October 2010: George deSaint-Rat

George deSaint-Rat was born in France, at Chateau-Thierry, 40 miles from Paris. He was brought to America as a 5 year old. His first memory of America was seeing New York City from their ship. He says, “I couldn’t believe it...I was blown away…can you imagine coming from a little town in France and then seeing the lights of New York City at night, from the harbor? It was amazing!”

He has worked primarily as a photojournalist and editorial photographer for local non profit organizations. To gain an understanding of Georges’ photojournalism, one must look back to see the difference between what photojournalists produced ‘back in the day’ and what is produced currently.

Archetypal photojournalism of the day included Tri-X 35mm film, usually ‘pushed’ with processing, shots taken with available light under poor circumstances, and a raw, gritty feel to the end product. It wasn’t done to achieve a ‘look’. Many times it was the only way to get usable images for publication. The tools of today can imitate any ‘look’. What they can’t do is imitate the content. They can’t imitate ‘the decisive moment’, or the reality of ‘being there in the moment’ observing and recording with an artists’ sensibility the events of our time.

As a photojournalist, Georges’ work demonstrates this understanding. He wants to be right in the middle of his subjects, he closes in on them as he becomes engrossed in the process. He uses very wide angle lenses to get close to his subject matter; closer than many people feel comfortable about. After breaking through the invisible shell we each carry around us, he uses this proximity to provide an intimate touch to his photographic vision.

Current photojournalism is different. It has been changed from observational reportage to something resembling event photography.

His work is most influenced by Henri Cartier-Bresson, Andre Kertesz, and documentary photography done from the 1930s through the 1960s.

May 2010: Del Lusk

Del Lusk began his photographic career in the 1960’s, working as a magazine and news photographer. Lusk made the switch to fine art and academics in the early 1970’s, obtaining a position in the Journalism and Photography Department at Lewis-Clark State College in Idaho. Concurrent with his teaching, he was able to cultivate and promote his personal work, exhibiting regularly in the Northwest. His photographs were awarded numerous accolades and exhibits during this period, adding to his accomplishments as a documentary and news photographer. A hiatus as a stockbroker interrupted Mr. Lusk’s creative pursuits in the 1980’s.

Currently, Del Lusk has once again found his muse via the camera. His most enchanting body of work is devoted to manikins. Reminiscent of Umbo (Otto Umbehr) and Max Yavno, the Manikins in Storage series evokes a time past and hints at the metaphysical, a reflection of human interaction using inanimate stand-ins. Equally lovely is Lusk’s landscape work, which reflects his interest in the history of civilization, photographing sacred spots in Rome, Sicily and Sardinia.

Del Lusk’s prints are 11 x 14 inch Toned Gelatin Silver Prints, priced at $500 and are available through STOOTS Fine Photography.


Artist Bio courtesy of:

January 2010: Christian Arrecis

Setting the Planets Into Motion
2007
10" x 15"

The SFCC Photography Gallery is presenting the work of Chicago Artist Christian Arrecis. Christian received his MFA in 2008 and teaches at Northern Illinois University.

Artist Statement

Phaenomena Naturalis is a series of photographs through which I attempt to navigate and understand the natural world; it is an attempt at understanding some of life's universal and enduring questions. Light and shadow function on a symbolic level—the revelation of truth. Books and their time-worn pages, bits of text and images, and found objects all serve as a vehicl Phaenomena Naturalis is a series of photographs through which I attempt to navigate and understand the natural world; it is an attempt at understanding some of life's universal and enduring questions. Light and shadow function on a symbolic level—the revelation of truth. Books and their time-worn pages, bits of text and images, and found objects all serve as a vehicle to suggest a figurative voyage, that the mysteries of the world can be unlocked and revealed.

I am interested in an exploration of the world through referencing legend, through the intersection between science and magic and where superstition meets history. As such, an intimation of the arcane, the mythological and the mysterious informs these photographs.e to suggest a figurative voyage, that the mysteries of the world can be unlocked and revealed.

I am interested in an exploration of the world through referencing legend, through the intersection between science and magic and where superstition meets history. As such, an intimation of the arcane, the mythological and the mysterious informs these photographs.

To see more of Christian's work online visit: http://christianarrecis.com

November 2009: Jamie Tucker

Jamie Tucker received her MFA in Photography from Indiana State University in 2006 and currently teaches at Northwest Nazarene University in Nampa Idaho.

About the Prints:

All prints are Silver Gelatin, hand printed by the photographer on Ilford fiber and resin coated papers. The images were taken with Diana and Holga cameras using Ilford and Arista films in May 2008 and were printed in 2008-09. Most of the images are single exposures but for a few Jamie has made multiple exposures while onlyt advancing the film part way which creates a dreamlike quality.

Artist Statement:

Initially drawn to the beauty and mystery of place, travel is many times a part of my photographic interest. In this series I have combined place with the telling of story through image. Chinglish combines place with portraiture.

The English and de la Paz families welcomed my camera into their lives as they taught English in Xian and Beijing, China.

China is a place full of movement, mystery and tradition.

I am drawn to and love the way plastic toy cameras record life. These images are dreamlike and mysterious. They are felt, rather than viewed. Detailed precision is absent, while fuzzy recollections of pugnant aromas, curious textures and aching emotions are present.

These images are a testament to the reality of these people and places.

March 2009: Melissa Rackham

Melissa Rackham received her MFA from the University of Memphis and recently moved back to Spokane. During her undergrad coursework she studied photography with Shelly Murney at Eastern Washington University. This exhibit is a collage of images from recent portfolios that are woven together around the idea of place.

Melissa will be teaching a non credit photography course at SFCC during the Spring 2009 quarter. This course will focus on alternative process techniques such as cyano and van dyke brown as well as combining digital photography with historic processes.

January 2009: Rodger Hartman

Faculty member Rodger Hartman is exhibiting a collection of his work along with images from his private collection including photographs by Christopher Burkett, George Lepp, and Jerry Uelsmann. Rodger has been teaching at SFCC for over 30 years and has a vast library of nature and landscape images.

He is currently working on a portfolio of Alaskan bear images that he will present later in the Spring.

October & November 2008: Ira Gardner

Gornergrat Glacier, Zermatt Switzerland 20x20 Print 2008

Faculty member Ira Gardner is exhibiting for the first time here at SFCC a show entitled "Places I have known" which is a collection of landscape photos taken recently in Switzerland and the Canadian Rockies. Ira started mountain climbing in the Canadian Rockies 20 years ago and now enjoys leisurely hikes with his wife and son.

The images were all photographed on traditional black and white film, scanned and and manipulated for tonal values, and then printed back onto traditional black and white silver paper.