Art view
Paulette Thenhaus
New Year views
While Ansel AdamsÕ exhibit
is up in PeoriaÕs Lakeview Museum till March of 2007, Galesburg has its own
share of master photographers on display. I havenÕt seen the Adams exhibit but
I am familiar with his Zone System techniques and his full body of work. During
one semester at the San Francisco Art Institute, I struggled with a 4Ó x 5Ó
format view camera under the tutelage of Ansel AdamÕs trusted assistant, Perkle
Jones. I even met Adams and have a small quickly done sketch of him somewhere.
So I know some photography jargon, and some attitudes about photography still
float in my brain and direct my eye. When I see photographs anywhere and by
anyone, Ansel Adams comes to mind. IsnÕt he the 20th century Picasso of the
camera world? Hard to ÒdodgeÓ his influence. YouÕre either Òin the tradition
ofÓ or rebellious against his ideas ... or so it seems to me.
Anyway, the black and white
photographs of John Vellenga in Chez WillyÕs and Tim Schroll at KaldiÕs show a
command of technique and expression which are masterful. Like Adams they wait
for just the right moment in nature to capture light, atmosphere and character
and mood. ItÕs obvious that both research their subjects extensively before
loading film into the camera. And only then spend long hours in the darkroom
producing museum quality prints — in sizes and formats Adams never
dreamed of.
John Vellenga began his
ÒMidwest Images: The Land and ItÕs PeopleÓ some years back and is faithfully
pursuing it by adding a few new images for public view each year. He travels
the highways of the Midwest recording factories, bridges, stone quarries, as
well as vanishing downtowns. Often his view is panoramic and his format is long
and narrow. Immense structures are cradled directly in the center of sky and
land. ÒPower Plant at Rock Island,Ó shot from miles away, resembles the Roman
aquaducts at first glance. While his landscapes are taken from a distance, his
portraits are up-close and personal. In a ÒLove and HappinessÓ series, a young
woman musician with a romantic gaze rests one arm lovingly over her harp. ItÕs
sentiment rings just as true as do the photographs of traditional couples.
Tim SchrollÕs large 20Ó x
24Ó prints are, in a sense, more romantic than VellengaÕs, even though they
are, for the most part, nature shots. There is a solitary, nostalgic mood
created, whether it be in the image of a boat bow, ÒPleon,Ó or a close-up of an
ordinary milkweed plant surrounded by pure blackness.
ÒGuffyÕsÓ is an image of a still open Amoco gas station,
taken under the cover of darkness. It could be Anywhere USA, Any date USA, from
1950 through 2006. Night adds to the timeless quality. The simple Òfilling
stationÓ harkens back to the time one only needed a tank of gas and maybe a
cold soda. That was in ancient times before lottery tickets and beer sales —
and endless lines to check out. Back when a real mechanic pumped the gas for you.
This photograph captures Òit.Ó That indefinable thing a photo needs to reveal our
place within the larger picture of time. It does more than just stop time with the
click of a shutter.
The foolishness of
competition/exhibitions which limit work entered to only that created in the
last two years — Òrecent workÓ — comes to mind when seeing the
focus of these two dedicated and mature artists. Both must know it takes a
lifetime to produce one body of significant lasting art, and both are on their
way to doing so.
Both photographers have
their work on view till the end of January.
01/04/07