Tag Archives: wildlife photography

A Wolf Walked Into a Bar: Photographer David Yarrow at WRJ

David Yarrow, The Wolf of Main Street  Hahnemühle photo rag Baryta paper

“I have worked a great deal in two ghost towns in Montana. The result has been conceptual staged shots which have proved hugely popular in America. I wanted to capture the visual feast represented by the old Wild West. The images require a double take in terms of the proximity of man and animal. I love to tell stories that ask questions with no consensual answer.” ~ David Yarrow

There are wolves in Yellowstone. There are wolves in Grand Teton National Park, on the National Elk Refuge, and in Rafter J!

And now there’s a wolf walking down a bar, looking for you.

David Yarrow, Hello 56 x 91″  Hahnemühle Photo Rag Baryta Paper

Wildly popular European photographer David Yarrow has a new exhibition opening at WRJ Design in Jackson, Wyoming. Dramatic and startling, Yarrow’s “The Most Amazing View” will be on view, open to the public, at WRJ’s King Street showroom February 20 – March 4, 2017. Visions West, Jackson’s newest art venue, partnered with WRJ to bring Yarrow’s internationally raved-about photography to our region.

My premonition: Visitors, prepare for goosebumps. You will walk into surprisingly wild and engulfing new territory. Around every corner, in front of you and behind you, animals of the world feel within reach.

Yarrow believes what his muse, the war photographer Robert Capa felt: If your pictures aren’t good enough, you’re not close enough.”

This exhibit goes hand-in-hand with WRJ’s acclaimed history of mounting some of the world’s most stunning exhibits; the count includes more than 40 just for Sotheby’s New York. WRJ plans on transforming their showroom, pairing Yarrow’s photographs with carefully selected furniture, fabrics and lighting to showcase Yarrow’s work. Plan on learning a thing or two about the juxtaposition of good interior design and large-scale artwork.

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Public Arts Department; Africa at NMWA; Hood is Back

musical_notesAn opening note: Many visual arts events are posted on Facebook; I love seeing those, but if you would like to submit your project or event to the Jackson Hole Art Blog, emailing me directly works MUCH better. I’ll definitely see your announcement, and it won’t get lost in the Facebook shuffle. I’ll remember it. Don’t be shy, email me at: tammy@jacksonholearttours.com. Include all relevant details. I’m a one-person gig, and can’t get every event listed—but I want everyone to have the best chance possible. And don’t forget to send those nice, big images too. Superb.

197If you receive the Community Foundation’s emails via their Listserve, you may have noticed an individual misusing that venue to comment on J.H. Public Art projects. Whatever that person’s goal, he was going at it inappropriately, and that pretty much nulls and voids his input.

There is quite a bit going on in the world of public art here in Jackson. The 5-way project is on, and there are other new projects: the South Cache Street Custom Pavers and Street Painting Project, and another bike-related job.

South Cache first: The project’s total budget is $18,000, to be divided between pavers and painters; $15K for the former, $3,000 for the latter. There are more than a couple of definitions of “paver.” One is a paving vehicle, another is actual concrete used alongside highways and streets. Pavers can also be decorative brick drive and street surfaces. That’s what we’re talkin’ about!

J.H. Public Art writes that “selected artists will fabricate custom pavers designed to integrate into the overall paving pattern. The artist will replicate the theme and key imagery used in the pavers into two, one-color street paintings designed to highlight new crosswalks along the corridor. The budget supports design and fabrication of custom pavers and the street painting.”

Artists will work with Public Works, and Public Works will install what the artist creates. There are several ways it can work, but to make sure you’ve got the drill right, contact J.H. Public Art, or visit their website, where specs are provided.

The “Town Bike Network Education Icons Project” is essentially sign design. Budget: $4,500.

Design an “iconic” sign design series for Jackson’s signposts marking the town’s bike network. Graphics, says J.H. Public Art, “will be designed to print on 12 x 18” standard street signs using 2-4 color process. Final artwork should be submitted as vector files. The artist will design a series of 5-7 bold images that are easy to read from a distance or [while the viewer is] in motion. Graphics should identify safe practices, particular bike routes, unique features of the routes and promote educational messages sponsored by the Pathways department. School children, visitors and residents of all ages use the bike network and imagery should be easy to understand, family-friendly and promote community values.”

In other words, these signs need to be understood immediately by anyone; sign language must be universal.

Applications are due by February 3, 2014.  The web sign-in spot is www.callforentry.org.  Learn more here: http://www.jhpublicart.org/opportunities-2/

 

ELEPHANT WITH EXPLODING DUST © Nick Brandt, 2012, Courtesy of Hasted Kraeutler Gallery, New York

ELEPHANT WITH EXPLODING DUST © Nick Brandt, 2012, Courtesy of Hasted Kraeutler Gallery, New York

“Nick’s exquisite photographs arouse deep emotions. They inspire a sense of awe at the beauty of creation and the sacredness of life. It is almost impossible to look through his work without sensing the personalities of the beings whom he has photographed.” ~ Jane Goodall

Just when you think wildlife photography can’t get any more powerful, along comes an exhibition like “Elegy: The African Photography of Nick Brandt, 2001-2008.” Opening at the National Museum of Wildlife Art January 18th, it remains on display through August 10, 2014.

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Brookover Wows Crowd; Teton Photography Group

995898_10201453924609936_325872173_n “It took half a day or longer just to make the plate, and if you have a spot or any kind of blemish on that plate, you’ve got to make a new one,” explained Jackson photographer David Brookover.

A few weeks back, Brookover described his lengthy, painstaking photogravure process to a rapt group of gallery visitors. The photographer is introducing the public to his latest set of photographs, images that include his new Andalusian horses series and fresh wildlife photographs taken in the Yellowstone region. Visitors were awed.

Working with large photographic plates, exposures, rinsing, transfering negatives—it all takes time. Brookover’s newest works have kept him out of his gallery a bit more than usual. He’s traveled extensively to capture the normally reticent breed of horse, and as this is a new direction for Brookover (he’s also created his first new color photograph in years) he’s honing each image to perfection. Consummate tone, color, texture and detail—and the highest archival quality distinguish his work.

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In the old days, Brookover told his audience, copper plates were the norm; those plates were capable of turning out high numbers of editions. But Brookover only makes editions of 10, using metal polymer plates. And besides, he says, there are so many chemicals needed to transfer images onto a copper plate that “it wouldn’t be good for a lot of fish in the rivers, it’s nasty stuff.”  The biggest plate size Brookover is using measures 20 x 30″.

Brookover’s images are bright, yet soft. In the quietest light they are piercingly lovely.

Spanish Andalusians weren’t easy to capture in the way Brookover had imagined they would be—when he wasn’t shooting them galloping across ranch land, he and ranch owners had to find ways to distract the horses. Brookover had to deal with how the horses looked; but also, as he found out, how they moved. Eyes constantly blink, and horses’ ears move back and forth. Lighting conditions were a challenge.. A goat and an Andalusian housed in a 15th Century stable, constant companions, stayed that way for Brookover’s camera. Andalusion stallions don’t mix well with other stallions—too much fighting—so other animals often become Andalusians’ “roomates.”

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“The horses don’t want to be alone or sleep alone, and we brought this one horse into the stable, and of course his goat buddy was there,” recalled Brookover. “Let’s get a shot of the stallion by himself,” he thought; but the task proved difficult. “The goat was not going to leave,” laughed Brookover. “So we put another stallion outside the stable window to get the stabled stallion’s attention, and we got some wonderful shots of the horse and goat looking out the window. I’d called the best image “Harold and Maude,” but I’m thinking of changing the title to “The Inseparables.”

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“Big Gus,” a massive buffalo pumping along in the Yellowstone region’s deep, clinging snows, found itself a Brookover subject last winter. I have said this before, but Brookover’s platinum wildlife images stand apart in their delicate beauty, minimalist composition and spiritual sensibility. Big Gus never let Brookover’s presence disturb the moment.

“I was hiding behind a snowcoach, and this guy was walking down the road,” said Brookover. “He was BIG. I kind of snuck out and got a little close as he walked on by, and luckily he just kept walking.”  www.brookovergallery.com 

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Portal Tracs; Cougar Power

 

Portal Tracs.187U - Rocky Hawkins

Portal Tracs.187U – Rocky Hawkins

An artist’s work is particularly powerful when it embraces the other side of what many consider real time and space. Communication and reverence for supernatural beings is at the heart of life. Sometimes, the human form itself is transformed, becoming divine and omnipotent.

To me, Rocky Hawkins’ paintings explore the intersection between heaven and earth. His figures are spirits, simultaneously sending and absorbing messages. Composed with brushes and palette knives, Hawkins’ paintings constantly explore new spaces and concepts. His latest body of work, on exhibition at Altamira Fine Art through June 30th, includes large and small-scale works. In each painting Hawkins delves ever deeper into abstraction using bold strokes, a full array of color and superb composition.

"Sky Dance Rider" - Rocky Hawkins.

“Sky Dance Rider” – Rocky Hawkins.

The primary focus of these new works is a group of paintings—the “Portal Tracs” series. In each work Hawkins depicts rectangular shapes representing gateways into another dimension. Time is fluid. Geometric fields overlap and intersect, distinct but amorphous. It is Hawkins’ broad spaces—a vast universe—painted in above his figures that draw the viewer in. We are pulled towards clusters of riders, grouped and solitary figures. As you move through the exhibit, notice Hawkins’ use of numbers and letters in his titles. Each letter —T, R, A, C and S—refers to a form visible within the painting. The letters, together, spell “tracs.” I will tell you about the “U” shape, turned towards the heavens and connected to figures’ heads: it represents the unknown, and it reaches out “like an antenna, ready to receive new experience.”

"Portal Tracs.385U" - Rocky Hawkins

“Portal Tracs.385U” – Rocky Hawkins

Hawkins’ palette runs the gamut from electric to earthy. Every choice is correct. In this grouping of works there is something for everyone. The smallest canvases I saw measured 6 x 8″. These make wonderful collection starters and are as intensely wrought as Hawkins’ large canvases. “Portal Tracs.923U” measures 60 x 48″.

Hawkins also revisits his “Archer” and “Horse and Rider” series themes. They are as bold, sacred and intriguing as ever, and Hawkins is a master at depicting points of tension amidst rich, painterly strokes of color. As has been said, Hawkins is an artist choosing not to stay in one place for too long. www.altamiraart.com

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National Geographic’s Greatest Photographs of the American West

“In my photography, color and composition are inseparable. I see in color.” ~ William Albert Allard

Always in color. American documentary photographer William Albert Allard has always shot in color; many contemporary photographers move back and forth from color to black and white. Allard began his documentary career at National Geographic in 1964, a “major force” at that magazine for 50 years. Allard will give a special presentation at the National Museum of Wildlife Art (NMWA) on Friday, October 26, at 6:30 pm; doors open at 5:30 pm. The event christens the museum’s exhibit “National Geographic Greatest Photographs of the American West.” Open to the public, tickets are $5, free to museum members. The American West photography exhibition officially opens October 27th at NMWA and at nine other museums across the U.S., including the National Geographic Museum in Washington, D.C.

Tehachapi Wind Farm, California, 2008- Jeff Kroeze/National Geographic Stock

Allard’s “American Indian Beauty Pageant Winner, Oregon, 1997,” above, blows me away. My assumption was that this young woman, Acosia Red Elk, was attending an all-Indian gathering. A bit of research told me otherwise; National Geographic published an article in September, 1999, entitled Rodeos: Behind the Chutes. Acosia Red Elk is part of that year’s Pendleton Round-Up Rodeo; Indians are sometimes rodeo cowboys. She awaits the rodeo parade’s start.

Cultural pride is evident in this photograph, as are the physical and artistic tangibles of Acosia Red Elk’s people. She is beautiful, powerful. Allard frames the diagonals of her headdress feathers and teepees; depth of field, the rich colors of Indian beading and design and a darkening, stormy sky move my eye around the image. And they move my heart. Pride of history and place are evident throughout this exhibition.

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