Post-apocalyptic museums and the art of photography.

My global museum adventure continues with a stop in Berlin.  The only free time we had in Berlin was on a Monday, not a good museum day since just about everything was closed.  Fortunately, Claudia from the local production company found at least one open museum; the C / O Berlin.  I'm a little glad this was the only open museum I could find, because I don't think I would have chosen this from all the Berlin museums available and it proved to be a museum experience like none other.

What makes this museum special? A couple of things.  First, it's a well-respected organization that focuses on showcasing the world's best photographers.  And judging by the posters that line the entry way, this museum has seen exhibits by just about any one who's anyone in the world of photography. But the thing I found most intriguing about C / O Berlin was the setting.  The museum is housed in an old building that looks like something from a post-apocalyptic movie.  And the management has done little to change that impression.  With hallways that have peeling paint, chipped walls, and floors that may be a little too original.

Against this backdrop of urban decay, the curators lovingly present some of the world's best photographs either on elegant, free-standing walls or directly on the weathered walls.  One of the museum's gallery was once a gymnasium.

While I was there, two interesting photo exhibits were on view, both with photographs from photographers I was unfamiliar with.  First up is Arnold Newman: Master Class. Newman, who died in 2006, studied to be a painter.  He interrupted his education for financial reasons and became a portrait photographer at a department store.  He eventually became a fine Art portrait photographer, particularly with his series of photographs of famous artists.

I was in Berlin as part of a photo shoot for one of my clients.  Most of our photographs involved portraits of people in working environments.  Arnold Newman made me want to be a better creative director as many of his photographs were exceptional.  I loved Dr. Edwin H. Land with group of Polaroid employees, Polaroid warehouse (1977, gelatin silver print).

David Rockefeller, Businessman (1962, gelatin silver print) is a stunning photo with exceptional composition. You can feel the power of money looking at this picture.

Andy Warhol, painter and printmaker in his studio (1973, gelatin silver print) demonstrated Newman's willingness to present photography in surprising ways.

Also on view was an ongoing series of exhibits designed to showcase young, up-and-coming photographers. Talents 26: Lost and Found features the photography of chinese artist Peikwen Cheng with the assistance of Eileen Seifert. It's almost become a cliche for photographers to go to Burning Man in an effort to capture amazing images.  In fact I almost rolled my eyes when I read that this was the theme of Cheng's images.  But Cheng changed my mind. His digitally-unaltered images are haunting. With prints large enough to overtake your vision, this exhibit was like walking into a dream.   And it seemed to continue the museum themes that started in Toronto.  Here are a few of my favorites from the show:

Journey Together

Launching out of Oblivion

Love is . . . 

Lamp Mobile

Thanks Berlin for a great day at the museum.

These boots were made for photographing.

This is the first post in what will likely be a short series.  A while back famed Salt Lake City photographer Shalee Cooper announced a new project call The Heel Toe Project.  Shalee's been collecting and photographing  used cowboy boots for some time.  The results are beautiful.  You can see some of her photographs here.  For her latest project, she's invited people to purchase a pair from her collection.  Each pair comes with a disposable camera.  The goal of the project is "to follow the lives of the boots and the people they accompany through a photographic essay documenting the shared human experience."

Shalee also made three other suggestions:

1. One photograph of yourself in the boots.
2. One photograph that includes the boots.
3. Contemplate these three universal experiences: life, love and loss.

I was out of town for the original event where you could purchase a pair of boots.  But a few weeks ago, I saw a Kayo Gallery Facebook post noting that there were still a few pairs left.  So I ordered a pair.

My decision to participate may have been made a little too hastily.  I hadn't given any thought as to how I would participate in this program.  So with just a couple of weeks until the deadline, I was without any ideas.  I started by imagining some bizarre, abstract photograph effort that could only be accomplished with a disposable camera.  But I soon realized the limitations of disposable cameras might make this difficult.

So I spent some time on the official Heel Toe Project website.  And I also reviewed the video and other information on the project's Kickstarter page.  One of the things that inspired me the most, was the reason for Shalee's interest in the boots in the first place.  She saw these worn pairs of boots more as life stories than as objects.  She wondered what life the boots had lived before they came into her possession.

I decided to take the idea of story seriously.  Or maybe not so seriously, depending on how the photos turn out.  I also decided to embrace the disposable camera technology.  My photo essay will be a series of "snapshots" of a pair of boots living its life.  I imaged the boots coming to Salt Lake City for an extended stay, maybe a few months, a year or two at the most.  And yet, before you know it Salt Lake City has become home for more than 25 years.  So consider these postcards from a life at home.

To ensure that I delivered on the three universal experiences (life, love, and loss), I chose eight or nine locations around Salt Lake City that have some sort of meaning in my life.  In choosing locations, I was surprised to find how many of the places that came to mind are no longer in existence.  Some of the places I did visit, I hadn't been to for decades, even though they are very near my house.  They brought back a flood of strange memories.  It will remain a secret as to whether those places are about life, love, or loss.

The photos scattered throughout this post are digital pictures I took as test pictures in hopes that the actual photos might be usable.  I'll post more as I'm sure I'll be writing more about The Heel Toe Project, particularly since the next stop on the path is an exhibition at Kayo Gallery in Salt Lake City on November 18.   With a little luck, one of my photos might be hanging on the gallery wall.

50 states. 50 photos.

Note: Some of the photos in this post may not be suitable for all audiences.

I'm way behind on blog posts.  But I still want to document some of the great things I've seen in the last few months.  Like a show I saw at the Sean Kelly Gallery in New York City titled, Robert Mapplethorpe: 50 Americans.  Unfortunately, it's long since closed so you can't see it.  But here was the idea: Ask 50 Americans, one from each of the 50 United States, to select their favorite Robert Mapplethorpe photograph.  It was extra fun because most of those selecting photographs have no real experience with Mapplethorpe or fine art.

This would be a great show just because of the incredible Mapplethorpe prints.  These photographs remind you that even though digital photography is spectacular, there is nothing like a meticulously hand-printed photograph.  But the show added an extra element thanks to the comments of ordinary people talking about the work of one of America's great photographers.  So here are some of the photographs I like best with notes about who picked each and why. (By the way, these photos of photos aren't perfect because I took them with my trusty digital camera which had a hard time dealing with the reflections.)

Fred, a rancher, guide, and high school coach from Meeteetse, Wyoming chose this photo of the first World Women's Bodybuilding Champion, Lisa Lyon (1982, Gelatin Silver Print).  Strangely, Meeteetse is only about 30 miles from my home town.  Fred had never experienced Mapplethorpe's work before this project.  Here's a story from Fred that may explain why this was his favorite: "I was attacked by a big bear grizzly in 1997 and my wife informed me that if I wanted to go back to the mountains again, I could only do so with a friend or get some dogs. [My dogs] became the exact tiger in the photo."

It's easy to associate Mapplethorpe with portraits or with still lifes, particularly of flowers.  But I was fascinated with the way many images were neither, but rather some surprising combination of the two. Take Ken Moody (1985. gelatin silver print) selected by Brenda from Manchester, New Hampshire.  Brenda was also new to Mapplethorpe's work and responded to this work because, "it's sexy but questioning . . .sexual yet reserved. It's sort of like playing peek-a-boo."

Joshua, a nursing student from Fargo, North Dakota was familiar with Mapplethorpe's work.  That may explain why he was more comfortable with some of the artists more sexually-charged images.  He chose Cock and Gun (1982, gelatin silver print) because of the time it was taken, just as the AIDS epidemic was being noticed by the gay community as a sexually transmitted disease.  He wondered if the image might suggest that, "the penis may symbolize a potentially deadly weapon.  It also speaks to the way that society has fetish-ized black male sexuality and power."

Finally, I couldn't write this post without showcasing one of Mapplethorpe's pictures of flowers.  This is Tulip (1987, gelatin silver print) chosen by McCale, a 29-year-old river guide and teacher from Boise, Idaho.  "To me, this image represents a rather untarnished look at the grace and vigor of the natural form. After being rather shocked at some of Mapplethorpe's more sexual and controversial work, I settled on the tulips as something that embodies both . . . When I look at the image, I see a penis as much as the tulips."