Give the gift of photography! Whether you’re looking to learn a new skill, add a print to your collection, or support the burgeoning photographer in your home we have something for everyone. Winter is a great time to dive into a creative practice and Photographic Center Northwest (PCNW) offers many ways to learn and engage with photography, including through many online and in-person classes and workshops, so we hope you’ll make PCNW your resource this season.
Members receive benefits including discounts on education offerings, facilities rentals and gallery purchases; opportunities for professional development and exhibition, and invitations to special member events.
For this month’s Member Showcase, we are featuring the photographic work of Neil Berkowitz. Read below to learn more about his recent artistic projects.
NEIL BERKOWITZ – member since 2020
What are you working on?
I am working on a design commission for art for 750 sqft for the interior of the new branch of Seattle Children’s Odessa Brown Children’s clinic that is under construction near Othello Station. The design is all multilayer photography and includes several larger-than-life-sized portraits, a mural, and several other elements. By contract, I cannot show the work until after Seattle Children’s releases it to the public.
I also began a two-month Shoreline Arts Cottage Residency in mid-August in that city’s Saltwater Park. I will be working on a multi-piece installation dealing with responsibility for carbon footprints and a side project with the community on the park and place identity. The carbon footprint installation will include but not solely photographic work. The side project will have a Web presence and will be the subject of a panel discussion in October. Details and open studio hours will be posted on neilberkowitz.com in late August.
My arts practice has been in increased flux for three years. I wanted to produce more topical work without sacrificing aesthetic concerns. This meant introducing creative decision-makinginto the lens-based creative process earlier. I found an approach during an April 2018 residency working on the digital layering of photographic images. This is now the core of my practice. It provides a blank space in which to explore both social and aesthetic issues and at the same time provides a tremendous range of possibility in transparency, texture, and color that would be unattainable in most single-layered lens-based work.
Thanks again to Neil for his submission to our Member Showcase. If you’re a member of PCNW and would like to share your photographs, we’d love to hear from you. Complete our online form by the 15th of every month and a jury will review your work for consideration. Not a PCNW Member yet? You can join online today!
A deeper look into the art of collecting photography with PCNW community members
“As a young collector, look for a mentor. Someone you can trust. You may not find it right away. But they are out there. The thing for ‘us’ about photography, also, is how accessible it is. We meet the artists more times. It’s just really fascinating to hear the stories.” – William and Lisa Holderman
Lisa Ahlberg, Photographic Center Northwest (PCNW) supporter and 2021 Benefit Committee Member, recently spoke with William and Lisa Holderman about their diverse collection of photographic prints, books and their passion for collecting photography. Both William and Lisa have been enthusiastic participants in the PCNW Auction for the last 10 years. William is currently on the Board at PCNW and prior, spent six years on the Board of Directors for the Tacoma Art Museum.
Interviewer: Lisa Ahlberg
Interviewee: William Holderman
Interviewee: Lisa Holderman
When and how did your love of collecting photography start?
William: Lisa was the catalyst behind our collecting. I vividly remember Father’s Day 20+ years ago when she and our girls gifted me Tide Pool Point Lobos, 1957 by Wynn Bullock. It reminded me of my days growing up on southern California beaches. I admired his work via publications for many years and mentioned to Lisa in passing that it was one of my favorite images. She held onto that thought. Through sleuthing, connections, and conversations across the country, she found the work in a San Francisco dealer’s private collection. As luck would have it, she ultimately convinced him to let it go to a new enthusiast. We will admire a work, connect with an artist or dealer, and Lisa historically is the closer, helping to do the background work to bring it into our home.
Lisa: I never imagined my Father’s Day purchase of Wynn Bullocks’ Tide Pools would spark our journey of collecting. It has enriched our lives in many ways. Not only is it a hobby William and I share a passion for, it has connected us with so many diverse and fascinating people who share the same interest. Collecting has really become a lifestyle for us that has enriched our lives way beyond the photographs in our collection. We are particularly thankful for the friendships we have made and that our daughters have shared the journey with us since they were little, they are 26 and 23 years old now.
Did you always have an interest in photography?
William: I was a yearbook photographer in Santa Barbara. It was right next to Brooks Institute so I had a darkroom in my home and I did black and white photography with a Nikon F and was involved in local camera clubs. I was at Yosemite when I was 16 years old when Ansel Adams still had his gallery there and I said “wow” you can have access to all these incredible artists and you can meet them. And you can have some of the world-class artists on your wall. And it’s not so crazy expensive, but you also get the stories and the connections.
So, I did have a connection to photography as a practitioner, which then I kind of translated that to collecting. Just recently I took a Digital 1 class at PCNW class with Leslie Saber and it was spectacular. It just changed my life. My daughters would get so mad, they’d say “Dad, you can’t take pictures. My phone takes better pictures than you”. Now I take better pictures than their phones!
Is there an emphasis/theme to what you collect?
William:I think there is. The world of photographic art is broad but also narrow. So many of the artists impact and know one another.
As new collectors, we initially focused upon acquiring iconic works from major artists. Over time and with growing confidence, we sought to expand our collection and interest to those whose work was influenced by them, but less well known. We have collected a few artists in depth, which has been satisfying, to selectively acquire a body of work, including images, books, ephemera that spans a career and time.
The Puget Sound and its unique combination of landscape and water, is a theme that resonates within our collection.
We have also focused and have a deeper appreciation of the local, but internationally impactful work of the members of the Seattle Camera Club. I got really excited about putting together a group of images that really reflected this incredible group of artists, primarily Japanese American photographers in the 1920s that were on the cutting edge of photography.
Which was the first piece that made you feel like a collector?
William: A somewhat obscure but important work by Minor White, Easter Sunday, Stony Brook State Park, NY, 1963 . It again reflects the story of our collection. Minor White had significant influence on multiple generations of photographers and continues to do so. I admired this work and reached out to others looking for this unique image. It was through a handwritten letter to an East Coast college professor, a phone call to a close personal friend of Minor’s, a dinner in Portland, which in turn developed into a long-term relationship that we were able to purchase the photograph directly from his dearest friend. It was a very circular experience as we, through that relationship, learned firsthand about Minor’s teaching and impact and gained a deeper appreciation of the work. It made this acquisition more than just a purchase. In the end, we felt like true collectors.
Where do you find your art?
William: Everywhere. Lisa and I are big fans of single artist monographs and books with prints. It is a great way to get to know an artist in-depth. It’s portable, affordable, and collectible too. We have connected and have worked with dealers, friends, auctions, trade shows, purchased ephemera on eBay and through local non-profit benefits such as PCNW’s Auction. This will be our tenth year participating and we have had the honor to bring home a great work (or two), each year from significant local and national artists.
For us, collecting is a passion. When we were first married and we would go to a town we didn’t know, we would just have a book from AIPAD (The Association of International Photography Art Dealers). We didn’t have the internet. Where’s there a dealer? Where’s there a gallery? We would just walk in and if you had a little knowledge it could get you pretty far. And you’d have a conversation and before you knew it, you’d find the best restaurants. There are all these secondary gains from visiting galleries in small towns and large cities. We met the daughter, Linda Walcott-Moore of Marion Post Wolcott, the FSA photographer.
What advice would you give newcomers to art collecting?
William: Read. Ask questions. Go to galleries, openings, museums, try a live auction or nonprofit benefits as those are all great ways to collect. Don’t be afraid to take risks and purchase something that pushes your budget limit at times, if you truly love the work, you will rarely go back and say, “I should have left that one behind.” Don’t be afraid to negotiate terms with dealers.
Have you found art on a limited budget?
William:Yes. Benefit Auctions such as PCNW’s are a perfect example of a place to find amazing works with great value (but that’s not why you’re there!) from upcoming and established artists and you support an important non-profit. We have been so lucky — as well as our friends and colleagues — to bring home great photographs.
Lisa: There is always exciting work in the auction. We’ve gotten outbid on a few that we wanted, but there’s always great work.
Another important point is you can also ask a dealer for terms. Talk to the dealer, look at your budget, many galleries will allow payments. We had no idea about this when we first started collecting, but the guy offered it to us and it allowed us to buy an Ansel Adams portfolio.
What do your family/friends say about all this art?
William: Are you done yet? The answer is no. There is always new work, artists and stories to hear that inspire us to add to our collection. We have recently been excited to expand our collection outside the United States. It is always fun when our friends visit our home and we can share a new work, a story, travel experience, and maybe a little behind-the-scenes gossip.
Lisa: They find it intriguing and enjoy hearing about the photographers in our collection and what draws us to certain images. Oftentimes they adopt a favorite and offer to babysit for it in their home. There are several images that perplex friends and family even in conversations about what the image is about and why we connect to it. Wynn Bullock, Child in Forrest, 1951 is one of those!
What piece(s) gets a big response from visitors in your house?
William: Most recently it is the hauntingly beautiful work by Hiroshi Sugimoto Seattle 5th Ave Theater.
People have visited the theater many times but the manner and way in which he captured the space is truly unique and stunning. When they return, they see the theater differently. It is exciting to share this photograph and hear how it changes their appreciation of this venue and its surroundings. Another one that gets a lot of attention is in our dining room by Larry Fink, Grubman Wedding, 1995. I just love his work. He is influenced by Lisette Model. Larry was a professional photographer who often documented outrageously splendid parties and this is one of his many images that is not only just a beautiful black and white photograph but great social commentary.
Is there anything else you want to share about your photography collection?
William: We remain excited about continuing to collect. It has and remains a platform for us to meet people and enthusiasts, mentor new collectors, learn, share our experience, support artists and introduce others to the world and power of photography.
We own three pieces of Isaac Layman by first purchasing at the PCNW auction. He was the Betty Bowen Award Winner in 2008 and had two shows at the Frye Art Museum and also the Seattle Art Museum. The images we have are from his Paradise series.
We have other Northwest artists — works and books by Eirik Johnson and Rafael Soldi.
Lisa: We sometimes go a little crazy. Like with Minor White even. Gail Gibson, owner of G. Gibson Projects, she had a portfolio that she was selling and at first didn’t reach out to us because she assumed we had too much, but of course, we snapped it up.
William: There is another thing I want to mention, I think there are some mentors here in Seattle and it can be important to find someone who can hold your hand and guide you. Someone that you can trust. And that was just really powerful having that kind of relationship. Gail and Claudia from Gibson Gallery have been that and become very good friends. Michelle Dunn Marsh, publisher and founder of Minor Matters, has also been that. And another great mentor was our friend Karen Sinsheimer, a past curator of Photography at Santa Barbara Museum of Art for 25 years and a nationally known curator.
As a young collector, look for a mentor. Someone you can trust. You may not find it right away. But they are out there.
Lisa: For me not having a background in the arts, William grew up going to museums and I didn’t, so the whole exposure to photography was new to me and art in general. Because I don’t have the experience and education in it, I’m a little bit intimidated, but I’ve found the photography world to be super accepting and gracious and I really appreciate that.
But I think the thing for me about photography is how accessible it is. We meet the artists more times. It’s just really fascinating to hear the stories.
William: I have daguerreotypes from the 1960s to ephemera and letters from Minor White and Harry Callahan to books and prints. The fun part is that you can have this wide swath of connection to whatever your passion is. And all the people we’ve met on top of that is what we’ve enjoyed.
A deeper look into the art of collecting photography with PCNW community members
“I really don’t think of myself as a collector. It’s not about acquiring. It’s about supporting. I have always loved supporting artists and purchased work from people who create things that either evoke a memory or I am so enthralled with their creativity that I need to have it,” – Constance Brinkley, PCNW Alumni
Lisa Ahlberg, a longtime PCNW supporter and 2021 Benefit Committee Member, recently talked with Constance Brinkley, her fellow photographer and community member about collecting art and what it has meant to her over the years. Read more from Lisa and Constance below and be on the lookout for additional conversations coming soon.
Constance Brinkley is a photographer and is passionate about supporting other artists. She’s an active member of the Photographic Center Northwest community, taking workshops, classes and exhibiting. She co-founded and exhibited her work at Studio F, a collaborative gallery in the Pioneer Square Tashiro Kaplan Building which hosted emerging and established artists working with photo based imagery 2011 – 2015. She has exhibited her work nationally in various juried shows and is currently part of the fotofemmes collective focused on photography projects. You can always find her participating in the PCNW Benefit and Auction and we are often seated together.
Lisa: When and how did your love of collecting art start?
Constance: I really don’t think of myself as a collector. It’s not about acquiring. It’s about supporting. I have always loved supporting artists and purchased work from people who create things that either evoke a memory or I am so enthralled with their creativity that I need to have it.
The first work I purchased was right out of college and created by a very good friend of mine, Gary Jacobsen. He was an illustrator and graphic designer and we had been friends since high school. I loved the detail in his work and the humor he brought to his pieces. He has passed way and his spirit lives through the work I have on my walls. He was the major influence in my choice to support artists through the purchase of their work.
I started acquiring photography when I attended the art walks in Pioneer Square in the 1980s. After I retired in 2010, another photographer and I decided we wanted to share our street photography images and rented a space in the Tashiro Kaplan Building and started Gallery F. This is where I started meeting other photographers and taking classes at PCNW. I invited the Business Of Photography class to use the space for a final showing of our work to promote our sales and some of them joined me in participating as members at Gallery F for another 3 years. I have bought some wonderful pieces from my fellow gallery friends and PCNW photographers including Michelle Taul, Marcia Glover, Laura Sindell, Stacy Davis, Anna Ream, and Harini Krishnamurthy.
Lisa: Is there an emphasis to what you collect?
Constance: I love street photography since that is what I am drawn to photograph. I look for the humor and images that I wished I had taken! I love photographers who can capture a great portrait and you feel their environment. I also like to photograph dance and look for images with movement.
I collect because I know you, I like your work or it’s a memory jogger. Or I know I couldn’t make it and wish I could!
Lisa: Which was the first piece that made you feel like a collector?
Constance: Well, I had already been acquiring some art work. But with photography, it was seeing Carrie Mae Weems work in a museum. I was just taken aback by her work.
I was with my mother and looking at a piece that had recently been acquired by the Seattle Art Museum and I turned to my mother and said I’m going to have a piece of her work someday.
And the next thing you know, the Photographic Center Northwest had a piece in the Benefit and I had to have it. So I bought one from The Kitchen Table Series. It is one of my favorite bodies of work that she has done.
It’s the first piece that I purchased by someone that I didn’t personally know that inspired me to want to do portrait photography. And if also brings back memories of my time with my mother.
So, I bought it. I had to kind of fight for it. PCNW’s auctions have a “Buy it Now” option and I did that to ensure that I got it. Someone else was bidding against me. That was fun and PCNW even managed to get him the same piece and that sort of brought us together. Every auction since, he has assured me he will outbid me.
It was because of Carrie Mae Weem’s piece, I came to know LaToya Ruby Frazier. When I read about her, I learned she had been mentored by Carrie Mae Weems. I was lucky enough to have breakfast with LaToya here in Seattle through the PCNW. I went and was totally inspired by her and bought a beautiful piece of hers from her The Notion of Family series when I visited Paris shortly afterwards. And another later on another one from her series on the Flint water crisis from a PCNW auction.
That’s how I started collecting – through either seeing pieces in museums or learning about new artists through the Photo Center Northwest.
But I want to clarify something. Collecting can have a certain connotation to me, like you are collecting just for the value or to own all of a certain item. Or just to acquire something. I think of myself really as a supporter.
All the work I have is because I either knew the artist personally, loved their work and I wanted to support them so they could continue to do their work or I bought it because I was influenced by a style that I would really like to delve into. And if I wasn’t able to reproduce it, I had to have it.
Lisa: What piece(s) gets a big response from visitors in your house?
Constance: It depends on what I have up. I rotate my photos as I get new pieces. Two Women by Damon Pablo always creates conversation. Thoughtful Hands by Harness Hamese also is loved. The composition is so good!
Friends also love my Vivian Maier prints, both are self portraits, and my stories that go with them.
Speaking of Vivian Maier, I discovered her work on John Maloof’s Flicker site when he asked for an opinion of her work that he had purchased in a locker at an auction. He later set up a kickstarter project to fund a film “Finding Vivian Maier”. It was a feature length documentary film that I was able to back and attend the film’s premier in Chicago. John brought her work to life and I was able to learn more about this mysterious woman who produced amazing street photos that were not shared with anyone before her death. I also attended the premier of her work at the Merry Karnowsky Gallery in Los Angeles on January 7, 2012 and purchased my first piece of her work, a self portrait taken in NYC from the John Maloof Collection. I could not see enough of her images. She inspires me to continue to capture moments in the streets.
I later acquired another Vivian Meier self portrait piece at the Photographic Center NW gallery when they brought an exhibit of her work to Seattle from the Jeffrey Goldstein collection. I love having these images around to look and motivate me to continue look for new artists that inspire.
Lisa: Is there anything else you’d like to share about your photography collection?
Constance: A favorite is Paolo Ventura. I am obsessed with Paola Ventura’s work. I like his storytelling style. I also like to tell stories with my photos. I love that fact that he was a scene painter which I identify with having a theater background. And so I bought a piece because it inspires me to be creative, not to do the same work as him, but for inspiration.
Lisa: You seem to support a lot of emerging artists as well.
Constance: I have some wonderful work from many women photographers, many of whom I met through PCNW including Kristan Park’s great images of Cooking with Grandmother and What’s in Bloom, Ann Pallesen’s Tree Reflection Olympic National Park; and Lisa Ahlberg’s Francisco from the White Center Series at the PCNW auction.
Grace Weston is another one. She used to be here in Seattle and I bought one of pieces from an art auction here in Seattle. Her work is so creative and she has been a major influence in my still life photography. She also has just put out a book with Peanut Press that I bought and love.
Other emerging artists include Preston Gannaway. I have her print Watermelons and her book Between the Devil and the Deep Blue Sea. It has a very Midwest feeling and really resonates with me.
Lisa: Where do you find your art?
Constance: I have purchased from galleries, fundraising auctions, online and friends. I will look up new artists. I’m obsessed with photography. I just love it. It’s what my life is about.
I now also collect books of photographers since I’ve run out of room on my walls. What a great way to have a reference of great work at your fingertips. I love zines for example, that show me through pictures of a particular custom or tradition. I just sent off for a print from a photographer from the zine you gave me from Cafe Royal Books, Christmas Turkey Market, Dublin.
Lisa: How have you found art on a limited budget?
Constance: You can find reasonable art work in many ways, including directly from the photographer. I also follow Aperture and Magnum. Magnum has a great sale of $100 for a small print. I love Elliot Erwitt’s work and purchased a piece at a PCNW auction. And then, Magnum came out with the small print sale. I have enough big prints now! He is a street photographer and is so clever. He has influenced me to create some of my own humorous and observatory photos. I love having a reminder on my wall of a photographer who has influenced me.
I have others from the Magnum square photo series — Alec Soth, a Midwesterner like me, who has done some work at fairs which brings back memories and a snowman that reminds me of home!
And, I just love Martin Parr. I went to the Portrait Gallery in London to see his work and later bought a Magnum print of his.
And finally, Inge Morath. Her photographs had a big influence on my mask series.
But I also buy to give. There is nothing better than to give a gift of a memory. So I have gifted some of these prints as well. How wonderful to support photographers and give a gift of photography. You can do it really reasonably.
Lisa: What advice would you give newcomers to art collecting?
Constance: Go to First Thursday and galleries. If you enjoy photography, then support it. If you’re an artist, get on Instagram and and share your work. You get and create community by sharing and following artists you like. Everyone has a little bit of money to purchase a piece of art. Take classes at PCNW and at the end of a class, offer to buy a piece from a fellow student that you love. Or exchange. That is how we start and can contribute to the success of other artists.
A deeper look into the art of collecting photography with PCNW community members
“The only emphasis I have is I collect things that I want to look at for a long time, either because the work is simply beautiful or because I sense I will see something new in a piece over time,” – Stephen Lyons, Platform Gallery.
Ann Pallesen, a former PCNW staff member and 2021 Benefit Committee Member, recently talked with longtime supporters John Jenkins III and Stephen Lyons about collecting art and how anyone interested can get started. Read more from Ann, John and Stephen below and be on the lookout for additional conversations coming soon.
Interviewer: Ann Pallesen
Interviewee: John Jenkins III
Interviewee: Stephen Lyons
Ann: John, We met in the 90s at PCNW! I remember you using the color machine regularly and working on your series that you showed with G. Gibson Gallery. Such nice work!
John: Thanks! I started taking photo classes to learn how to print in color back when PCNW was on 5th Avenue. I remember the gallery was on the first floor and there was that spiral staircase to get down to the darkrooms. The facilities vastly improved with the building on 12th Avenue.
Ann: How did you become interested in photography?
John: I started getting interested in photography when I was a teenager and I got a used Nikkormat to use. I set up a black and white darkroom in our basement and learned how to print. In high school I worked for the newspaper and yearbook taking photos and decided to major in photography in college.
Ann: When and how did your love of collecting art/photography start?
John: During college my photography teacher taught us about the history of photography and I guess that was the beginning. After I graduated and was living in Chicago I used to go to New York for the photography auctions at Sotheby’s and Christies. You could see a range of work by photographers that you couldn’t find in any books. I started buying photos during those trips. The first photo I bought at auction was Diane Arbus’s Boy with Straw Hat Waiting to March in a Pro-War Parade. And then a couple Harry Callahan photos of his wife Eleanor came back with me to Chicago.
Stephen: I was somewhat influenced by John’s method of researching and buying artwork. When I realized that I could actually bid on work by Robert Rauschenberg at an auction house, I gave it a try and I’ve been successful in purchasing several pieces that I still look at frequently. I realized I needed to make my moves before the artist passed away (which he did in 2008) otherwise I wouldn’t be able to pay the increase in the prices of his work.
I also made work for a number of years, mostly mixed media and assemblage, and showed in a few group shows around town. That was how I got a call to meet several other artists to discuss the possibility of opening a new gallery which eventually became Platform Gallery which happened in 2004 founded by Carol Bolt, Blake Haygood, Dirk Park, and me.
Ann: John, you’re an accomplished artist and publisher of photo books (Decode Books), and Stephen is an art dealer (Platform Gallery): How does your familiarity with the art industry enhance or inform your interests in collecting?
Stephen: Not sure that it does other than I typically want to own most of what I’ve shown in the gallery!
Ann: Is there an emphasis/theme to what you collect?
John: I never set out to collect with a particular emphasis or theme, but I did realize after about 10 years into it, that almost everything I collected was a portrait. It was an odd realization since I don’t make portraits in my own work. When I collect now I don’t limit myself to portraits but they usually are.
Stephen: The only “emphasis” I have is I collect things that I want to look at for a long time, either because the work is simply beautiful or because I sense I will see something new in a piece over time.
Ann: Favorite mediums or themes in your collection?
John: There are no favorite themes, but when I like someone’s work, I tend to collect more than a single image. I have ten Arbus prints now, a number of images by Harry Callahan, Joel Peter Witkin, William Christenberry, Wolfgang Tillmans, as well as many local and emerging artists.
Stephen: I am more eclectic in the work I have collected, some of it photography, some of it works on paper, a few sculptures.
Ann: How many pieces starts a collection? Three? Do you have a sense of how many pieces you have at this point?
John: I would say three to five — enough that together they start to say something together. Stephen and I probably have several hundred pieces in our collection, but I really have never counted.
Ann: Describe what compels you to collect a piece?
John: I’m not impulsive when I buy a piece – it is either an image that I’ve seen before and have always loved, or one that after I see it once I keep thinking about it and can’t get it out of my head.
Stephen: I am impulsive which, only a few times, has resulted in work that I initially was drawn to but doesn’t hold my attention over time. It’s rare, but it has happened.
Ann: What are the parameters between the two of you on collecting pieces? Do you choose things together or separately?
John: We’ve always bought pieces individually. Our rule is that if you are using your own money you can buy anything you like and can put it up in the house. I don’t buy strictly for investment, but there is a secondary market for many of the people I buy, so if I ever decide to downsize there would be a way to sell the work.
Ann: Which was the first piece that made you feel like a collector?
John: I’ve always been a big Warhol fan and his pieces would always come up for auction when I was in New York. I first bought a Marilyn silkscreen print, and then a Liz Taylor. Then I had to have a Campbell Soup can. And I knew I would never sell the pieces. I guess it was about that time I realized I was a collector.
Stephen: When I made a successful bid at an auction for Robert Rauschenberg’s “Star Quarters,” an editioned suite of four 48 inch by 48 inch screen prints on mirrored plexiglass.
Ann: Where do you find your art most often?
John: I’ve always looked at what is being offered at auctions. Today they make it so easy – a little too easy – you can see everything online. You don’t have to go to the auction and sit through it all waiting for your lot to come up for sale. You can watch it on your screen and do other things until it’s time to bid. I’ve also bought a fair amount through galleries, here in Seattle and around the country. It all depends on who or what I am trying to buy. I look to auctions for artists that are no longer living or that are well established and have a secondary market. I look to galleries for very contemporary work.
Stephen: I actually have stopped looking for work to purchase. We have work wrapped and stored in closets that I don’t see enough of so I have put the brakes on buying. For the time being.
Ann: Do you hang in themes? and/or for dinner parties?
John: We have enough work that we can’t hang everything at once, so we rotate the pieces on the walls. We haven’t had any during Covid, but we used to use dinner parties as an excuse to switch out pieces to “freshen up” the house. We have a stairway going upstairs that can hold 15-20 pieces and we might switch it from black and white work to all color. It’s great because you get to fall in love with these “new” pieces all over again!
Ann: What piece(s) gets a big response from visitors in your house?
John: Everyone knows Warhol, so I guess they get the biggest response. And people are interested in Stephen’s Raushenberg prints and objects as well.
Ann: What advice would you give newcomers to art collecting?
John: I know everyone says it, but collect what you love and you’ll never go wrong. I still love the first Arbus I bought and I have seen it virtually everyday for the past 30+ years.
Stephen: Be open to trusting yourself and trusting your eyes. Also most galleries are happy to let you purchase work on layaway. I have sold many artworks to people who can’t swing the purchase price in one swoop but can pay over time. Don’t be afraid to ask a gallerist if they would work with you on making a purchase.
Ann: How have you found art on a limited budget?
John: You can sometimes get a bargain at the high end auction houses, but don’t count on it. There are smaller auction houses – like Swanns or Heritage – that sell less “important” work by the same artists and at lower price points. Fundraising auctions like the PCNW auction coming up is another good place to look. When a monograph of a photographer’s work comes out there is usually a Collector’s Edition where you get a signed print with the book – I’ve bought a number of photos – and books! – that way. Emerging artists sometimes have studio open houses where you can find cool stuff.
Ann: Is there anything else you want to share about your photography collection?
John: It’s interesting how your collection becomes a timeline of your life over the years. The pieces you buy mark what you were doing at that time, what you were interested in and looking at, and even remind you of where you were living.
For this month’s Member Showcase, we are featuring the creative work of Robert Rodriguez-Lawson. Read below to learn more about his photography projects these days.
ROBERT RODRIGUEZ-LAWSON – member since 2018
What are you working on?
My objective over the last few months was to complete a set of 12 prints that reflect how COVID-19 has changed my perspective on my city.
COVID-19 hit us all like a bomb. In an instant, my city shrank to my neighborhood. I lost inspiration. I spent months walking the same circle. Daily. Without a camera. Without purpose. I was unmoored attempting to navigate this new normal of safety requirements, non-stop news, and nowhere to go.
I needed to find incremental ways of phasing back into interactions with people and places and to reconnect with making art. Pinholes provided a new approach to photography and helped me to rediscover the city that is waking up from a long, painful sleep. There is an aspect of the unknown using a pinhole camera – it’s just a box. I needed to let go of precision and experiment. The distorted view and the long exposures require a new perspective and a reorientation to a city slowly regained.
Thanks again to Robert for his submission to our Member Showcase. If you’re a member of PCNW and would like to share your photographs, we’d love to hear from you. Complete our online form by the 15th of every month and a jury will review your work for consideration. Not a PCNW Member yet? You can join online today!
For this month’s Member Showcase, we are featuring the creative work of Christy Rey and Barbara Strigel. Read below to learn more about their current photography projects.
CHRISTY REY – member since 2021
What are you working on?
In 2020, I began several online photography classes that focus on telling a subject’s story and finding my voice. The main emphasis is on Environmental Portrait photography. A genre using lighting, photographic techniques and a comprehensive understanding of the subject to create inspirational stories about people, places or things.
Photography infuses my life with interest, magic and compassion. It guides me to “see” a subject beyond first impression and pause with the focused lens to discover a deeper reality. My desire is to reveal a “subjects” story. My tools are digital, black & white film and vintage photography processes. The equipment list spans my maturity, interest and a seasoned sense of wonder. The partnership between myself and the subject is a trusted intimate connection and the hope is for the audience to feel involved. This journey into the creative stimulates my energy as much as the passionate final presentation of the subject’s story.
I have begun a series I am tentatively calling “If we were to talk about architecture.” My practice, a hybrid of analogue and digital collage, is an exploration of separation, connection and visual grace in urban space. While creating this series of architectural re-positionings, I am reading the autobiographical writings of Aldo Rossi and finding parallels between his ideas about architecture and my experience with the process of collage.
Thanks again to Christy and Barbara for their submission to our Member Showcase. If you’re a member of PCNW and would like to share your photographs, we’d love to hear from you. Complete our online form by the 15th of every month and a jury will review your work for consideration. Not a PCNW Member yet? You can join online today!
For this month’s membership showcase, we are pleased to share the work of David Chui, a member since 2013. We thank David and hope that you enjoy his images.
DAVID CHUI – member since 2013
What are you working on?
A U.S. Forest Services Voices of the Wilderness Alaskan Artist In Resident application
The six images are part of the body of work called Broken Windows. They are the exterior windows of Books to Prisoners, located on N 76th St and Greenwood Ave N, next to Versatile Arts. Shot on Kodak TX400 120 film with a Rollei Magic II, an antique camera I bought in a Hong Kong flea market.
I enjoy finding beauty in things that people generally ignore. Each glass panel is like a piece of jewel shining under the Seattle cloudy sky.
I processed the film and then printed them in the traditional darkroom on archival warm-tone fiber paper. The framed photograph is 20″x20″.
You can find more about David’s photography by clicking here
Thanks again to David for his submission to our membership showcase..
If you’re a member of PCNW and would like to share your photographs, we’d love to hear from you. Complete our online form by the 15th of every month and a jury will review your work for consideration. Not a PCNW Member yet? You can join online today!