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October 5 - October 28, 2016

Man in the Landscape

Prints of most of these images are available for purchase. Please inquire.
All photographs are the copyright of the individual artists and may not be reproduced without their permission.

BRA19738_87214 for website
Fred Brashear / Breadcrumbs
BUR12257_50725 for website
Michael Burks / Orange Cables
DAY20036_14502 for website
Brian Day / The Time Traveler
ELL53325_96238 for website
Bart Ellison / Footprints on the Dunes
END97368_78255 for website
Michael Endy
Hess Tank Farm, Perth Amboy NJ
FRI74102_88361 for website
Dennis Fritsche / Caddo Rainbow
GAF24478_95868 for website
Nicholas Gaffney / Behind JC Penney #15
GLI67779_31429 for website
Vinvent Glielmi
Bloomingdale, IL, 2015
GRE05258_07222 for website
Paul Greenberg / Connor Park, Dallas
Bob Gwaltney / Backstop
HEI24537_27665 for website
Alexander Heilner
Las Vegas, Nevada
HER72716_47989 for website
Andrew Hersey
Watching for Signs of Life
HIX29869_56574 for website
Donna Hixson
Highway, Searchlight, Nevada
HSI17231_78828 for website
Robert Hsiung / IMG 2788
JOL73267_75151 for website
Keri Jolley / Screen Door, near McPherson, South Carolina
KAM10402_36502 for website
Maurice Kamins / Suburbia
KED95874_62756 for website
Jurgen Kedesdy
Cherry Blossom Run, Somerville, MA
shot with an iphone, photography series shot only with iphone, b
Pam Korman / Water Memory No. 2
UPM Log Yard
Tim Lamey / UPM Log Yard
MEL82733_55508 for website
Carolyn Meltzer / Arrivals
MEN10286_74714 for website
Leo Mendonca / South Africa-0002
MOY94251_00102 for website
John D Moyers
East Bay, South Shore, Long Island
NOB82985_41022 for website
George Nobechi
Monument Valley Visitor Center
PET87423_39593 for website
Tim Peterson
Badwater Basin, California
PHI93756_91633 for website
Jeff Phillips
Vinyl Tarp and Blue Sky, 2014
PRI01186_73063 for website
Janet L. Pritchard
Madison Ranger Station
REE61438_44095 for website
Vicki Reed / Tired Lanscape
RIC10651_27197 for website
Jim Riche / Try Us
SAN44914_65297 for website
John Sanderson
Egmont Key, Florida
STE55445_87916 for website
John Stetson
Balloon Flight to the Stratosphere
Losing Face, from the series "Empty Signs"
Kathleen Taylor / Losing Face
THE09994_41528 for website
Dwight Theall / Sol in Terra
WIN55966_14625 for website
Nick Winkworth / Forest
ZAH38426_77457 for website
Bob Zahn / Jazzy's Camp, Slab City
KRA70199_66788 for website
Georg Krausch / Stroll 1
ARC04982_50657 for website
Roger Archibald / Cautionary Note
ARM40589_45492 for website
Frank Armstrong
Denali Highway, Alaska 2015
ARM40589_72396 for website
Frank Armstrong
Mile 150, Richardson Highway,
Alaska 2015
BOM00959_97536 for website
Judi Bommarito / Meat
CIU24372_62361 for website
Mary Ciullo / The Watch
Back Stop
Mark Collins / Catcher
CRI98678_62836 for website
Robert Crifasi
Sunflowers Santa Fe Sky
DAV13393_67113 for website
Adria Davis / Carved Bushes
ELL53325_38984 for website
Bart Ellison
Picnic Shelter,
White Sands National Monument
HAR61948_36109 for website
Melinda Green Harvey
The Cost of Doing Business
HEI24537_54203 for website
Alexander Heilner
Las Vegas, Nevada
HIX29869_90268 for website
Donna Hixson
Lost Alligators,
Palm Beach County, Florida
JOR54861_68434 for website
Kurt Jordan / Into the West.1
KAN27474_24146 for website
Barbar Kantz / The Collectors
KED95874_02168 for website
Jurgen Kedesdy
Flora & Fauna, Haverhill, MA
KED95874_17362 for website
Jurgen Kedesdy
Sarasota Sunrise, Sarasota, FL
KNO99197_67856 for website
Carolyn Knorr
City Reflection-Central Park
beach image, along the Atlantic Ocean, along the Pacific Ocean,
Pam Korman / Toes
LAM33095_03765 for website
Tim Lamey / Clear Cut #3
LEM53289_48732 for website
Charlie Lemay / By a Thread
MAR65197_21095.jpeg for website
Lesia Maruschak
Degrees: Latitude 55.610770
Longitude 12.605163 Untitled 4
MON56318_33663 for website
Emmanuel Monzon
Urban Sprawl Las Vegas-Emptiness
MON56318_46648 for website
Emmanuel Monzon
Urban Sprawl Las Vegas-Emptiness
sap lines 1
John D Moyers / Sap Lines 1
NOB82985_46902 for website
George Nobechi
Yard at Canyon de Chelly
NOV21032_92586 for website
Yael Nov / Shade
OBE66356_82985 for website
Matt Oberski / Grand Haven
PET87423_28971 for website
Tim Peterson
Near Manuelito, New Mexico
PHI93756_38693 for website
Jeff Phillips
Lost Boy and Desert, 2012
PHI93756_82058 for website
Jeff Phillips
Parking Lot with Conifer Trees, 2013
PRI01186_51062 for website
Janet L. Pritchard / Beartooth Pass
PRI01186_87673 for website
Janet L. Pritchard / Overhanging Cliff
PRI96989_10331 for website
Douglas Prince
Hippopotamus with Mud, 1982
REE61438_45603 for website
Vicki Reed / Field 1
RIO73272_75619 for website
Dale Rio / Twin Arrows, Arizona
ROC94462_04417 for website
Rob Rocke / Untitled (Isle Au Haut)
ROH77591_34522 for website
Jim Rohan
Parking Lot, Arches National Park
SAN44914_96805 for website
John Sanderson
Bearded Lady, Willets Point,
New York City
SIL91967_68684 for website
Robert Silance / Untitled
Step Hill, from the series "Terra Forms"
Kathleen Taylor / Step Hill

Juror's Statement

Robert Adams, in his excellent essay called “Civilizing Criticism,” asks, “What are legitimate bases for the judgment of photographs?” Perhaps an equally intriguing question might be, “In an emphatically subjective process such as a juried show, what is the meaning of successes or failures?” I will not attempt such a Quixotic endeavor as forwarding a universal answer, for any cursory survey of history will show critics have nearly always been lost to time, in comparison to many artists now immortal who were judged errant in earlier days.

Photographers also brave risk in shows. Conversely, jurors toil little, and risk less, in comparison to the emotional vulnerability and personal sacrifice photographers trade for revealing images. All a critic can offer is an explanation of his or her process, the method of reconciling one’s internal sensibilities with the selection of a set of resonant images from the stock at hand. Here, then, I explain my own methodology of selection, and suggest caution in any inference of success or failure. I have witnessed, and have been party to, groups of selectors who, upon reviewing a body of work, found little commonality in the photographs each deemed “best.” The lesson: Keep shooting, take each show result with a healthy dose of salt, and be bold.

Ultimately, a juror’s job is one of exclusion by way of questions. I prefer to ask six, in order. Does the image fit the theme? Is it technically sound? What was the photographer trying to do? Was it successful? Does the work ask good questions? Is it New and Poetic? Elements such as these aid in how photographs can both resonate—though seldom universally—and challenge.”

A group photography show is thematic, because there must be a cohesive vision among the images to be displayed, and thus necessitating the question of “Does it fit?”. Similarly, a show should be unified in a standard of technical achievement. A first-year art student’s painting may seem disjointed and weak next to a Pissarro. But while the subtleties of expression and technique are still developing, it does not mean the art student is without skill or merit (Cézanne thought of Pissarro as a father). But the two works are at different points of development at that point in time.

Strong photographs must also find, ask, and suggest answers to questions. Such interrogations of the visual and physical world can be complex or simplistic, profound or superficial. Good photographs expose metaphors, chide us with doubts and wonder, or make us ponder the nature of our existence and purpose. They compel us to reconsider our place in the world.

Novelty is self explanatory. No photograph is new, so I ask, “Has it been done before in the same way?” The poetic is more elusive. On its face, a visual poem is simple, elegant; upon closer scrutiny, the complexity and tension begin to emerge. Is there more than a tension between a protagonist and antagonist? Are light, shadow, and Form players in this poem? Is it beautiful, even if it is also Terrible? Does the image stay with us long after we have left its physical presence? Moreover, are we compelled to return to it?

In a world where photographs are becoming even more ubiquitous, more fleetingly present, I find images that haunt in their Form, beauty, questions, and metaphors even more necessary. Numerically, in the proliferation of iPhone and Android snaps which inundate the digital landscape, they are becoming an increasingly minute percentage of the visual chaff we perpetuate. As photographic artists, we reject this trend.

Joyfully, many of the images submitted to this show were in that fraction of the whole, for they moved me deeply; selecting the show, online gallery, and best in show image was extremely challenging. A good deal of them will stay with me forever. The best in show image, that of four boys trapped in the geometric wasteland of fecund runoff and concrete, their gazes trapping me within the image, haunted me most. It asks questions of humanity and progress, of inheritance, and of exclusion. And yet it is beautiful in its balance, its forms, and its color. It is truly Poetic.

I congratulate all those selected, and offer my thanks and deepest appreciation to everyone who submitted. In closing, I return to my initial question of success, and offer an answer: Keep creating, for our only failure in photography is when we silence our voices. 

- Brett Erickson

About the Juror

An internationally award-winning photographer, Brett Erickson’s fine art photographs have shown worldwide. Many of his works are held in permanent collections in North America, Europe and Asia. A proud native of the American West, Brett has been called "one of Nebraska's finest artists," and he has been honored by both the Nebraska Arts Council and the Nebraska Cultural Endowment.

As a professional journalist and documentary photographer, his work has featured at, National Public Radio, American Public Media, and Nebraska Educational Telecommunications. His first book, PlainSky, Nebraskans, a collaboration with National Geographic’s Sam Abell, was published in 2013. He is currently working on a second involving the culture of rural rodeos in the High Plains of the American West.

A sought-after workshop instructor, he teaches yearly courses at the Santa Fe Photographic Workshops. He currently serves as Associate Professor of Visual Art at Hastings College, where he has taught since 2003.  Learn more about Brett Erickson through his website.

Call for Entries

The hand of man may lie lightly or heavily on the landscape, but few places on earth are completely untouched; the visible presence of humans on the planet is almost unavoidable. Here we seek images that demonstrate human impact in ways ranging from subtle to grotesque.

All capture methods and processes are welcome.