Various artists
Laughing at the Sun Gallery
through September 7
Photography just doesn’t get the respect or recognition it deserves. All too
often, photography is viewed as either a hobby or a job, rather than an art
form. This view probably stems from a too-common perception that photography is
so simple — just point and click! — and can be accomplished by anyone from
Aunt Bessie to your kid brother.
In reality, photography is an art form as demanding and limitless as any
other. Pardon the clich�, but a good picture really is worth a thousand
words, and you can bet a good photographer has worked hard to discover a voice
for those words. (Plus, having photography as a passion can be a real
logistical headache; if you think it’s tough to find space for your easel, try
tracking down a darkroom.)
Fortunately, professional photographers eschew those thankless odds and keep
on clicking. For those of us who believe photo-graphy truly is an art form,
this show provides a little validation. The works in it prove photo-graphy’s
ability to be a feast for the eyes. The gallery’s walls are literally covered,
from floor to ceiling, with photos by 27 established and new artists, and, as
you might expect, the works vary greatly in style and content. But I narrowed
the photos down to two basic categories:
First, there are the somewhat traditional photos, straight-ahead pictures with
no treatments or special effects, such as Thomas D. Bleich’s huge panoramas.
The most eye catching is a shot of Oklahoma City; it’s a seemingly normal,
bustling day in the downtown area, except for the shattered, ravaged carcass of
a building standing precariously in the background. Marla Sweeney’s works also
follow a traditional style. She often does portraits of the elderly and
seemingly downtrodden, none of whom seem aware — or seem to care — that their
pictures are being taken. “Christmas Party 1995” is a childlike moment in the
lives of nursing home residents; the smiles and bright colors are ironic in the
depressive room.
Then there are the experimental photos, in which photographers use varied
techniques to get unusual effects, ones that can transform photos into
ethereal, dreamlike images. Jennifer Nelson’s hand-painted photos depict
everyday folks, whether pierced or tattooed or overweight, as winged angels
against neon-colored backgrounds. Brenda Ladd’s use of pinhole photography
gives nudes the appearance of pixies frolicking in the forest. Another approach
is Casey McKee’s use of liquid light on chiri paper; the technique, which is
somewhat like silkscreen printing, gives the nude images the look of aged
chalk drawings. Perhaps the most unusual works are Jack Rehm’s shadow boxes —
painted cracked relics with stark images waiting for you inside.
The beauty of this show is its great diversity; no one method receives more
recognition or space than another. The gallery is almost cramped with photos —
it’s somewhat difficult to view any photo without taking in some of its
neighboring images — but it’s a treat to see so many subjects, colors, and
styles on the walls. Gallery owner Darryl Colburn said he felt it important to
display emerging as well as established artists, and simply to provide space
for all kinds of photography. Perhaps there are enough extraordinary images
here to rebuke any visitor’s notion of photography as a silly hobby. — Cari Marshall
This article appears in August 9 • 1996 and August 9 • 1996 (Cover).