Mike Rebholz August 18-September 14

Mike Rebholz
10 Weeks, Ice Fishing in Wisconsin
August 18th – September 14th, 2014
Redzepagic Shack #1, Lake Monona WI, 2011

Redzepagic Shack #1, Lake Monona WI, 2011, Inkjet on Paper, 22” x 22”

Mike Rebholz’s series, 10 Weeks, Ice Fishing in Wisconsin, emerged initially from the artist’s “contemplation of the architectural form of the ice shanty.” While simplistic in form and structure, each shanty appears equipped with a localized functionality and a unique personality.
Jimenez Shack #2, Lake Monona WI, Winter 2010

Jimenez Shack #2, Lake Monona WI, Winter 2010, Inkjet on Paper, 22” x 22”

Rebholz has been following and photographing ice fishing for years, and in many photographs in this series he also artfully captures the stunning landscape to which he is subject – the massivity of the ice as it surrounds each shanty, the saturating sunlight that casts long, dark shadows, and the snowy clouds that blur the horizon.
Blue Whale Shack, Lake Monona WI, 2011

Blue Whale Shack, Lake Monona WI, 2011, Inkjet on Paper, 22” x 22”

In others from this series, Rebholz invites the viewer to experience the intimacy of the shanty’s interior and the warmth of the community that populates this remote, temporary village.
Canadian Club Shack, Lake Medota WI, 2012

Canadian Club Shack, Lake Medota WI, 2012, Inkjet on Paper, 22” x 22”

Mike Rebholz studied photography at Milkwaukee Area Technical College and The Milwaukee Center for Photography. He served as Instructor at The Milwaukee Institute of Art & Design for over ten years, and is now a professional freelance photographer. He exhibits nationally and internationally.  

Deborah Bay

.357 Hollow Point (2012 archival ink on archival metallic photo paper 18 x 24 inches

.357 Hollow Point (2012)
archival ink on archival metallic photo paper
18 x 24 inches

Landmark Arts at the Texas Tech University School of Art presents the photographs of Deborah Bay as the sixth and final show in the 2013 – 2014 SRO Photo Gallery exhibition series from March 31 – May 4.

9mm Glock Ball (2011) archival ink on archival metallic photo paper 18 x 24 inches

9mm Glock Ball (2011)
archival ink on archival metallic photo paper
18 x 24 inches

 

Deborah Bay’s series, The Big Bang, brings the issue of gun control to the simplest, yet most powerful, level: the bullet. After Houston law enforcement professionals fire shots into plexiglas, Bay photographs the aftermath in the studio. The resulting images resemble vivid exploding galaxies. The vibrant colors and unearthly imagery of the photographs intrigue the viewer with “the psychological tension created between the jewel-like beauty and inherent destructiveness of the fragmented projectiles in the plexiglas.” While Bay herself does not make any direct stance on gun control, the conflict – between these images of awe-inspiring splendor and the deadly force behind their creation – cannot be ignored.

.44 Magnum (2011) archival ink on archival metallic photo paper 18 x 24 inches

.44 Magnum (2011)
archival ink on archival metallic photo paper
18 x 24 inches

Deborah Bay holds a PhD in Education from the University of Texas in Austin. Living in Houston, she is an Advisory Council member for the Houston Center for Photography. She exhibits nationally.  www.deborahbay.com

.38 Special (2012) archival ink on archival metallic photo paper 18 x 24 inches

.38 Special (2012)
archival ink on archival metallic photo paper
18 x 24 inches

Paul Plunket

Landmark Arts at the Texas Tech University School of Art presents the photographs of Paul Plunket as the fifth show in the 2013 – 2014 SRO Photo Gallery exhibition series from February 17 – March 30.

No Parking (2007) archival inkjet print 9.25 x 14.25 inches

No Parking (2007)
archival inkjet print
9.25 x 14.25 inches

Paul Plunket’s series, The Grassy Knoll – Dealey Plaza, documents visitors trying to understand what exactly happened when President John F. Kennedy was assassinated in Dallas, Texas. Since 2007, Plunket has photographed these tourists, with the Texas School Book Depository, the Triple Overpass, the Red Courthouse and of course, the Grassy Knoll, as a background. Using his Leica M9 and street photography sensibilities, Plunket captures visitors “walk to the middle of Elm Street to stand on the ‘X’ that marks where the bullet hit the President, point to the window on the sixth floor of the School Book Depository to calculate the difficulty of rifle shots, and stand behind the picket fence atop the Grassy Knoll to measure the likelihood that a second gunman could escape undetected.” In seeing The Grassy Knoll – Dealey Plaza, the viewer is challenged not to look at every possible conspiracy theory about what took place on November 22, 1963, but to examine the reactions of people in the photographs, and their own, to that significant day in history.

He Did It (2012) archival inkjet print 9.25 x 14.25 inches

He Did It (2012)
archival inkjet print
9.25 x 14.25 inches

Paul Plunket holds a law degree from the University of Houston. He is a professional freelance photographer, and has taught photography for continuing education in Houston.

S. Gayle Stevens & Judy Sherrod

Landmark Arts at the Texas Tech University School of Art presents the wet-plate collodions of S. Gayle Stevens and Judy Sherrod as the fourth show in the 2013 – 2014 SRO Photo Gallery exhibition series from January 13 – February 16.

Nocturnes 7 (2012) wet-plate collodion 20 x 20 inches

Nocturnes 7 (2012)
wet-plate collodion
20 x 20 inches

Wet-plate collodion artist S. Gayle Stevens, collaborates with pinhole camera-maker Judy Sherrod, to create the series Our Nocturnes. Meeting in Pass Christian, Mississippi (a middle-ground between the artists’ residences in Chicago and Texas, respectively), Stevens and Sherrod make mammoth wet-plate tintypes measuring an unbelievable twenty by twenty inches. Resembling the work and process of early survey photographers, such as Timothy O’Sullivan, and inspired by Claude Debussy’s orchestral nocturnes, Our Nocturnes reveals the beauty of the Gulf Coast with its ethereal seascapes and “a little night music.”

Nocturnes 1 (2012) wet-plate collodion 20 x 20 inches

Nocturnes 1 (2012)
wet-plate collodion
20 x 20 inches

S. Gayle Stevens, who lives in Downers Grove, IL, holds an MFA from The School of Art Institute of Chicago, and frequently collaborates with Judy Sherrod, a camera maker from Wichita Falls. They exhibit nationally and internationally.

Nocturnes 32 (2012) wet-plate collodion 20 x 20 inches

Nocturnes 32 (2012)
wet-plate collodion
20 x 20 inches

For more information, please visit www.sgaylestevens.com and twooldwomen.wordpress.com.