Just Googled the Ellen Susan photographs - amazing. Thank you Jen for informing, as always, us plebs about the amazing art all around us.

The Photo Center Northwest (PCNW) is a grand conundrum trying to pass mostly classical and old fashioned photography as hip to the current leading art scene, a proposition hard to digest. The Center seems stuck in the past and committed to avoiding what moves photography in the contemporary art scene. They struggle to survive financially trying to provide training for those who will come to be good at professional portraiture, pet pictures, food and advertising photography and maybe individual artistic expression. It is notable they are across from the Hedreen gallery that gets plenty of critical attention from the art community while they tend to be ignored. What they push as art photography tends to be the old fashioned alternative processes that pretend at art in the old school of pictorialism. So if you care to make a Gum, Cyanotypes, Carbon and others are taught as the way to be artistic. These approaches are forever lost as what matters to the contemporary art scene. The surprise of uncontrolled effects, fuzzy or out of focus images and odd variations on the straight photograph are imagined to be the thing that artists do. They advertise that they are a center of fine art, but one wonders. Sadly they could be leaders of local art and get a lot of attention but they don’t and don’t seem to get it.

@3 wrong (person),

Since I made multiple points your generalization doesn’t muster much substance more than a raw cluck unless you specify which of my points is wrong and why. I'm thinking trying could get your point of view in a lot of trouble. Admittedly what photography should be to be art is not an easy thing to make sense of. I’d love to hear why it’s ok that PCNW doesn’t get much attention from the local art community. I’d think that if they were doing something right it would come. They could bring the community more pleasure that way. The UW’s photography programs do it, why not PCNW?

Dear Unglate Tongue,

I am not the person who wrote "wrong" above, but I am happy to provide with some specifics on how you are wrong.You are entitled to your opinion, and I respect it, but I hope you take a minute to read this and let me change your mind.

Your unfounded comment is infuriating, I wish that you had at the very least taken the time to do your research before blurting out things you don't even know. I am hoping that your knowledge about the organization's financial status comes from having seen their financial statements? Because you are clearly not aware that the Photo Center is thriving financially, they have received grants from major foundations, both private and from the City. They are in the middle of a very successful capital campaign and just opened at state-of-the art digital media studio just last week.

If you had taken the time to look through the exhibition archive on the website and maybe even pay them a visit, you would have noticed that the gallery exhibits almost exclusively contemporary photography, from renowned photographers who are collected by major institutions around the world, alongside outstanding local and international emerging photographers. Did you know that many artists who have booming international careers had their first ever exhibition at the Photo Center? I would give you a list, but maybe, since you have so much time, you could look through the website and find out for yourself.

You mention that PCNW doesn't get much attention from the local art community, maybe just not from you. Above is a very positive article from a major local newspaper, hundreds of visitors walk through their doors and they have great relationships with virtually every major gallery and institution in town. Last year PCNW collaborated with, among others, the Henry Art Gallery, the UW Photography program, the SAM, the Frye, Gail Gibson Gallery, Platform Gallery, Tacoma Art Museum, Decode Books, Photolucida, Rayko, HCP, Newspace and many others. An event was hosted a few months ago with photographer Isaac Layman and representatives, curators, collectors, artists and supporters from every major art institution, newspaper and even the city council were in attendance and praised the Center for their work. The annual auction brought in world-class photography and significant support to finish the new capital campaign.

You mention the UW Photography program. You would be pleased to hear that their faculty visit our classes for presentations and guest critiques frequently. Their students have shown their work in the Photo Center galleries, and PCNW and UW collaborate often in bringing accomplished artists into town (i.e. Jason Salavon, again, do your research and then tell me if Salavon's work looks like "fuzzy" pictures to you), many times only because the Photo Center was so well connected throughout the country.

If you look at the Photo Center's curriculum you will see that classes span from basic training in lighting and darkroom, to conceptual and fine art portfolio development classes. There is a thesis class taught by renowned artists Eirik Johnson and Keeara Rhoades, both have had major local and national exhibitions. Faculty members hold MFA degrees from UW, SVA, RIT, MICA, Bard College and other major colleges. History of Photography instructor hails from the Monsen Collection (do your research). Any respectable artist should feel lucky to study there. There is no food or pet photography classes, there are other schools in town that teach that, and they do it well.

The Photo Center has also done an outstanding job working with refugee youth, homeless teens, senior citizens and Native American populations, making a huge difference in the community. You would know this if you had done your research. There are hundreds of individuals who benefit every year from volunteers and generous instructors who bring photography to underserved populations in Seattle.

Finally you would be happy to hear, since you are interested in contemporary photography that the upcoming line up of visiting artists for the next 3 months includes: Jesse Burke, Ariana Page Russell, Kelli Connell, Steven Miller, Sophia Wallace, Richard Renaldi and more. Also coming to Seattle are Darius Himes and H.M. Hunt... if you don't know who they are, you will want to, do your research. They are hugely important shapers of the contemporary international photography scene.

And yes, historical and alternative process are and will always be welcomed at the Photo Center, this is the first show of alternative processes that they have had in a very very long time and I very much enjoy it.

Sincerely,

A student, volunteer, and long time supporter.

Dear Unglate Tongue,

I am not the person who wrote "wrong" above, but I am happy to provide with some specifics on how you are wrong. You're entitled to your opinion, I respect it, but please read this before you continue to make unfounded remarks.

Your unfounded comment is infuriating, I wish that you had at the very least taken the time to do your research before blurting out things you don't even know. I am hoping that your knowledge about the organization's financial status comes from having seen their financial statements? Because you are clearly not aware that the Photo Center is thriving financially, they have received grants from major foundations, both private and from the City. They are in the middle of a very successful capital campaign and just opened at state-of-the art digital media studio just last week.

If you had taken the time to look through the exhibition archive on the website and maybe even pay them a visit, you would have noticed that the gallery exhibits almost exclusively contemporary photography, from renowned photographers who are collected by major institutions around the world, alongside outstanding local and international emerging photographers. Did you know that many artists who have booming international careers had their first ever exhibition at the Photo Center? I would give you a list, but maybe, since you have so much time, you could look through the website and find out for yourself.

You mention that PCNW doesn't get much attention from the local art community, maybe just not from you. Above is a very positive article from a major local newspaper, hundreds of visitors walk through their doors and they have great relationships with virtually every major gallery and institution in town. Last year PCNW collaborated with, among others, the Henry Art Gallery, the UW Photography program, the SAM, the Frye, Gail Gibson Gallery, Platform Gallery, Tacoma Art Museum, Decode Books, Photolucida, Rayko, HCP, Newspace and many others. An event was hosted a few months ago with photographer Isaac Layman and representatives, curators, collectors, artists and supporters from every major art institution, newspaper and even the city council were in attendance and praised the Center for their work. The annual auction brought in world-class photography and significant support to finish the new capital campaign.

You mention the UW Photography program. You would be pleased to hear that their faculty visit our classes for presentations and guest critiques frequently. Their students have shown their work in the Photo Center galleries, and PCNW and UW collaborate often in bringing accomplished artists into town (i.e. Jason Salavon, again, do your research and then tell me if Salavon's work looks like "fuzzy" pictures to you), many times only because the Photo Center was so well connected throughout the country.

If you look at the Photo Center's curriculum you will see that classes span from basic training in lighting and darkroom, to conceptual and fine art portfolio development classes. There is a thesis class taught by renowned artists Eirik Johnson and Keeara Rhoades, both have had major local and national exhibitions. Faculty members hold MFA degrees from UW, SVA, RIT, MICA, Bard College and other major colleges. History of Photography instructor hails from the Monsen Collection (do your research). Any respectable artist should feel lucky to study there. There is no food or pet photography classes, there are other schools in town that teach that, and they do it well.

The Photo Center has also done an outstanding job working with refugee youth, homeless teens, senior citizens and Native American populations, making a huge difference in the community. You would know this if you had done your research. There are hundreds of individuals who benefit every year from volunteers and generous instructors who bring photography to underserved populations in Seattle.

Finally you would be happy to hear, since you are interested in contemporary photography that the upcoming line up of visiting artists for the next 3 months includes: Jesse Burke, Ariana Page Russell, Kelli Connell, Steven Miller, Sophia Wallace, Richard Renaldi and more. Also coming to Seattle are Darius Himes and H.M. Hunt... if you don't know who they are, you will want to, do your research. They are hugely important shapers of the contemporary international photography scene.

And yes, historical and alternative process are and will always be welcomed at the Photo Center, this is the first show of alternative processes that they have had in a very very long time and I very much enjoy it.

Sincerely,

A student, volunteer, and long time supporter.

Like so many others in the Pacific Northwest (and beyond), I have enjoyed the programming at the PCNW for many years now. Their knowledgeable staff work tirelessly, providing a wide variety of exhibitions, and much-needed photo-related services, to their community.

Naturally, not every exhibition is tailored to everyone's taste; and how boring would that be, were it the case? PCNW serves as a valuable, integral part of the Seattle photographic community. In my opinion, they are not striving to be a snooty, ultra-contemporary gallery. Of course, everyone is entitled to their own opinion, no matter how narrow-minded it may be.

I for one would like to offer my congratulations to PCNW, on producing yet another fine exhibition.

@5 Dabi,
You seem like a good person dedicated the PCNW and what goes on there. In most respects, I support your position. I think you’re wrong about some things though. Yes, it is interesting. My comment about pets and food was an expressionist kind of sarcasm directed at the ilk of the place when it comes to what they support as passing for serious art. Alternative processes are just fine if you don’t think you’re doing great art when you take ordinary pictures or revive the photography of the past or its clichés. In my view, PCNW promotes a tedious approach to what is going on in art as it relates to photography. Henry Horenstein’s photographs do not strike me as new photography but derivative, clichéd and trying too hard to alarm. He is not doing much more than a variation on WeeGee and others. The approach is not new. I see PCNW as necessarily caught in vocational education to the detriment of the kind of art education one might get at the UW and pretending they’re not. I think, as with many vocational teaching institutions they are kind of falsifying what they are doing and giving the students. If they are doing better financially, that’s good. The print of Jim Demetre makes Jim look like a movie star (sorry Jim) and not the guy we know.

First off, I would like to thank Jen and the Stranger for highlighting our current exhibition. I would also like to add a few words to the comments listed here.

I am thrilled to see that we have people engaged in a dialog about the Seattle photographic arts scene – you care!

I have been the Executive Director of the Photo Center for the past four years. I moved from Brooklyn, New York for the position. When I was visiting the Photo Center for my initial interviews I knew very little about Seattle, but I brought a strong background in the photographic arts and nonprofit management. The moment I set foot in the building I could tell that the Photo Center was rife with potential and a true jewel not just in the Northwest, but also in the country. Nonprofit centers for photography with open access to exhibitions, artist facilities, and educational programs are extremely rare. That, I believe is partially due to how challenging it is to find a balance of support and programming that keeps the doors open and is still community based.

Four years ago the Photo Center did have financial challenges which we overcame thanks to a remarkable show of community support, and through building a fantastic staff and board, innovative programming, and strong faculty; and as a nonprofit arts center that works every day to provide low cost and free access to the arts we can never rest when it comes to fundraising. The Center is thriving now – and by that I mean that we are able to pay our bills on time, we offer thousands of dollars in scholarships and underwriting of free outreach programs, we keep our facility access rates low for artists and students as well as provide sponsorships to artists for project support, we continue to improve and expand our already exceptional programming, we provide an extensive array of options for photographic expression, and we support an internationally renowned exhibitions program. To offer additional transparency, we do this work primarily through tuition revenue which accounts for the largest percentage of our annual revenue, followed by grants, membership, individual contributions, and art sales.

Providing a space where artists can thrive, build community, see contemporary work, and be inspired while simultaneously serving a community of enthusiasts and emerging photographers is what the Photo Center is all about. In addition, we open our doors to the broader community – bringing contemporary works to the Northwest.

I agree with a lot of what has been written here. We do need to provide challenging and thought provoking exhibitions to our (sometimes sleepy) city. We do need to push our students/community, whether they are interested amateurs or established professionals to keep up with contemporary practices, learn about what else is happening in the art world, broaden their perspectives … but I don’t believe that we should discourage anyone from picking up a camera and expressing themselves (even if they choose to do a series on food or to choose an entertaining true example, we did have an artist scholarship entry highlighting show cats in stunning outfits).

I am grateful for the contributions to this discussion and welcome anyone to be in touch with program ideas, additional thoughts, or contributions. We are actively recruiting volunteers, teaching artists, and members to join our community and to help us shape our offerings. We are interested in working with passionate artists and arts supporters to continue to strengthen the community by elevating the art and appreciation of photography. I hope you will join us.

Annie Van Avery, Executive Director
Photo Center NW

My name is Daniel and I am one of the, like it or not, fine art photographers in the exhibition. I took the picture of Mr. Jim Demetre so I will take your comment about how Jim looks like a movie star as a compliment. Thanks! As far as your other comments, I think you assume way too much . For one, that image of Jim is not a print but a plate. The entire exhibition is made up of unique photo objects on glass and metal. It would help your argument to know what you are talking about and not lump anything that is not digital photography as "old fashioned alternative processes". Your generalization is simply ignorant.
Your comments about Photo Center are more more emotional and uninformed than a valid criticism and it's hard to take you seriously. What are you really complaining about? Everyone has opinions but don't dilute yourself into thinking you know what matters to the contemporary art scene and what fine art is. To add some perspective, you are a faceless comment on the web and have very little influence overall. I have a show at Greg Kucera Gallery in May an I invite you to meet me in person and talk. See you then!

Thanks,
Dan

@14 Annie,

I didn’t expect you to post. Your comments are sensitive, sophisticated and most welcome. Even you may have some concerns about some of the words from PCNW supporters here it must be gratifying to see how much caring and commitment to PCNW is evident. I do think we have a bit of major groupthink going on from some reactive gossipy vigilantes. I’m thinking they all mean well. Thanks for the reply. I’ll try to get back to you here and address some things.

Great review. Are the photos for sale?

@19

Yes, the wet plate collodion tintypes and ambrotypes are for sale. All works are framed. We also have payment plans to suit an individual's budget. Please come in and have a look and introduce yourself. We have received so many compliments from our visitors. It will be up through February 15th.

I'm thrilled to see all the comments on this feed. Thanks Jen for featuring this show in the Stranger!

Best,

Ann Pallesen
Gallery Director
Photo Center NW

@15 Dan C.,
Your images can have a haunting effect kind of reminiscent of the beautiful deep tones of photogravures of E.S. Curtis. They obviously have a beauty that would appeal to many. They conjure up an emphasis on nostalgia that has a certain cache’ and you clearly have achieved a serious following that provides you with quite a bit of work (commissions). Your pix mimic an old effect kind of like the photo products for the masses on vacation at fairs where they dress up in old Western attire and pretend. Such effects never fail to turn on the masses. It’s all such a warm and fuzzy reality, all rather banal. Is it high art? Was it high art in its day? Collectors of contemporary art and others have to ask themselves this question. It’s not a trivial question but leads to major problems with achieving clarity. Your work is certainly high craft and strokes vanity. Still your work is wonderful.

I have no truck with you except with your use of “fine” connected to “photography.” The “fine” thing was long ago critiqued as somewhat ridiculous some and any thoughts you entertain that when you make rather plain portraits that you are doing serious art is a stretch. You have no need to boast of this. My main truck is with PCNW and its purposeful corrosion of the concept of photographic art that it promotes to the public and to its people. I have no problem with you thinking of yourself as artistic or creative but those who compare you with Chuck Close (who is clearly an artist) creates a false analogy.

(I know you’re a really nice guy so it’s a little difficult the way your post is designed to impugn my ideas and malign my character. This is hard to take Dan, not justified and it makes it hard to restrain myself in response. The fact that several of you have cited my promoting digital over analogue photography is not supported by what I’ve written and shows that a lot of you have simply responded to what has been said about my post by way of rumor. So I’ll counter that it would be good if you knew what you’re talking about. Not reading what I’ve said creates a lot of flatulence and peacockyness in your comments. I presume your new found professional largess has gone to your head)
.
I don’t think your work makes you what is considered a contemporary artist doing conceptual photography like say Chris Engman, Amir Zaki or Lori Nix. I was a little puzzled that G. Kurcera would choose you because I consider your work more of a PCNW kind of photography, but I’ve thought it over. I’m very happy for you that he has. I’m trying to make the distinction about the kind of photography PCNW focuses on the photography one might see at, say, James Harris’ gallery. I think PCNW’s vision is a conceptual disaster, fails to join photography and art practice in a strong sense and throws it all out with a kind of sense of entitlement. PCNW works within a tribal photography that’s long existed and might be called the retrograde Photo Salon approach.

I find it a little difficult to buy into the way you get likened to Chuck Close. You don’t have his Prosopagnosia, didn’t throw off your brushes to challenge yourself and are not a quadriplegic. You haven’t created giant works in a time that was moved by it. Close is set up for conceptualism, you take pictures. As he explained in a 2009 interview with the Cleveland Ohio Plain Dealer, he made a choice in 1967 to make art hard for him and force a personal artistic breakthrough by abandoning the paintbrush. "I threw away my tools", Close said. "I chose to do things I had no facility with.

Greg is a very smart person andbusinessman and does love a range of creative styles and media he chooses to represent. I’ve not quite understood why he chose the Southern quilt makers, Deborah Butterfield or John Waters, This stuff has good marketability regardless how it fits into contemporary art scene and Greg lives a lifestyle that many of us would sell our souls for. It appears a movable feast in which one is surrounded by an ever changing collection of increasable art and things. You are well liked by the art and other communities, have gotten a lot of media coverage and produce pieces that do not have to be editioned because they are one-offs. Greg tends to demand rather high prices for the work of those he represents.

I’m thinking of two ways the UW might be of help to you. First, if you ever consider wanting to get a good education in what art photography might be, their Art School Photography program is a winner. They do not eliminate a huge portion of contemporary art photography as PCNW does. Secondly, I’m a little worried about you, your clients and your families’ health and safety. You are dealing with a lot of serious toxic chemicals. Many can badly affect an infant’s developing body and your longevity and health over time. If I were you, I’d visit some faculty in the UW’s Department of Environmental & Occupational Health Sciences. Although they tend to approach large work environments a professor or grad student might find your work environment interesting to study and help you measure whether your approach is protecting you and others. Fume hoods can fail to do the job if used improperly. Aren’t you curious what dangers in your work can be aided? Don't expose that baby unaware.

The folks love you and you probably have a great career ahead doing what you’re doing. I wish you and your family the best.