Wynn Bullock at CPAC, Carmel, CA

[Merg Ross]

A recent post from QT caused me to check out the current status of the Center for Photographic Art in Carmel.

I was not only delighted to see that the gallery has survived from near extinction a few years ago, but to note that my old friend Wynn was having an exhibition of his color work.

Perhaps most of his reputation rests on his stunning black and white photography, much of it 8x10, but there was a period of his experimentation with color. I knew him well during that period, and had little comprehension of what he was describing to me. It is only recently, that I have a vague understanding of his "fourth dimension" theory.

Anyway, if you are near Carmel in the next couple of weeks, take a look at his current exhibition. I believe now, as I did years ago, that Wynn was ahead of his time in thought and process.

http://www.photography.org/exhibitions.php

[Terry Hayden]

Merg,

It is, indeed a stunning bit of work. These images were from the 1960's and predate any concept of digital photography that we know today.

If people don't make it to the Center for this exhibit, it is traveling next to Tucson. We are thrilled to announce that in February of 2011 it will be at Spectrum Gallery in Fresno, Ca. for a month.

There is a wonderful book/catalog that was prepared for this exhibit.

The website for his work includes these color abstractions in the gallery section.

http://www.wynnbullockphotography.com/index.html

As we get closer to the Spectrum exhibit in February, I will post info on the lecture/presentation that we are planning.

[Merg Ross]

Hi Terry, thanks for the link to more of Wynn's work.

You folks are doing a great job at Spectrum, congratulations!

Best,

Merg

[Tim k]

Traveling to Tucson?? Any more info??
Thx

[Merg Ross]

Traveling to Tucson?? Any more info??
Thx
Dates @ Center for Creative Photography, UA,Tucson: September 14/November 28, 2010.

[Darin Boville]

Curious: the exhibit text that is linked to (above) describes these as being made from 'slides." Do they really mean slides (35mm/medium format) or are these on 4x5/8x10?

--Darin

[Merg Ross]

Curious: the exhibit text that is linked to (above) describes these as being made from 'slides." Do they really mean slides (35mm/medium format) or are these on 4x5/8x10?

--Darin

Darin, the answer can be found here:

http://www.wynnbullockphotography.com/quotes_cla.html

[Nathan Potter]

Merg, I've never paid much attention to this abstract color work by Wynn, always being awed by the quality of his B&W work. But a quick view on screen seems to indicate a vision that is using abstract color images to emulate and re-interpret scenes we see in life. Some of these are brilliantly executed as only someone like Wynn would have the patience to accomplish.

Reminds me of my much more feeble attempts at something similar using a 4X5 setup on polarizing metallurgical microscopes. Using Nomarski or Differential Interference microscopy on different metallographic surfaces, similar intense color structures can be formed, although of limited flexibility in shape control due to the fixed morphology of the samples.

Many thanks for the heads up.

Nate Potter, Austin TX.

[Tim k]

Dates @ Center for Creative Photography, UA,Tucson: September 14/November 28, 2010.

Thanks Merg, will mark my calendar.

[Terry Hayden]

Nathan,
I don't know as that he was reinterpreting real life scenes. My impression is that he used this methodology to create scenes that couldn't be seen in real life.
One of the points made in the presentation was that he worked with pure shapes and colors using photographic media to record his visions. I don't believe he had any real "representational" intent with these.

Of course that's all conjecture - as with any art, your interpretation is likely quite different than mine.

[Kirk Gittings]

Interesting Merg, I did not know about his color photography.
Bullock was the first LF photographer I absolutely fell in love with. I saw a show of his at the museum in Santa Fe in probably 1970 and never ever got over it. To this day I remember his stunning prints.

[Merg Ross]

Interesting Merg, I did not know about his color photography.
Bullock was the first LF photographer I absolutely fell in love with. I saw a show of his at the museum in Santa Fe in probably 1970 and never ever got over it. To this day I remember his stunning prints.

Stunning indeed, and you probably never will get over it! I first met Wynn with his prints while on a family visit to Edward Weston's home about 1952; it was not my first viewing of some outstanding photography, but there was something very special and personal about Wynn's vision. I sensed this at my young age, and suppose it was the sort of thing we all strive for in our work.

I was only about eleven years old on that visit, and two years later was in a group exhibit with Wynn at the San Francisco Museum of Art. He was then, and remained so until his death, very supportive of my work. More than one young photographer I have known, that visited Wynn over the years, returned with a renewed purpose in their journey as an artist. Wynn was, whether in your livingroom or in the classroom, a consummate teacher; he was questioning, making you think, and always searching for that elusive answer.

Kirk, I think the quality and power that you saw in Wynn's work in 1970 is there today. I don't look at many books for inspiration, but Wynn's has a prominent place on my bookshelf.

[Darin Boville]

Darin, the answer can be found here:

http://www.wynnbullockphotography.com/quotes_cla.html

Oh, hey, great link. Thanks for that.

So, I'm intrigued. I knew nothing of this aspect of Bullock's work before this post. I won't be able to get to the Carmel exhibit (though I was just there two weeks ago--damn!).

How are the reproductions in the book?

--Darin

[Nathan Potter]

Nathan,
I don't know as that he was reinterpreting real life scenes. My impression is that he used this methodology to create scenes that couldn't be seen in real life.
One of the points made in the presentation was that he worked with pure shapes and colors using photographic media to record his visions. I don't believe he had any real "representational" intent with these.

Of course that's all conjecture - as with any art, your interpretation is likely quite different than mine.

Terry, very good points. I've always thought that one of the marks of great photography is the way the imagination in the viewer is stirred by the imagination of the photographer; perhaps not in the same way, but if the pulse of the viewer quickens then a connection has been made.

Nate Potter, Austin TX.