physical and psychological landscapes of rivers. What does it mean to know your rivers both as a physical place and as your water source?
While still a resident of San Francisco, I made the 186-mile pilgrimage to Hetch Hetchy Valley to visit the Tuolumne River and the O’Shaughnessy Dam. I was immediately reminded of John Muir’s long battle against the damming of this valley, which he thought more beautiful than Yosemite.
The battle for this river is the same in many ways as it was in the 1900s. We are on the brink of experiencing another loss as California’s water is disappearing making 2014 the driest year on record. The demand for power, drinking water and irrigation are overwhelming on the Tuolumne, as it has become the only water source for millions.
The Tuolumne River’s struggles though dire do not hinder the beauty of this river as it flows out of the Sierra Nevada Mountains. It is still one of the most visited rivers in the United States. The Altamaha River does not carry the fame of the Tuolumne giving it an air of mystery, as its beauty and name largely remain unknown.
The Altamaha River is one of the largest watersheds in the southeast. It is one of the only undammed rivers in the southeast, which is rare due to the Tennessee Valley Association’s over damming of all rivers during the depression.
The Altamaha is one of Georgia’s last remaining wild places. The swamplands surrounding the river has aided in preserving wildlife habitats, cypress trees, long leaf pine trees and people seeking refuge.
Though the river is difficult to access, Hatch Nuclear Plant and Rayonier Paper Mill have managed to build along its banks causing pollution and heartache.
The Tuolumne and the Altamaha like so many rivers across the world are experiencing changes in water levels, temperature and wildlife. The photographs are not aimed at documentation but rather the emotional landscape of water. It is important to understand each river’s path in order to understand the finite resource of water.
Ruland, a professional chemist with roots in Western Pennsylvania, relocated to the Fort Worth area after his retirement and turned his focus to photography.
Inspired by a lifelong interest in biking and “my passion for shiny metal bike parts,” Ruland undertook to amass a portfolio of conceptual works—Bicycle Conceptual Art. He did so by constructing sculptures built of bike parts, transporting them to various locations, and making his photographs.
“I enjoy creating scenes that contrast metal with natural objects,” he says.
I use a dryplate tintype process to make images and construct one of a kind photographs using artifacts. I incorporate both digital manipulation, camera-less processes and historic photographic images to create photographic works. Although these are several different processes, each of the series has the continuity of story. The narrative is what holds me to making images. I delight in the visual reference of story or interpretation. These images are narratives from myth, folklore, history and memory and I am only continuing the tradition of telling and interpreting. These images are made for the act of re-telling. I interpret the stories and memories or adapt the narratives as an act of referencing time and collection. My photographs are a collection of moments remembered as the story unfolds.
They are always, simply stories re-told.
Burnett holds a master’s degree in photography from Texas Tech University.
As a native of Amarillo and a commercial photographer, I have been observing and documenting my world for more than 40 years. Too many people rush through life, never seeing the rich visual detail that surrounds them.
Seen on the Street is a series in the genre of street photography – no theatrical sets, no professional models – just life as I see it through my lens.
I hope these photos will encourage the viewer to take a second and even a third look to see a detail or a new color and texture in a street scene. Street photography remains one of the few performances that is free.
Ralph Duke, Photographer
Steven Plattner is a noted photographic historian and well-traveled photographer, whose early career exploits led to the donation of the collection of Farm Security Administration (FSA) photographs now housed at the Amarillo Museum of Art.
A decades-long student of American documentary photography and curator of highly touted FSA and Standard Oil collections that toured museums around the U.S. in the 1970’s and 1980’s, Plattner also is the author of Roy Stryker: U.S.A, 1943-1950, The Standard Oil Photography Project. After his lengthy study of photographic history, he took up photography himself and has largely focused on the American West, roadside America, and folk art environments.
Born in Cincinnati, Ohio, and presently a resident of Portland, Ore., Plattner also has found inspiration in Mexico, India, Cuba, Taiwan, Central America, Europe and beyond.
In 1975 while a student at Macalester College in Saint Paul, Minn., Plattner received a Youthgrant from the National Endowment for the Humanities to curate a traveling exhibition of photographs from the FSA project directed by Roy E Stryker. He showed the widely acclaimed collection, called “American Images: Documentary Photographs by the Farm Security Administration, 1935-1942,” at museums from Minnesota to Texas.
That’s how he found his way to what was then known as the Amarillo Art Center, to which he returned the following year to serve an internship. Ultimately be donated the photographs to what became the Amarillo Museum of Art.
Plattner has visited every state in the U.S. and considers himself not just a photographer; he thinks of himself as a collector of Americana who relies on a camera.
“I actively seek out people, places and things that are uniquely American,” Plattner said. “In my work I gravitate toward people who go against the grain—people who create something different—who push the boundaries and make something monumental out of nothing, people with vision who are exceptional in their own way.”
Plattner did graduate work in American studies at George Washington University and has served as chief photographer for the Minnesota Historical Society, curator of photographs for the Cincinnati Historical Society, and he has long been immersed in commercial printing.
The earth, moon, and stars participate in a timeless dance. Moontracks are the result of photographing this choreography as it is scribed on the fluid surface of water. Because the photographs average eight-hour exposures, the liquid canvas can change dramatically from start to finish: water can flow and move, freeze and thaw, agitate and still. The camera and lens also participate in the dance, anticipating the moon’s arc from east to west, its height above the horizon, and when and how the celestial orb will appear on the surface of water. Complicating these relationships is water’s evaporative nature, the flux of the lunar cycle, and unpredictable weather and clouds.
I began photographing Moontracks during a contemplative and introspective moment in my life when I recognized Time as my most valuable possession. One can always find ways to make more money.
One can gather wealth and stockpile riches, but we cannot create Time, nor can we save it for the future. Time exists right now, and though we’re free to choose how, Time’s very nature forces us to spend it.
Many new ideas arose from my nights photographing Moontracks, and I intend to put several of these ideas into practice in the coming years (if I’m so lucky). In the mean time, I can reflect on the images created during those long, cold, lovely nights and feel satisfied that each is Time well spent.
With the introduction of Edwin Land’s self-developing Polaroid print, the important dimension of instant gratification was added to photography for artists and millions of amateurs. For the next twenty years. the Polaroid Corporation was an industry leader before being overtaken by digital photography. Recently, the Fujifilm Corporation has introduced the Instax small format system which delivers sharp and intensely colored photographs. “Just a Minute” documents regional eccentric architecture and signage with this method. Also included in the exhibit is a group of vintage Polacolors taken in 1992.
Jim Jordan has been a resident of the Panhandle of Texas since 1948. He has been a photographer since 1968. He enrolled at Amarillo College in 1950 with a saxophone music scholarship as a music major, but later joined the city of Amarillo Water Reclamation Department. After 33 years there, he retired in 1988.
After retirement, Jim focused on his interest in photography, attending nine workshops by master photographic artists. He has pursued his photography ever since, including 62 trips to Palo Duro Canyon. These photos culminated in an exhibit: “Palo Duro Suite”, which toured Germany for five years.
Jim has attended many photography classes at Amarillo College, and became the director of the Southern Light Gallery for 13 years. During that time over 139 photographic exhibits were held from photographers around the world.
Jim has been a strong community supporter and volunteer, especially in the arts. He has been the past president of eight non-profits including the Amarillo Museum of Art, the Amarillo Opera, and Catholic Family Services.
Jim Jordan is still an active member of the photography and art community. He continues photographing landscapes and architectural subjects in Texas and New Mexico, and has five to twelve exhibitions per year throughout the country.
This collection of photographs depicts various buildings throughout Amarillo, primarily in the downtown area. The images are not of uncommon sights; rather, the architectural subjects might be considered ordinary. But in these 10 photographs, I have captured the structures in unique ways. I have found unexpected points of view, applied creative compositional skills, and occasionally used digital filter effects to give the images distinctive characteristics.
Brad, 27, is a photographer who lives in Amarillo with his wife, Sarah, and new daughter, Lydia, born in October. He works full time as a writer at the Amarillo Globe-News.
Brad regularly posts photographs of scenes he finds interesting on his photoblog, www.thelensphotoblog.com. To contact Brad, call 806-290-1979.
Double Vision: A View of Florence Past & Present is a Florentine rephotographic project based exclusively on the private collections of the world’s oldest photo archive, the Fratelli Alinari in Florence, Italy. My interest in the country of Italy, the Fratelli Alinari (“Alinari brothers”) and the rich history of both spans over ten years, serving as the catalyst for this project. I gathered over one hundred images produced by the brothers during the late 1800’s, now housed in the Alinari archive, that documented significant sites within the city of Florence. Retracing the steps of the Alinari photographers, I visited these locations, rephotographed them from the same point of view using today’s digital technology and then printed the images in platinum/palladium, a variation of an historical photographic process employed during the time of the Alinari. With the medium of photography transitioning so rapidly to digital, I find myself compelled to return to antique printing processes. Rather than replacing traditional and alternative photographic techniques with digital image-making methods, this project uniquely integrates both approaches.
A city familiar to many, Florence has been a major tourist and cultural destination from the legacy of the Grand Tour in the late Renaissance through present day. By pairing the original Alinari print from over a century ago with my current rephotographed version, the project offers a powerful statement of those things that change and also remain the same; a valuable visual contrast and comparison of the Florentine social life, architecture and cityscape as it once was and is now today. The apparent lack of change proved most impressive; a true testament to the Italian peoples’ commitment to preserving the integrity of their culture. This project captures the passage of time, embracing both the evolution and permanence of the Italian landscape, its people and community, and also illustrates the influx of tourism and industrialization. While my visual research and documentation are based in Florence, I believe that the project concepts are internationally applicable. Documentary projects of this kind have the capacity to speak to a large geographical and social-political audience, impacting the way in which people engage with each other as well as nature and the landscape. Through this rephotographic project, I hope to build more awareness of the environment by acknowledging our footprint” and the power we possess to protect and preserve our cultural and historical community.
Double Vision: A View of Florence Past & Present presents the viewer with a photographic tour of Florence that speaks to the relevance of now versus then. This rephotographic project does not intend to imitate the work of the Alinari by recreating the composition and/or lighting of the original photographs. It documents the existing space, not the image, to represent visually the evidence of both constancy and transition after a hundred plus years, addressing issues of land use and the impact of man’s hand on the landscape. I collected over one hundred photographs to convey this passage of time; however, I encountered difficult or impossible circumstances at several sites. In some cases, I was never able to access the suspected point of view or even determine the exact location. Yet, this project took me to the top of every major church tower in Florence (all of which are closed to the general public), into many restricted construction and restoration sites, and even the very private apartments of the Archbishop’s Palace.
The Fratelli Alinari opened their doors for business as a photography agency in 1852—just thirteen years prior to the declaration of Florence as the capital of the newly unified Italy (and only thirteen years following the official birth of photography). For five years, Florence served as the political headquarters; however, when the capital moved to Rome, Florence fell quickly into debt. The city leaders decided that if Florence could no longer be the political capital, then it would strive to be the country’s capital of photography. Over time the Alinari brothers became the leading photographers in the region, as they sought to photograph Italy’s aristocratic families, famous landmarks and historical sites. Today, the Alinari exists as an archive that catalogues the work of the brothers, and it is as large as it is resourceful. The sole proprietor of historic photographs for Italy, the Alinari archive houses well over 3,000,000 photographic works. This extraordinary collection provides an unparalleled visual record of the Italian landscape, architecture, social life, art and culture.
Technical note: This project was documented with an Olympus E-500 SLR digital camera (with a variety of lenses) mounted on a tripod for optimal precision. The photographic files were captured in RAW format, sized and fine-tuned in Adobe Photoshop applying techniques of Mark Nelson’s Precision Digital Negatives system, produced as large format digital negatives on an Epson Stylus Pro 3800 printer and contact printed on Bergger COT 320 paper in platinum/palladium. The Alinari photographs are modern gelatin silver fiber base contact prints from the original glass-plate negatives. These prints were purchased directly from the Fototeca at Archivi Alinari in Florence, Italy. The titles and estimated dates for the original images were provided by the Alinari staff.
This project was made possible with the support of a 2007-08 U.S.-Italy Fulbright grant; Fondazione Studio Marangoni, the Center of Contemporary Photography in Florence who served as my host institution; and the Fratelli Alinari photo archive where I conducted my visual research during my four-month stay in Italy.
While I have been exploring the built environment in Texas and Mexico for the past five years, I can draw a line from my undergraduate years to the subjects I am looking at today. Perhaps this interest came from walking the streets of downtown Youngstown, Ohio when I was 13 or 14 years old, or hitchhiking through Cincinnati and Detroit while an undergraduate at Ohio University and was probably fortified during the time I maintained a studio in downtown Dallas in an old office building across from Neiman-Marcus, but I have always been attracted to the spaces that society has built to live and work in, and to travel through.
I have a particular interest in the space and resources we have set aside for the automobile, and the public spaces that begin where formal architecture ends, as well as the canopy of wires and cell phone towers we have built above our heads. In the middle ages the introduction of a new harness for horses and oxen changed the way cities were designed, and in the 20th century the automobile, utility delivery and electronic communication have defined the modern built environment.
My interests include how the structures that society has built have changed, been adapted, reused or discarded. I collect things such as parking lot kiosks, intersections, athletic fields and repurposed gas stations. At times, it is a bit like doing archaeology in the present. I have tried to photograph the natural landscape, but I always find myself searching for some sign of the human hand on the land, even if it is a barbed wire fence.
In recent months, I have been concentrating on the flat spaces of North Texas, and the horizontal nature of the American landscape. I have also been looking at the relationship between open space, economic abandonment and new development, including infrastructure.
Peter A, Calvin is a photographer and educator, holding a BFA from Ohio University and an MFA from Texas A&M-Commerce. Born in Youngstown, Ohio where he first studied photography at the Butler Institute of American Art, he now lives with his family in Dallas, Texas. He has lived and worked in Mexico, built furniture, written for magazines and newspapers and played in a jazz trio. He teaches photography as an adjunct professor at Texas A&M University – Commerce, Collin County Community College and Tarrant County College. His current personal work is an exploration of the built environment.
I love photography … it’s a passion. It draws me in. It gives me the opportunity to continue my creativity, blending photography and fine art. ‘Think outside the box’ has always been my motto.
Sherry Adkins is a fine art photographer from Amarillo and received an AAS degree in Photography from Amarillo College. Her main interests are old cars/trucks and buildings. Sherry also enjoys landscape, flowers and, more recently, wildlife.
Sherry was originally trained in fine art at Amarillo College and Texas Tech University and carrys that knowledge into my work. She loves to work in the Digital Darkroom using Photoshop CS5 and Photomatix.
Sherry’s work has shown at various galleries and coffee houses and been involved with the 15 and 1 group and the Amarillo Area Photographic Club. She was recently spotlighted the 2011 issue of ‘Color’ magazine. Sherry’s image ‘Made in New Mexico’ featured on the front cover.
Visit her website at: www.sherry-adkins-photography.com
Each year the Photography Instructor and Educator Association holds a contest for high school and college students. This is the traveling exhibit of the winning images.
Students compete by age group: 9th Grade & Below, 10-11-12th Grades (High School) and College & University levels. Students in 9th Grade & Below compete in single images only and the other student levels and teachers compete in both single images and portfolios. Prizes will be awarded in each category at the Grand, First, Second and Third Prize levels and to the schools of the Grand Prize winners.
The top photographs will be exhibited at the PMA Imaging 2011 Convention in Las Vegas, NV USA September 8-10, 2011. Two 2011 PIEA International Traveling Photo Exhibitions will tour major conventions, schools, colleges and museums for three years in the USA, United Kingdom, Australia, South Africa and Canada. The top prize-winning images will be published in Photo Marketing Magazine. Winners are also posted on the World Wide Web on the PIEA Home Page Gallery.