Got to meet Sally Mann at a book signing at Malaprop’s Bookstore in Asheville, NC
Yesterday, I was so pleased to meet Sally Mann, one of my favorite artists. She was at Malaprop’s Bookstore in Asheville, NC to read from her recent memoir Hold Still, and she signed copies of it afterwards. For over a decade, two of her beautiful photography books, Deep South and What Remains, have been in my collection as points of reference, and I got Hold Still as a gift last year. It is superbly written. Most people don’t know that Mann’s first love was writing. She has an MFA in creative writing from Hollins University.
I have admired Mann’s photography since first seeing it in books, and then seeing it exhibited in New York City galleries. In a time when most photographers have abandoned film and fully embraced digital image making, Mann remains staunchly analogue in her approach to the medium. In fact, for much of the last 20 years, she has used the 19th century wet plate collodion process to create her images. It is a labor-intensive, chemical process that is subject to accidents and contamination that Mann refers to as “serendiptious.” Each emulsion on glass or metal must be hand-poured. It is often the accidents of the process that, to use her words, “miraculously transform” an ordinary scene into something incredible.
The line outside Malaprop’s to see Sally Mann.
Mann has a passionate following among artists and those interested in photography, and this was on full display yesterday. Her reading at Malaprop’s was standing room only, and many people (myself included) had to wait outside for the book signing. The line to see her was out the door, stretching down the block and around the corner. It got longer as the evening progressed. Driving up from Greenville, SC, my wife and I had been delayed by a traffic accident on I-26, not arriving in Asheville until twenty minutes before the event was to begin. It was clear from the long line that we had little hope of gaining admission. Through Malaprop’s window, I caught glimpses of Mann as she read, and could hear parts of what she was saying.
After an hour online, when the Q&A session ended, we were allowed to move inside and form behind those already in the store to have books signed. I’d brought Hold Still, as well as What Remains and Deep South. When my turn came to speak with Mann, I told her that I thought I’d overdone it with my enthusiasm. Mann was gracious enough to sign all three books, and we talked a bit about the wet plate process. We also talked about a few of the people we know in common through this archaic process. It was the sort of thing I wish could have been done over coffee with her for an afternoon! But as long as the line was and with as many people as there were still behind me, I moved on.
As an MFA student in photography at Parsons School of Design, I did my thesis work at Gettysburg. I had been studying the images of the Civil War and was haunted by their tonal quality. The optics of 19th century lenses, especially Petzval designs, and the time-based aspect of long exposures also interested me, the way a sudden movement would render someone ghostly, or the rush of wind would move tree limbs to change a scene entirely. It was through seeing both the 19th century wet plate images as well as Mann’s exquisite and emotionally powerful contemporary work with that process that I became interested in learning to do it myself. I took a wet plate workshop with Eric Tubman through the Center for Alternative Photography (now called Penumbra Foundation), and later took a workshop with wet plate master John Coffer.
Image by Sally Mann from Battlefields. Wet Plate Collodion Glass Plate Negative.
The idea of working very close to home has always been important to Mann, as well as working with the land to which, being Southern, she has always had a very strong connection. In What Remains, the 2005 documentary about her life and work, she says, “I’ve nothing be respect for people who travel the world to make art, who put exotic indians in front of linen backdrops. But it’s always been my philosophy to try and make art out of the everyday and ordinary.” It is no wonder that one of my other favorite artists, photographer William Eggleston, shares this view. I also agree wholeheartedly with another of Sally Mann’s philosophical points: that if you cannot photograph the things you love, then you cannot make good art. This is something I’ve thought about a lot and put into practice in my own art since returning to South Carolina after a sixteen year sojourn in Brooklyn and the Bronx.
Portrait of Julie: Archival Pigment Print from a Tintype. Photo: Danielle Fontaine
My Artisphere 2016 Award. Photo: Danielle Fontaine
I am very pleased that I had two works accepted into the Artisphere 2016 Artists of the Upstate Juried Exhibition. One of those works, Portrait of Juile, won the Award of Excellence, and was announced at the opening reception on the first day of Artisphere, Friday May 13th. My work was a 32″ x 40″ archival pigment print on Epson cold press paper. The image is from one of my original wet plate collodion tintypes.
The award was presented by Alan Ethridge, Director of the Greenville Metropolitan Arts Council.
Julie’s parents, Rev. Bob Chiles and Christine Zimmerman Chiles, were at the reception along with my wife, Debbie Rice. Julie posed for my tintype on location at Tigg’s Pond in Zirconia, NC. Julie is a very talented musician in The Buck Stops Here, a bluegrass band that just released their first album. She had her fiddle with her in the shot and was wearing her mom’s wedding dress.
Ambrotype by Bryan Hiott. Photo: Madge McKeithen
A few years ago, New School writing professor Madge McKeithen gave a workshop for my wife’s Blueridge Writer’s Workshop at Lake Summit, NC. She posted about her experience there on her blog New York + Points South. These are some of my favorite excerpts from that post.
Who expects surprise when a creative couple leaves New York for up-country South Carolina? Debbie Rice and Bryan Hiott made the leap in 2012, friends’ admonitions trailing them — “when you move to a rural place, your mind slows down.” A year later, Debbie has produced two successful rounds of the Blue Ridge Writers Workshop, one at Lake Lure, NC, and this year’s at Lake Summit, near Saluda, NC; she is volunteering at Hub City Press and Bookshop, is writing poetry, and has a treasured routine visiting her 90-year-old father’s nearby home every evening. Bryan Hiott is up to his elbows in the ambrotype photography he loves in a spacious studio north of Greenville, SC, and is teaching photography and art history at three area colleges this fall (two more than last year).
The week-long workshop emphasized interdisciplinary work in the arts and combined writing with music and the visual arts. As part of the workshop, I made ambrotype portraits of the participants as well as landscape images.
Wonderfully meshed with the week’s creative experience was Bryan Hiott’s photography. To watch him work, to hear him speak about it is to take in a history lesson, an artistic passion, a skilled craftsman’s meticulous attention to detail, and a content practitioner’s deep pleasure. Friday and Saturday, he set up his camera and developer’s materials, made ambrotypes of landscapes and then turned more directly to his current fascination with portraits and photographed each of us at the lake house. To sit for Bryan’s photography is an experience like none I’ve had. First there is the photographer — in this case an engagingly intelligent, serious, and yet very funny man. Then there is the process which he calmly, ably narrates, all the while attending to his materials — the box of a camera with its heavy drape, the plastic pans of chemicals — discussing exposure time, the nature of the chemical baths, the “development” of the final product over the course of multiple steps. As the onsite developer (another box and drape under the carport, not moving), Bryan interacts with the image appearing; there is a sense of creating alongside the mechanism that is different from a typical photo shoot today. Holding the pose for the time requested (mine for 19 seconds, best I remember) and following the instruction not to smile (smiles held for the time required can look odd, rarely good, he told us) and experiencing something not of this but of a bygone era, something of Matthew Brady, Queen Victoria, the American Civil War, the sense of being seen and not heard was a memorable experience for a group of the wordy sort.
Our very talented friend, cellist Sharon Mulfinger Gerber, gave a wonderful solo performance on the dock as twilight fell and the stars began to come out.
Sharon Mulfinger Gerber. Photo: Madge McKeithen
Portrait of Sharon – Wet Plate Collodion Ambrotype (6.5″ x 8.5″)
It’s a pleasure to be a mentor for Antonio Modesto Milian, a Brandon Fellow at the Greenville Center for Creative Arts in Greenville, SC. Thanks for asking me to be your mentor, Antonio! You all did a superb job yesterday at the Artist Talk, and I look forward to seeing this through to your exhibition in August! The other fellows are Naomi Nakazato and Glory Day Loflin (Photo by the super supportive Latosha Nicole Milián).
L to R: Naomi Nakazato, Antonio Modesto Milian, and Glory Day Loflin
Bios of the inaugural group of Brandon Fellows at the Greenville Center for the Creative Arts:
Naomi Nakazato is a graduate of Anderson University, where she focused on painting and drawing as well as the history of portraiture. Communicating the challenges and experiences of mixed ethnicity is the driving force behind her work. She is passionate about helping other young artists experience and understand their identity through art. The Brandon Fellowship will give Naomi the opportunity to explore new approaches and mediums in which to pursue these goals.
Anthony Modesto Milian is a graduate of Greenville Technical College and has pursued studies in hospitality at Bob Jones University. He is the creator of the popular Faces of the Upstate page on Facebook, which highlights the beauty of the diversity in our community, and through which he fosters dialogue and reflection on social issues. As a Brandon Fellow, Anthony will hone his technical and artistic skills to enhance his street photography and the impact of his project. He also plans to explore publishing a book depicting the cultural richness of the Faces of the Upstate.
Glory Loflin is a graduate of the Cooper Union for Advancement of Science and Art in New York City where she studied painting and an alumna of the Fine Arts Center and the South Carolina Governor’s School for the Arts and Humanities. She has taught arts to children and volunteered her artistic abilities to benefit a variety of causes, from raising awareness of human trafficking to promoting a local farmers’ market and helping feed the homeless. As a Brandon Fellow, Glory will continue championing social issues through the arts while preparing a portfolio of ceramics work in view of applying to graduate school in this medium.
The Brandon Fellowship will provide Naomi, Anthony, and Glory with individual studio space, a stipend for art supplies, access to a variety of classes, as well as guidance and mentorship from the other GCCA studio artists and exhibiting artists.