Vale Ian Lobb (1948-2023), photographer

December 2023

Marcus Bunyan (Australian, b. 1958)
Ian Lobb, Station Street, Fairfield
5 October 2022

The luminosity of Ian Lobb

These words are a celebration of the life of an extraordinary human, a heartfelt stream of consciousness text that touches on aspects of the life of Ian Lobb, photographer.

Ian Lobb was my friend. He was a poet, photographer, raconteur. He my first photographer lecturer at university who I could always rely on for advice on art, photography, writing and life. He was an audiophile and a lover of music, anything from classical to jazz to Nina Simone, Paul McCartney and Bob Dylan. He was a lover of women. He was dreamer and a philosopher. He adored the American artist Cy Twombly. He was a rabid Sydney Swans fan!

In the early 1990s monthly reviews of student photographic work at Phillip Institute of Technology (PIT, which later became part of RMIT University) with Ian and fellow lecturer Les Walkling were electric. Ideas and passion for the work abounded, discussions ran for hours on how to create work – with feeling and insight into the condition of image (and human) becoming. Here Ian introduced me to Tarkovsky, Eisenstein and Joseph Campbell, and the Marathon Monks of Mount Hiei, Kyoto, Japan. And of course he introduced me to the French photographer Eugène Atget – oh how we loved Atget, and Strand, Weston, Caponigro and Minor White. We could talk on any subject. Many years later, at our regular coffee catchups in Fairfield, I would take him new photography books that I had bought and recent object d’art purchases and, over lunch, the conversation would range far and wide about photography, art and life. He helped me sequence my work – have you thought about this pairing together, what about swapping this one over – and we drew inspiration from the sequences of Minor White and his use of “ice/fire”.

Ian was a storyteller. His photographs tell stories. From the teachings of Minor White (especially his “Three Canons”) there was an acknowledgement in his work of the spirit of the object he was photographing – a moment of revelation sought in the negative and subsequent print through a connection and circular transmission of energy between artist and object back through the camera and onto film (Zen)(for example see Eagles Nest, Cape Paterson 1975, below). A moment of revelation of spirit that was so important to Ian that this moment of “revelatio” can still be seen and felt in his recent mobile phone images.

Ian was aware, fully present. He was attuned to his surroundings like few people I have met for he was tremendously attentive, tremendously awake and sensitive to the environment and the vibrations of energy that emanated from the city, the land, the sky. Imagine travelling to a small patch of earth in the Black Ranges year after year to photograph in all seasons and in all weather something that he could see and feel in that land… something any other human would not even recognise, would walk past without a moments hesitation as though nothing was there, was of no import. But not Ian. He recognised and felt the energy of that place, space.

Talking to the wonderful Australian photographer David Tatnall who was also a friend of Ian’s we reminisced the other day. Ian had won an Australia Council grant and went to America on board a cargo ship teaching yoga on the way over, first going to South America and then on to America. There he visited Barbara, Wynn Bullock’s wife, and Ralph Gibson, Brett Weston, Harry Callahan and William Clift. He attended workshops with Ansel Adams and Paul Caponigro. He visited the Museum of Modern Art’s reading room and examined box after box of iconic prints by the masters, all jumbled together as he told me in folders with little order or care for their preservation. David told me he rocked up unannounced at Eliot Porter’s and said he was a visiting photographer from Australia, and while Eliot made a pot of tea he was left to go through boxes of dye transfer prints. Back then there was a camaraderie of photography very different from the present. Can you imagine doing that today!

He conversed with the masters. Like a pebble making ripples in a pond the energy of these photographers was transferred by osmosis through Ian to a wider network of artists. David and I remembered how Ian taught us to look at the print upside down in order to understand the balance of the print and develop an appreciation of its structure and the music inherent in it. Look at the image of Caponigro’s Reflecting Stream, Redding, CT (1968, below) – one of Ian’s favourites – and you just know that water has to be “wet” in that print, that the shadows of the trees on the water have to be (Ansel Adams) Zone 2, and that the Zone 7 patch of grey under the boulder in the centre of the image is critical to its music, its balance. Ian knew these things instinctively, intuitively. Ian also taught both of us how to make Ansel Adams’ “burning in” tool… three pieces of stiff black board (with the top two pieces secured by tape to make a hinges) with gradually larger holes in each board for use under the enlarger, so that you could easily flip the boards to a larger or smaller hole for “burning in” while making a print. We both still have these indispensable tools, passed down like an oral history from the master. On reflection, learning from Ian and Les during those early days printing black and white photographs in the basement darkroom at Phillip Institute of Technology (PIT) in Bundoora, Melbourne were some of the happiest days of my life.

With friend and fellow director William (Bill) Heimerman (1950-2017), The Photographers’ Gallery and Workshop, Melbourne brought to Australia some of the most respected master photographers from around the world: Wynn Bullock, Emmet Gowin, Eikoh Hosoe, William Clift, Harry Callahan, Paul Caponigro, William Eggleston, Ralph Gibson, Duane Michaels, Lisette Model, August Sander, Aaron Siskind among others … and promoted local Australian photographers such as John Cato, Carol Jerrems, Christopher Koller, Jeff Busby and more. I was privileged to have several solo exhibitions in the gallery space. For the opening of Carol Jerrems exhibition at the gallery, Ian asked her who she would most like to attend – and Carol said Ron Barassi, then the most popular sporting and cultural personality in Australia. And on the day of the opening who attended – the great man himself. I don’t know how Ian did it, but he did!

David Tatnall took Ian to Cape Paterson only a couple of weeks before his passing, the first time he had been there since his father’s death many years ago (see the photographs below). Ian took some photographs with camera on tripod and on the mobile phone and then sat down, sat down and just looked at things in that self deprecating way of his. He just looked at the rocks and the form and the light and soaked in the spirit of the place. The same with his favourite tree, his beloved lemon scented gum in the garden of his church in Fairfield. Much as the Black Range series many years earlier, he took thousands of photographs on his mobile phone of this tree in all weather conditions, at all times of the day and year. He saw and felt something there that he kept coming back too, searching for the answer to that one great question that he could never answer.

David said that he believed that he was only using the mobile phone as a visual notebook before he came back to the place to photograph with an SLR – but respectfully I must disagree. Increasingly in his later years Ian surrendered the use of his bigger digital cameras to the flexibility of his mobile phone camera, trading in their heft for the felt immediacy of the mobile phone image and his ability to study the results as he pleased. While many would dismiss these phones images as preludes to the finished work, Ian recognised (as do many artists) that these impressions, these deeply felt visual sketches, had become fully rendered works of art. He moved with the times. As he observed, “For the last 18 months I’ve been spending the first few hours of the day in the local church yard where I am photographing a lemon scented gum. I’m doing this with an iPhone as a way of exploring different ways of working that facilitates.” (Email for William Clift sent to Marcus Bunyan 22 January 2023)

Ian loved telling a story. And he was passionate about the Sydney Swans. He regaled me with the story of how he was so incensed by seeing photographers inside the circle of players celebrating in the rooms after a victory that he wrote to the club to explain that this space, this inner sanctum of celebration, should be a “sacred space” as he put it just for the players… and that photographers should not be allowed in to that space, but only be able to look in from the outside. He was special like that. He understood the significance of that circle and the energy that flowed across the space as players linked arms and belted out the club song. Nothing should disturb the sanctity of that space, much as nothing should disturb the energy of a rock face.

Ian was a (com)passionate man. He was a spiritual man. Throughout his life he had a deep abiding faith in Jesus and the benevolence and goodness of the Almighty. Now he is be gone but his energy still surrounds us. In his beloved lemon scented gum and in the many memorable ideas and images he shared with us.

Ian Lobb was my friend. I will miss his wise counsel.

God bless him xx

Dr Marcus Bunyan

PS. A very interesting analysis by Gary Sauer-Thompson on Ian Lobb’s Black Range series and new concepts in contemporary landscape photography can be found in the article “Ian Lobb + contemporary landscape photography” on the Thought Factory website January 28, 2024. Recommended reading.

Please click on the photographs for a larger version of the image. Many thankx to David Tatnall for allowing me to publish his images that are included in this posting.

“If you think of all the wonderful experiences of making images – and then sequencing them – really it is top of the world experience. If this then happens when society is particularly in flux – on spiritual and identity issues, and sequencing happens by someone who is sensitive to the time and the issues. And is sensitive to “image”. Then you really really hope that the book is well produced.”

Ian Lobb email to Marcus Bunyan, 29 May 2015

“In “LA Confidential” they give away their source by using the word “valediction”. A good name for a poem, maybe the best, but not an exhausted idea. Look out I have been inspired by genius. People say that they have to do something more difficult than they need. That’s ok. – there are angels to prevent that – but if you don’t want to go that way, most of them aren’t against us.”

Ian Lobb text to Marcus Bunyan, Monday 11 September 2023

“Marcus – can we be told how to love ? The first thought is no – but I’m not going to rush into an answer. Can we be told how to love a photograph or which photographs to love? I do know that my walk this morning has been recalling which photographs I have loved – and stopping on those where I have not lately dwelt. I didn’t get past the Paul Strand of the white picket fence. Sitting now on Station st as the coffee shops carry out their tables and seeing it.”

Ian Lobb text to Marcus Bunyan, Saturday, 16 September 2023

Ian Lobb speaking at a celebration of the life of William (Bill) Heimerman (1950-2017)

Windsor, Melbourne, Victoria, Australia, October 21, 2017.
Thank you to Peter Leiss for allowing me to publish this video.

Paul Strand (American, 1890 – 1976)
White Fence, Port Kent, New York
1916 (negative); 1945 (print)
Gelatin silver print

Paul Caponigro (American, 1932-2024)
Reflecting Stream, Redding, CT
1968
Gelatin silver print

During this particular workshop Caponigro was sometimes in a room where he could display several prints at once – he would never take them all down after talking, but move the first images away and attach new images to the right as he talked. The workshop was with the senior students of an Oregon art school, it can be dated because it was during the impeachment of Nixon.

~ Ian Lobb email to Marcus Bunyan, 6 January 2015

Minor White (American, 1908-1976)
Point Lobos, California
1948
Gelatin silver print

Marcus, have you been to Point Lobos? I think you would find it a big experience if you were there at a quiet time. Imagine Minor White going to visit Weston on Wildcat Hill, and then the short drive down to Point Lobos – there would be some frisson in that car!! It’s not quite Nietzsche going to visit Wagner – but it’s not bad. For a lot of the year the day starts with fog and then the fog pulls back a little offshore and then comes back again. I think Weston’s Pelican would have been photographed in fog.

~ Ian Lobb email to Marcus Bunyan, 29 May 2015

Ansel Adams (American, 1902-1984)
Merced River, Cliffs, Autumn
1939
Gelatin silver print

When talking to him [Ansel Adams] you can imagine the number of mediocre questions. While I was listening all of his answers were quotes from his books. There had to be an extraordinary move to get him to break ranks with this rule.

~ Ian Lobb text to Marcus Bunyan, Sunday, 5 March 2023

Black Range series

Ian Lobb (Australian, 1948-2023)
Untitled
1989
from the Black Range series 1986-1989
36.9 × 36.7cm (image)
National Gallery of Victoria, Melbourne
Purchased with funds donated by Hallmark Cards Australia Pty Ltd, 1989
© Ian Lobb

Ian Lobb (Australian, 1948-2023)
Untitled
1989
from the Black Range series 1986-1989
35.6 × 35.6cm (image)
National Gallery of Victoria, Melbourne
Purchased with funds donated by Hallmark Cards Australia Pty Ltd, 1989
© Ian Lobb

Ian Lobb (Australian, 1948-2023)
Untitled
1986, printed 1989
from the Black Range series 1986-1989
26.4 × 26.4cm (image)
National Gallery of Victoria, Melbourne
Purchased with funds donated by Hallmark Cards Australia Pty Ltd, 1989
© Ian Lobb

Ian Lobb (Australian, 1948-2023)
Untitled
1989
from the Black Range series 1986-1989
36.5 × 36.5cm (image)
National Gallery of Victoria, Melbourne
Purchased with funds donated by Hallmark Cards Australia Pty Ltd, 1989
© Ian Lobb

Ian Lobb (Australian, 1948-2023)
No title (Soft focus landscape with branch detail in foreground)
1989, printed 1998
from the Black Range series 1986-1989
38.2 × 38.4cm (image)
National Gallery of Victoria, Melbourne
Presented through The Art Foundation of Victoria by the artist, Fellow, 2000
© Ian Lobb

The Photographers’ Gallery and Workshop

Peter Leiss (Australian, b. 1951)
Untitled [Bill Heimerman and Ian Lobb at the rear of the Photographers’ Gallery]
c. 1975-1980
Gelatin silver print

Eugène Atget (French, 1857-1927)
Untitled [Atget’s Work Room with Contact Printing Frames]
c. 1910

I am very familiar with the old suitcases under the desk – I think that only one – if any – is a suitcase.

This is typically how an exhibition would arrive at the Photographers’ Gallery – it would hold about 40 matted prints. Undo the strap and open the box to typically find 2 or 3 brown paper parcels. Maybe some archival tissue on the next layer down = sometimes not = and then about 20 mounted and matted prints sometimes face to face. This is the way Caponigro for example sent his prints – I’m trying to remember William Clift – Maybe one box like that and a handmade bigger one – or maybe 2 wooden boxes = but at least half the exhibitions arrived in boxes like that.

But have a look to the left of those boxes –what are they? They look like old fashioned double-darks – maybe for a quarter plate camera. The distance from the emulsion to the edge of the case was different for these compared to the last generation 5×4 double darks. People sometimes tried to make a way of putting the old film carriers onto 5×4″ cameras – but they would be focussing on the wrong spot by not making adjustments for the different positions of the emulsion.

To return to the boxes – they would be waiting for us at the airport, and we would have to spin a yarn to the customs agents telling them that the prints were for “educational purposes only”. It was a great educational experience to unwrap some of the prints when they came with a piece of tissue paper between the print and the mat – you could see something of the image and then get to imagine it before removing the tissue.

Re Robert Frank – also note the size of the Lupe next to his hand. Ralph Gibson had Robert Franks Leica enlarger – For some reason it was in his “living room” – I have seen it!!!

~ Ian Lobb email to Marcus Bunyan 1 December, 2015

Carol Jerrems (Australian, 1949-1980)
Untitled [Bill Heimerman and Ian Lobb at the Dog Rocks near Geelong]
c. 1975-1980
Gelatin silver print

Cape Liptrap and Cape Paterson

Ian Lobb (Australian, 1948-2023)
Ocean (Cape Liptrap)
1979
Gelatin silver photograph
17.3 × 22.5cm
National Gallery of Victoria, Melbourne
Purchased, 1980
© Ian Lobb

Ian Lobb (Australian, 1948-2023)
No title (Black sand and rocks)
1989; printed 1992
Gelatin silver photograph
34.3 × 34.3cm (image)
National Gallery of Victoria, Melbourne
Presented through The Art Foundation of Victoria by the artist, Fellow, 2000
© Ian Lobb

Ian Lobb (Australian, 1948-2023)
Eagles Nest, Cape Paterson
1975; printed 1979
Gelatin silver photograph
17.6 × 17.4cm (image)
National Gallery of Victoria, Melbourne
Purchased, 1980
© Ian Lobb

David Tatnall (Australian, b. 1955)
Ian at Eagles Nest, Cape Paterson
November 2023

This was the first Ian time had returned to Cape Paterson since the death of his father many years ago.

David Tatnall (Australian, b. 1955)
Ian at Eagles Nest, Cape Paterson
November 2023

Lemon scented gum, Fairfield

Marcus Bunyan (Australian, b. 1958)
Ian Lobb, Fairfield
December 2021

Maxwell Allara (American born Italy, 1906-1981)
Untitled (Minor White During a Workshop)
1959
Gelatin silver print

David Tatnall (Australian, b. 1955)
Ian in front of his favourite tree, Fairfield
November 2021

Minor White (American, 1908-1976)
Moencopi Strata, Capital Reef, Utah
1962
Gelatin silver print

Ian Lobb (Australian, 1948-2023)
Lemon scented gum
24 January 2023

Ian Lobb (Australian, 1948-2023)
Lemon scented gum
14 February 2023

“The light comes down the tree. But for some days it twists right to left and makes an early morning shadow.

~ Ian Lobb text to Marcus Bunyan, Monday 11 September 2023

Ian Lobb (Australian, 1948-2023)
Lemon scented gum
22 February 2023

Ian Lobb (Australian, 1948-2023)
Lemon scented gum
8 March 2023

Marcus – thanks for the mystic particles. After I have apple and rhubarb I’ll be walking to check on the tree in the church-garden. I’m interested in this, rather than my own garden. Who knows why I can’t photograph my own. Do you have a garden close by that you can walk through easily? I can’t wait for the sun to move a bit further and the light to come back on church gum. A few weeks.

~ Ian Lobb text to Marcus Bunyan, Wednesday 12 July 2023

Ian Lobb (Australian, 1948-2023)
Lemon scented gum
13 September 2023

Mobile phone photographs

Ian Lobb (Australian, 1948-2023)
Untitled (Green woman)
22 November 2022

Ian Lobb (Australian, 1948-2023)
Alex
21 December 2022

Ian Lobb (Australian, 1948-2023)
Untitled (pink and black)
31 January 2023

Ian Lobb (Australian, 1948-2023)
The path from the coffee shop
Fairfield, 4 February 2023

Ian Lobb (Australian, 1948-2023)
The path to the coffee shop
Fairfield, 4 February 2023

Ian Lobb (Australian, 1948-2023)
Building his ying, Ignoring his yang
21 February 2023

The First One

First one through the forest
First one on the beach
First one through the shallows
First one in the deep
Yes, first in the water
To swim out of reach
First one to belong
And then to be gone
First one to be gone too soon.

First foot off the platform
First step off the map
First one to learn
With nothing to teach
First one in this life
To whisper my name.
First one through my shallows
First one in my deep
First one to be gone too soon.

First winter field night
When the fires are lit
First soul at midnight
Watching burning trees twist.
At your back is the darkness
That turns you to see …
First one to the shadows
First one to the deep
First one to be gone too soon.

There’s a sound that’s so big
We can’t even hear
Not a murmur, a pulse
A note, nor a song
After midnight it wakes you
To its echoes and trace
First one to be swallowed
First one in the deep
First one to be gone too soon.

You’re the first, yes its true
On the roll call of friends
Now there’s spaces, not names
And you: you’re the worst.
You’re a very faint glow
On a very faint path
You were first through the shallows
First one in the deep
First one to be gone too soon.

Ian Lobb 28 August 2018

Ian Lobb (Australian, 1948-2023)
A small moment with…
25 February 2023

“If only the lens didn’t have anti flare – it would have been an Atget moment.”

~ Ian Lobb

Eugène Atget (French, 1857-1927)
Saint-Cloud
1926
Albumen print

Ian Lobb (Australian, 1948-2023)
Billiard
2 March 2023

Ian: Please see full screen for pleasing puns

Marcus: Love how the graffiti imitates the shape of the wood in the trolley and how the triangle of white dots is a metaphor for the billiard triangle used to rack up the balls

Ian: Yes. And with the billiard signage I thought it was like a players gesture – towards the corner pocket

~ Ian Lobb text to Marcus Bunyan, Friday, 3 March 2023

Ian Lobb (Australian, 1948-2023)
Untitled (Mother)
30 April 2023

Apart from the teenagers at church, the mention that you were talking to your mother, was one of the few mentions of that relationship since my mother had passed. One minute after that I took this on my way home.

~ Ian Lobb text to Marcus Bunyan, Sunday, 30 April 2023

Ian Lobb (Australian, 1948-2023)
Untitled (black oblong)
Fairfield, 8 May 2023

Ian Lobb (Australian, 1948-2023)
Untitled (My walk this morning)
Fairfield, 11 May 2023

On my second roll of HP4 were pictures of a young lady lying under clear sheets of curved 2mm plastic that I had sprayed with water (1968?). The attached is from my walk this morning. The similar mood is quite scary.

~ Ian Lobb text to Marcus Bunyan, Thursday, 11 May 2023

Ian Lobb (Australian, 1948-2023)
mmmm, Pasta Poetry
Fairfield, 21 June 2023

Thinking about John Cato this morning. If you can google “the world is too much with us” – Wordsworth – and give a toast to John. Proteus!!!

~ Ian Lobb text to Marcus Bunyan, Wednesday, 5 July 2023

The world is too much with us

The world is too much with us; late and soon,
Getting and spending, we lay waste our powers;–
Little we see in Nature that is ours;
We have given our hearts away, a sordid boon!
This Sea that bares her bosom to the moon;
The winds that will be howling at all hours,
And are up-gathered now like sleeping flowers;
For this, for everything, we are out of tune;
It moves us not. Great God! I’d rather be
A Pagan suckled in a creed outworn;
So might I, standing on this pleasant lea,
Have glimpses that would make me less forlorn;
Have sight of Proteus rising from the sea;
Or hear old Triton blow his wreathèd horn.
William Wordsworth 1802

Cy Twombly (American, 1928-2011)
Coronation of Sesostris (Part III)
2000

Affirmation: When you Sing

(An affirmation from Cy Twombly’s Coronation of Sesostris)

If you sing, don’t let them hesitate
When you sing, don’t let them make signs of regret
When you sing, let them bear the loss of silence
When you sing, the lost gods are found
When you sing, the birds and trees love their shadows
Lying quietly on the ground
When you sing, the mark of nature and the mark of the mark rejoice
When you sing we trace to the source of trace – the realm.

Sing to the ghosts, sing to those to come
Flow over – into – flow over
Let the trees rise from the earth because you sing:
New sunlight on new leaves cutting into space
Write your name
with their scintilla through the air as you sing
Then each letter narrows, fades white
Still unending trace as sing and sing as a lost god.
One majesty fades to another
Sing Osiris , sing that god into Orpheus

scribes
Porous sparse voice, could have been scattered
Empty surface – instead open sky
Bell
Nothing to shatter
Sing for the old rivers,
Sailors sink into sails,
The opposite bank still opposite
Take this – sing – most important , to the next life.
Like tall trees, rising from …

Gods cannot depart while love, I mean song, remains
Gods have not departed: it would have been heeded,
Reported as a hoax,
No arc of departure divulged
song, weightless
Gods have not departed – it is a drunken hoax, rumour.

Ian Lobb 30 August 2018

Cy Twombly (American, 1928-2011)
Coronation of Sesostris (Part V)
2000

Cy Twombly (American, 1928-2011)
Coronation of Sesostris (Part VI)
2000

Last house

Are you travelling to this very last house
On the very last street of this town?
That I built here for you,
Where I wait for you
If you go round the back you’ll find wild flowers
That you could almost touch
And you would watch the clouds come down from the hills

Long ago I promised this to you
It became my story that you’d come
To the last street
And to the last house
I watch all the doors to see you enter
So that we would almost touch
And you could watch the rain come down from the hills

Yes, it’s true, the house backs onto darkness
I swear there’s really nothing out there
Beyond this last street
Beyond this last house
Nothing you could be sure to name
Nothing we can almost touch
And at night you could keep watch, from here to the hills

You can smell salt in the air from all of the rooms
And hear the wind in the waves
But out the back you’ll only find wildflowers.
Not those grey choppy waves
That we can almost touch
On this last street
In this last house.

Ian Lobb 29 August 2018

Flickerd (Australian)
Zac Foot of Sydney during the 2019 NEAFL round 14 match between NT Thunder and Sydney at TIO Stadium on Saturday, 6 July 2019 in Darwin, Northern Territory
2019
Creative Commons Attribution-Share Alike 4.0 International

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Exhibition: ‘The Unsettled Lens’ at the Oklahoma City Museum of Art

Exhibition dates: 18th February – 14th May, 2017

Edward J. Steichen (American born Luxembourg, 1879-1973) 'Moonrise, Mamaroneck, New York' 1904, printed 1981 from the exhibition Exhibition: 'The Unsettled Lens' at the Oklahoma City Museum of Art, Feb - May, 2017

Edward J. Steichen (American born Luxembourg, 1879-1973)
Moonrise, Mamaroneck, New York
1904, printed 1981
Photogravure
Oklahoma City Museum of Art
Museum purchase with funds provided by Ms. Frances Kerr

Not a great selection of media images… I would have liked to have seen more photographs from what is an interesting premise for an exhibition: the idea of the uncanny as a sense of displacement, as a difficulty in reconciling the familiar with the unknown.

The three haunting – to haunt, to be persistently and disturbingly present in (the mind) – images by Wyn Bullock are my favourites in the posting.

Dr Marcus Bunyan

Many thankx to the Oklahoma City Museum of Art for allowing me to publish the the photographs in the posting. Please click on the photographs for a larger version of the image.

The Unsettled Lens

William A. Garnett (American, 1916-2006)
Sand Bars, Colorado River, Near Needles, California
1954
Silver gelatin print
Oklahoma City Museum of Art

Since the early twentieth-century, photographers have crafted images that hinge on the idea of the uncanny, a psychological phenomenon existing, according to psychoanalysis, at the intersection between the reassuring and the threatening, the familiar and the new. The photographs in this exhibition build subtle tensions based on the idea of the uncanny as a sense of displacement, as a difficulty in reconciling the familiar with the unknown. By converting nature into unrecognisable abstract impressions of reality, by intruding on moments of intimacy, by weaving enigmatic narratives, and by challenging notions of time and memory, these images elicit unsettling sensations and challenge our intellectual mastery of the new. This exhibition showcases new acquisitions in photography and photographs from the permanent collection, stretching from the early twentieth-century to the year 2000.

Text from the Oklahoma City Museum of Art website

Elliott Erwitt (American, 1928-2023)
Cracked Glass with Boy, Colorado
1955, printed 1980
Gelatin silver print
Oklahoma City Museum of Art
Gift of Raymond W. Merritt

Wynn Bullock (American, 1902-1975)
Navigation Without Numbers
1957
Gelatin silver print
Collection of Mr. and Mrs. Nicholas V. Duncan

In “Navigation Without Numbers,” photographer Wynn Bullock comments on life’s dualities and contradictions through imagery and textures: the soft, inviting bed and the rough, rugged walls; the bond of mother and child, and the exhaustion and isolation of motherhood; and the illuminated bodies set against the surrounding darkness. The book on the right shelf is a 1956 guide on how to pilot a ship without using mathematics. Its title, Navigation Without Numbers, recalls the hardship and confusion of navigating through the dark, disorienting waters of early motherhood.

Wynn Bullock (American, 1902-1975)
Child in Forest
1951
Gelatin silver print
Collection of Mr. and Mrs. Nicholas V. Duncan

Wynn Bullock (American, 1902-1975)
Child on Forest Road
1958, printed 1973
Gelatin silver print
Oklahoma City Museum of Art
Lent by Mr. and Mrs. Nicholas V. Duncan

“Child on Forest Road,” which features the artist’s daughter, brings together a series of dualities or oppositions in a single image: ancient forest and young child, soft flesh and rough wood, darkness and light, safe haven and vulnerability, communion with nature and seclusion. In so doing, Bullock reflects on his own attempt to relate to nature and to the strange world implied by Einstein’s newly theorised structure of the universe.

Ruth Bernhard (American born Germany, 1905-2006)
In the Box – Horizontal
1962
Gelatin silver print
Oklahoma City Museum of Art
Museum purchase

Brett Weston (American, 1911-1993)
Untitled (dead bird and sand)
1967
Gelatin silver print
Oklahoma City Museum of Art
Gift of the Christian Keesee Collection

Edward J. Steichen (American born Luxembourg, 1879-1973)
Balzac, The Open Sky – 11 P.M.
1908
Photogravure
Oklahoma City Museum of Art
Museum purchase with funds provided by Ms. Frances Kerr

Edward Steichen, who shared similar artistic ambitions with Symbolist sculptor, Auguste Rodin, presented Rodin’s Balzac as barely decipherable and as an ominous silhouette in the shadows. In Steichen’s photograph, Balzac is a pensive man contemplating human nature and tragedy, a “Christ walking in the desert,” as Rodin himself admiringly described it. Both Rodin and Steichen chose Balzac as their subject due to the French writer’s similar interest in psychological introspection.

Ralph Gibson (American, b. 1939)
Untitled (Woman with statue)
1974, printed 1981
Gelatin silver print
Oklahoma City Museum of Art
Gift of Carol and Ray Merritt

William A. Garnett (American, 1916-2006)
Two Trees on Hill with Shadow, Paso Robles, CA
1974
Silver gelatin print
Oklahoma City Museum of Art

Thomas Harding (American, 1911-2002)
Barbed Wire and Tree
1987
Platinum print
Oklahoma City Museum of Art
Museum purchase with funds provided by Mr. Jack Coleman

Zeke Berman (American, b. 1951)
Untitled (Web 2)
1988
Gelatin silver print
Oklahoma City Museum of Art
Museum purchase

In “Untitled,” New York sculptor and photographer Zeke Berman sets up a still life in the Dutch tradition – the artist presents a plane in foreshortened perspective, sumptuous fabric, and carefully balanced objects – only to dismantle it, and reduce it to a semi-abandoned stage. Spider webs act as memento mori (visual reminders of the finitude of life), while the objects, seemingly unrelated to each other and peculiarly positioned, function as deliberately enigmatic signs.

Stan Douglas (Canadian, b. 1960)
Roof of the Ruskin Plant
1992
Chromogenic print
Oklahoma City Museum of Art
Gift of the Christian Keesee Collection

Oklahoma City Museum of Art
415 Couch Drive
Oklahoma City, OK 73102

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Sunday: noon – 5pm
Closed: Monday, Tuesday and Major Holidays

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Text/Exhibition: ‘Wynn Bullock: Revelations’ at the High Museum of Art, Atlanta

Exhibition dates: 14th June, 2014 – 18th January, 2015

Curator: Brett Abbott, Curator of Photography and Head of Collections at the High Museum of Art

Wynn Bullock (American, 1902–1975) 'Del Monte Forest' 1969 from the exhibition Text/Exhibition: 'Wynn Bullock: Revelations' at the High Museum of Art, Atlanta, June 2014 - January 2015

Wynn Bullock (American, 1902-1975)
Del Monte Forest
1969
Gelatin silver print
High Museum of Art, Atlanta, promised gift of Barbara and Gene Bullock-Wilson
© Bullock Family Photography LLC. All rights reserved

Being and Becoming in the work of Wynn Bullock

It’s strange how some artists become famous while others wane in relative obscurity. For 50 years after his death, J. S. Bach’s reputation as a composer declined, his work regarded as old-fashioned compared to the new style of the day. Just look at him now.

Wynn Bullock, contemporary of Edward Weston, Minor White, Harry Callahan, Aaron Siskind, Imogen Cunningham, Frederick Sommer and Ansel Adams, is not yet as well known as any of them. He should be. As the press release states, “Despite early acclaim, the true breadth and depth of Bullock’s career has remained largely in the shadows.” This first retrospective of his work in 40 years will hopefully start to change that perception. In my estimation he is up there in the pantheon of photographic stars. There are photographers… and there are master photographers. Bullock is one of the latter, in my top ten classical black and white analogue photographers of all time.

Bullock began pursuing “straight” photography after meeting Edward Weston in 1948. Work from the early 1950s has an essential, humanist flavour as can be seen in photographs such as Child in Forest (1951) and Let There Be Light (1951), both images appearing in Edward Steichen’s seminal exhibition The Family of Man at the Museum of Modern Art in 1955, printed at large scale. By the mid-50s Bullock was really hitting his straps and the work starts to become less didactic and more open to multiple interpretations and possibilities.

As Bullock says, the mysteries lie all around us waiting only to be perceived. But it’s more than that… it’s more than “what if”. Bullock claims the existence of these things while at the same time acknowledging that they are not generally accessible within the Western canon. That he expresses their existence is his gift to the world.

Take, for example, that most complex of images, Point Lobos Tide Pool (1957). Once seen, never forgotten. I remember seeing this image in my first year studying photography at university and it being seared into my brain. How could you get such an image! It encompasses every feeling and emotion about our place in the cosmos that I could ever think of. And then you hear the story (one that I recently confirmed with his daughter Barbara), which I recount here and which appeared in the book Darkroom edited by Eleanor Lewis, published in 1976 by Lustrum Press, and dedicated to Bullock’s memory.

Bullock was only able to make ONE exposure.

“The first photograph I want to discuss is the POINT LOBOS TIDE POOL. This is a contact print from an 8 x 10 negative. The picture was taken at sunset and the light was dim. The sun was striking only the edges of the rocks in the upper-left-hand corner. The tide pool itself was especially dull, and the light was disappearing so fast I had to make a quick exposure. The negative is very soft because in my hurry to capture the picture, I forgot to underexpose the film so that I could expand the contrast by overdeveloping. The tide pool, a critical part of the image, is especially soft.

“For the final print, I used Brovira No. 5 paper, Amidol developer, and developed it for three minutes to keep the dull parts from going flat. As soon as you use high contrast papers, everything gets more critical. A second or two variation in exposure in high contrast areas can mean the difference between seeing what I want to see, and not seeing anything but black or white paper.

“I could think of the negative-making process as one in which I would make a technically perfect negative. But the technically perfect negative doesn’t always give me what I want… By not always reaching for the easily printed negative, I get luminosity I wouldn’t otherwise have.

In the tide pool print, it’s always been a touchy problem to get the brilliance in the pool itself, where the negative is soft. Unless carefully controlled, that part goes muddy. The rest of the photograph is secondary, but requires some burning and dodging to get tonal balance.

“These are problems I’ve been living with. In doing so, I’ve developed printing skills. It’s a way of life with me. In printing, I don’t want to distort the reality of the image, but I don’t want to distort the reality of my feelings for it either. The two go hand in hand. I have no qualms about altering the image by burning and dodging. I’m not a purist in that way. I am a purist in that I don’t want the manipulation to show. As soon as it does, the magic is destroyed.”

As his daughter Barbara notes, “Point Lobos Tide Pool, 1957 is another serendipitous image that took place on the [Point Lobos State] Reserve. The day this photograph was made, Dad was hauling his heavy field camera along the South Shore Trail when he happened upon a tide pool with a galaxy in its midst. He set up his equipment as quickly as he could and made his first exposure. Normally, he liked to bracket his exposures, but before he could make a second one, a gust of wind swept across the pool and the complex pattern of microscopic organisms vanished.

Fortunately, one exposure was good enough. Whenever he told the story, Dad would laugh and say, “I was just damn lucky that day!” What he often left unexpressed was the lasting impression of the experience that exemplified for him the continual being-and-becoming nature of the universe as well as the kinship of its microcosmic and macrocosmic dimensions. The image remained a personal favourite for the rest of his life.” (Barbara Bullock-Wilson. “Point Lobos Tide Pool, 1957” Commentary © 2013/2015 Barbara Bullock-Wilson. All rights reserved.)

It is as if the universe stood still for the length of time that it took Bullock to expose his plate, as though the universe was giving him permission for his previsualisation … … … before it moved on, in a gust of wind. But that is not the end of it, no! Because of the thin negative Bullock had to print on grade 5 paper, the most contrasty paper that you can get. And because the area of the tide pool was especially thin, the exposure time is absolutely critical for this print, to get the luminosity in the pool that the artist required. In the whole scheme of things there is a tiny window of opportunity with the exposure of this negative to get a glorious print. This is far from a straight print, and what makes the story even more remarkable is that Bullock had to delve into his scientific knowledge, had to experiment with his feelings (his exposure time), with the magic of the analogue print, to make this apparition appear!

The whole story is quite thrilling really. As my mentor observes, “Point Lobos is several km of coast if you measured into every bay – but there aren’t that many spots where you can photograph the actual tide zone – probably 7 or 8 inlets – some smaller than a basketball court. The spot that Minor White talks about as Weston cove is about basketball court size from memory. You can walk around above it a few metres in the air and see it all. Only someone with a specific aim would scramble down to be amongst what could already be clearly seen. There are just as many spots where you can’t get down like Weston’s sparkle on the sea shot. Weston cove feels amazing; full of ghosts. Bullock would have been very familiar with what would be likely to come around again and what would not.”

Close your eyes and just imagine dragging an 8 x 10 camera down there and finding that image.

Readers, you know that I am a passionate person, that I am passionate about photography. As I relatively young man what these great artists seemed to me to be doing were noble artistic things; I still feel that. You cannot talk about photography like other mediums that define themselves – not in a modernist sense of materials – Rothko can only be talked about by referring to Rothko, Beethoven, Mozart, etc… Much as Bullock says that light “permits the same freedom of expression as paint for the painter, words for the writer, numbers for the mathematician, or sound for the composer,” photography is of a different order. You are comparing a system of making using the hand with a system using a photo-mechanical eye. Making great images is of necessity much more difficult within this process (as can be see in the millions of meaningless images that flood the world today).

I believe that inherent to any photograph is the ability to transcend the medium – whether that is in vernacular photography (by chance) or through astute observation and meditation (MW and WB). Whether the person then recognises these images as such is another matter, but it only happens on limited occasions. But when you get something, the magic just works. In his Point Lobos Tide Pool (1957), Navigation without Numbers (1957), Under Monterey Wharf (1969) and Erosion (1959), Bullock is like a mystical time traveller – of both the body and the landscape. You only have to look at the timbre of the prints and the layering of tones.

These images can’t be judged on any terms other than the terms the image itself lays down. They are beyond serious: and it shows how difficult photography really is – and how rare the good photograph is – that most photographers don’t really have a count that gets into double figures for a decade’s work. It doesn’t add up to much of a crop for a lifetimes work but does Bullock care… hell no!

As he says, “You really have to give of yourself to make good pictures… The fact that good pictures are rare, however, has never slowed me down. Just going out and looking at things and using a camera is therapeutic. I deeply love the whole process.”

A deep love of the whole process, a deep love of being and becoming.

The ability of the photographer is that they can massage the medium – through imagination, surrealism, reality, space / time etc… that ENACTS a difference that painters, musicians can only dream of – through a manipulation of reality, through a form of hyper-reality. In Bullock’s case it is the recognition of the mysteries that lie all around us in which the images take on a symbiotic relationship with an observation of the human mind THROUGH photography.

Openly talking in a clear language from a lifetime of meditation.

A clear language where words don’t quite equal the meanings normally attached to them.

From another dimension.

“In streams of light I clearly saw
The dust you seldom see,
Out of which the Nameless makes
A Name for one like me.

I’ll try to say a little more:
Love went on and on
Until it reached an open door –
Then Love Itself
Love Itself was gone.

All busy in the sunlight
The flecks did float and dance,
And I was tumbled up with them
In formless circumstance.

I’ll try to say a little more:
Love went on and on
Until it reached an open door –
Then Love Itself
Love Itself was gone.”

(from “Love Itself” lyrics by Leonard Cohen)

Dr Marcus Bunyan

Many thankx to the High Museum of Art for allowing me to publish the photographs and text in the posting. Please click on the photographs for a larger version of the image.

“Mysteries lie all around us, even in the most familiar of things, waiting only to be perceived.”

“Light to me is perhaps the most profound truth in the universe… [It] permits the same freedom of expression as paint for the painter, words for the writer, numbers for the mathematician, or sound for the composer.”

“You really have to give of yourself to make good pictures. Well, that giving takes a lot out of you, and you simply can’t operate at that intense level all the time. Neither can you predetermine what happens outside you.

The fact that good pictures are rare, however, has never slowed me down. Just going out and looking at things and using a camera is therapeutic. I deeply love the whole process.”

Wynn Bullock

Wynn Bullock (American, 1902-1975) 'Point Lobos Tide Pool' 1957 from the exhibition Text/Exhibition: 'Wynn Bullock: Revelations' at the High Museum of Art, Atlanta, June 2014 - January 2015

Wynn Bullock (American, 1902-1975)
Point Lobos Tide Pool
1957
Gelatin silver print
7 9/16 x 9 1/2 in.
Collection Center for Creative Photography
© Bullock Family Photography LLC. All rights reserved

Point Lobos Tide Pool appears simultaneously to resemble both a galaxy and a bacterial growth across a petri dish, when in fact it is neither so large nor so small a subject, but rather a pool arrayed with microorganisms along the Carmel coast, transformed into a picture of astounding beauty.

Wynn Bullock (American, 1902-1975) 'Erosion' 1959

Bullock found this scene along a California roadway and was drawn to the insight it provides into what goes on in spaces that normally lie beyond our perception. The eroded embankment reveals the slow evolution of the world across centuries, with organic and inorganic elements coexisting together at different stages of growth and decay. Stripped of its skin and flayed by the corrosive power of water, the hill in Bullock’s picture reveals a powerfully foreign world as real and as beautiful as anything on the surface of the earth. Bullock’s efforts were decidedly pointed toward making the ordinary profound and in revealing a complexity beyond the surface of things.

Wynn Bullock (American, 1902-1975) 'Under Monterey Wharf' 1969

Wynn Bullock (American, 1902-1975)
Navigation without Numbers
1957
Gelatin silver print
6 13/16 x 8 15/16 in.
Collection Center for Creative Photography
© Bullock Family Photography LLC. All rights reserved

Wynn Bullock (American, 1902-1975) 'Nude by Sandy's Window' 1956

In this picture, a brightly lit window occupies the bulk of Bullock’s composition, hovering over a woman who appears to be asleep; light shines in through the glass with a blinding intensity that obscures a clear view of the exterior while alluding to the existence of a world of indefinite proportions beyond.

Wynn Bullock (American, 1902-1975)
Lynne, Point Lobos
1956
Gelatin silver print
7 1/2 x 9 7/16 in.
Collection Center for Creative Photography
© Bullock Family Photography LLC. All rights reserved

“The most beautiful thing we can experience is the mysterious. It is the source of all true art and science.

He to whom this emotion is a stranger, who can no longer pause to wonder and stand rapt in awe, is as good as dead: his eyes are closed.”

Albert Einstein, quoted by Wynn Bullock

In June 2014, the High Museum of Art will become the first major museum in nearly 40 years to mount a retrospective of work by Wynn Bullock (1902-1975) with the exhibition Wynn Bullock: Revelations, organised by the High in collaboration with the Center for Creative Photography.

One of the most significant photographers of the mid-20th century, Bullock worked in the American modernist tradition alongside Edward Weston, Harry Callahan and Ansel Adams. More than 100 black-and-white and colour works by Bullock will come together for the exhibition, which will coincide with a major gift to the High from the Bullock Estate of a large collection of vintage photographs, making the Museum one of the most significant repositories of Bullock’s work in the U.S.

The High is home to the most robust photography program in the American Southeast with particularly distinct holdings in the classic modernist tradition. Wynn Bullock: Revelations offers an unprecedentedly holistic look at Bullock’s innovative career, beginning with his early light abstractions and moving through his landscapes, figure studies, colour work, negative images and late abstractions. The exhibition will be on view June 14, 2014 through Jan. 18, 2015.

A close friend of influential West Coast artists Ansel Adams and Edward Weston, and a contemporary of Minor White, Harry Callahan, Aaron Siskind, Imogen Cunningham and Frederick Sommer, Bullock created a body of work marked by a distinct interest in experimentation, abstraction and philosophical exploration. His images Let There Be Light and Child in Forest (both of which will be included in the High’s exhibition) became icons in the history of photography following their prominent inclusion in Edward Steichen’s landmark 1955 exhibition at the Museum of Modern Art, The Family of Man.

Bullock’s photography received early recognition in 1941, when the Los Angeles County Museum of Art staged his first solo exhibition. His mature work appeared in one-man shows at the Bibliotèque Nationale, Paris; the Royal Photographic Society, London; the Metropolitan Museum of Art, New York; and the Art Institute of Chicago; among other prestigious venues. His archive was a foundational collection for the Center for Creative Photography in Tucson, Ariz., which is recognised as one of the most important photographic resources in the world.

Despite early acclaim, the true breadth and depth of Bullock’s career has remained largely in the shadows. Wynn Bullock: Revelations offers the most comprehensive assessment of the photographer’s extraordinary career in nearly 40 years. This retrospective traces Bullock’s evolution from his early experimental work of the 1940s, through the mysterious black-and-white imagery of the 1950s and colour light abstractions of the 1960s, to his late metaphysical photographs of the 1970s.

“Bullock’s arresting work was integral to codifying what we now think of as quintessential mid-century style, which in turn paved the way for every stage of photography that has followed,” said Brett Abbott, curator of photography and head of collections at the High. “Presenting this exhibition and acquiring this generous body of work from Bullock’s estate will allow us to play a role in bringing him back into the popular consciousness. Our photography department has expanded greatly over the last few years, in terms of the work we own and the exhibitions we mount, giving us the ability to position this pivotal body of work as part of the nearly two-century-long story of the development of photography.”

Wynn Bullock: Revelations will be accompanied by a fully illustrated catalogue to be produced by the High in collaboration with the University of Texas Press. The book presents 110 images, including some from the Bullock Estate that have never been published before. An essay by Abbott explores the nuances of Bullock’s approach to photography and its fascinating relationship to the history of science and philosophy. The volume also includes an illustrated chronology, bibliography, selected collections, exhibitions history, plate list and notes.

About Wynn Bullock

Wynn Bullock was born on April 18, 1902, in Chicago, Ill. After graduating from high school, Bullock worked as a professional singer in New York City and across Europe. In 1938 he moved to Los Angeles to pursue a law degree but soon dropped out of school to become a photography student at Art Center School, where he became deeply involved in exploring alternative processes such as solarisation and bas relief and began building a career in commercial photography. Bullock went on to serve in the military and then to build a successful private photography business, where he developed a way to control the line effect of solarisation, a discovery for which he was awarded patents. Bullock began pursuing “straight” photography after meeting Edward Weston in 1948. Throughout the 1950s he explored the natural world from his own unique perspective in photography and came into the public spotlight through exhibitions at the Museum of Modern Art in New York City and the Corcoran Gallery in Washington, D.C. In the 1960s he created an innovative body of abstract colour images. He later returned to experimental black and white, on which he continued to focus until his death in 1975. Bullock’s work is part of the collections of more than 90 major institutions throughout the world.

Press release from the High Museum of Art website

Wynn Bullock (American, 1902-1975)
Color Light Abstraction 1076
1963
Inkjet print
14 x 21 in.
High Museum of Art, Atlanta, promised gift of Barbara and Gene Bullock-Wilson
© Bullock Family Photography LLC. All rights reserved

Wynn Bullock (American, 1902-1975)
Color Light Abstraction 1075
1963
Inkjet print
14 x 21 in.
High Museum of Art, Atlanta, promised gift of Barbara and Gene Bullock-Wilson
© Bullock Family Photography LLC. All rights reserved

Entrance Mural to the exhibition 'Wynn Bullock: Revelations' at the High Museum of Art, Atlanta with glimpses of Galleries 1 and 3

Installation view of the exhibition 'Wynn Bullock: Revelations' at the High Museum of Art, Atlanta with a view of Gallery 1

Installation view of the exhibition 'Wynn Bullock: Revelations' at the High Museum of Art, Atlanta with a view of Gallery 2

Installation view of the exhibition 'Wynn Bullock: Revelations' at the High Museum of Art, Atlanta with a view of Gallery 3

Wynn Bullock: Revelations installation at the High Museum of Art, Atlanta
Entrance mural with glimpses of Galleries 1 and 3 (top), Galleries 1, 2 and 3 (bottom)

“Love Itself”

The light came through the window,
Straight from the sun above,
And so inside my little room
There plunged the rays of Love.

In streams of light I clearly saw
The dust you seldom see,
Out of which the Nameless makes
A Name for one like me.

I’ll try to say a little more:
Love went on and on
Until it reached an open door –
Then Love Itself
Love Itself was gone.

All busy in the sunlight
The flecks did float and dance,
And I was tumbled up with them
In formless circumstance.

I’ll try to say a little more:
Love went on and on
Until it reached an open door –
Then Love Itself
Love Itself was gone.

Then I came back from where I’d been.
My room, it looked the same –
But there was nothing left between
The Nameless and the Name.

All busy in the sunlight
The flecks did float and dance,
And I was tumbled up with them
In formless circumstance.

I’ll try to say a little more:
Love went on and on
Until it reached an open door –
Then Love itself,
Love Itself was gone.
Love Itself was gone.

Lyrics by Leonard Cohen

Wynn Bullock (American, 1902-1975) 'Stark Tree' 1956

Wynn Bullock (American, 1902-1975)
Let There Be Light
1954
Gelatin silver print
7 3/8 x 9 7/16 in.
Collection Center for Creative Photography
© Bullock Family Photography LLC. All rights reserved

Wynn Bullock (American, 1902-1975)
Old Typewriter
1951
Gelatin silver print
7 1/16 × 9 7/16 in.
High Museum of Art, Atlanta, Gift of Lucinda W. Bunnen for the Bunnen Collection
© Bullock Family Photography LLC. All rights reserved

Wynn Bullock (American, 1902-1975)
The Shore
1966
Gelatin silver print
9 1/4 x 13 5/8 in.
High Museum of Art, Atlanta, promised gift of Barbara and Gene Bullock-Wilson
© Bullock Family Photography LLC. All rights reserved

Wynn Bullock (American, 1902-1975)
Sea Palms
1968
Gelatin silver print
7 1/2 x 9 1/4 in.
High Museum of Art, Atlanta, promised gift of Barbara and Gene Bullock-Wilson
© Bullock Family Photography LLC. All rights reserved

Wynn Bullock (American, 1902-1975)
Driftwood
1951
Gelatin silver print
7 1/2 x 9 1/2 in.
High Museum of Art, Atlanta, promised gift of Barbara and Gene Bullock-Wilson
© Bullock Family Photography LLC. All rights reserved

Wynn Bullock (American, 1902-1975) 'Point Lobos Tide Pools' 1972

Wynn Bullock (American, 1902-1975) 'Early Solarization' 1940

Wynn Bullock (American, 1902-1975)
Edna
1956
Gelatin silver print
7 1/2 x 7 1/2 in.
High Museum of Art, Atlanta, promised gift of Barbara and Gene Bullock-Wilson
© Bullock Family Photography LLC. All rights reserved

Wynn Bullock (American, 1902-1975)
Portrait of Edna, Cannery Row
1955
Gelatin silver print
9 1/2 x 7 1/2 in.
Collection of Barbara and Gene Bullock-Wilson
© Bullock Family Photography LLC. All rights reserved

Wynn Bullock (American, 1902-1975)
Barbara through Window
1956
Gelatin silver print
9 1/2 x 7 1/2 in.
Collection Center for Creative Photography
© Bullock Family Photography LLC. All rights reserved

Wynn Bullock (American, 1902-1975)
Nude Torso in Forest
1958
Gelatin silver print
9 1/2 x 6 1/4 in.
Collection of Barbara and Gene Bullock-Wilson
© Bullock Family Photography LLC. All rights reserved

Wynn Bullock (American, 1902-1975) 'Child on Forest Road' 1958

Wynn Bullock (American, 1902-1975)
Fallen Tree Trunk
1972
Gelatin silver print
8 5/8 x 7 1/2 in.
High Museum of Art, Atlanta, promised gift of Barbara and Gene Bullock-Wilson
© Bullock Family Photography LLC. All rights reserved

Wynn Bullock (American, 1902-1975) 'Tree Trunk' 1971

To create this image, Bullock reversed the positive and negative values of his rendering of a tree trunk, and then turned the composition upside down. In so doing, he disrupts a habitual reading of the natural world, creates an experience of disorientation, and allows the forms pictured to engage the eye in freshly invigorating ways.