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Griffin State of Mind | Home Views – Charles Mintz

Posted on December 3, 2021

Charles Mintz is a photographer living in Cleveland, OH. His work is “primarily documentary, built around ideas that are interesting and important to him.” His series, Lustron Stories, is about the legacy of houses produced by the Lustron Corporation between 1948 and 1950. The corporation itself is gone, but several houses they produced are still in use, and the series asks who lives in these houses still, and what do their lives look like?

Lustron Stories is a part of the Griffin’s Home Views exhibition. You can find his work on the walls of our Main gallery until December 5th. To get a feel of his artistic process, we asked Chuck some questions, and here is what he had to say:

1.Tell us how you first connected to the Griffin Museum.

man holding photos

© Charles Mintz

Paula reviewed my portfolio at FotoFest in Houston in 2010. At that time I was showing “The Album Project.” I have followed the Griffin since and have participated in, at least, one of your juried shows.

2. How do you involve photography in your everyday life? Can you tell us about any images or artists that have caught your attention recently?

I work on my photography every day. OK, sometimes life intervenes but that is exception. I am constantly looking for, and attempting, stories to build into projects. I also look at images online, primarily on Facebook and Instagram but also in response to emails. My friend KA Letts opened an exhibit in Toledo last night. I always find her work thought provoking. Attached is “Primavera”, by K.A. Letts, 2021, acrylic on paper, 38″ x 50″.

3. Please tell us a little about your series Lustron Stories, and how it was conceived.

young man holding photo album

© Charles Mintz

I have been working with the Ohio History Connection in Columbus for a while. I exhibited “Every Place I Have Ever Lived – the foreclosure crisis in 12 locations” there and also did one of the photo sessions for Precious Objects. I have attached images from both projects. They were planning a major group of exhibitions on the fifties that was to include a Lustron home as an exhibit. They give me a copy of their journal that included a major paper in Lustron. These houses were made between 1948 and 1950. I was born in 1948, they represent my lifetime. They were targeted at the stereotyped American family of the time. I was intrigued to see who really lived in them now. I worked on the project for six months, unsure of whether I was saying anything. Then I photographed “Richard”. Richard was retired boilermaker with the Santa Fe railroad. He was a collector. He wanted me to see his stuff but did not want me photographing it. As we looked at his collections he pulled out a Thomas Kinkade plate that he wanted me to have and then agreed to be photographed with it. When I saw that film, I knew I was going to stick with this project. 

4. Has there been a Griffin Museum exhibition that has particularly engaged or moved you?

Hard to answer that question since I have not had the opportunity to visit.

5. What is a book, song or visual obsession you have at the moment?

man standing my doorway holding a plate

© Charles Mintz

I was kind of knocked out by the book “Southernmost” By Silas House. I have a very special relationship with my son and the book really spoke to me. I am constantly awash in great music, right now listening to Miles Davis playing “Surrey with the Fringe on Top”, a pretty dumb song played stunningly.

6. If you could be in a room with anyone to have a conversation, who would it be and what would you talk about?

Hard question. Jimmy Carter. How he found the strength to turn his post-presidency into a model of how we all should follow what might have been our crowning achievement. In his case, his portrayal as a failure when, in fact, he accomplished great things in his four years.

 

Filed Under: Uncategorized, Griffin State of Mind

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Floor Plan

Amy Rindskopf's Terra Novus

At the market, I pick each one up, pulled in by the shapes as they sit together, waiting. I feel its heft in my hand, enjoy the textures of the skin or peel, and begin to look closer and closer. The patterns on each individual surface marks them as distinct. I push further still, discovering territory unseen by the casual observer, a new land. I am like a satellite orbiting a distant planet, taking the first-ever images of this newly envisioned place.

This project started as an homage to Edward Weston’s Pepper No. 30 (I am, ironically, allergic to peppers). As I looked for my subject matter at the market, I found that I wasn’t drawn to just one single fruit or vegetable. There were so many choices, appealing to both hand and eye. I decided to print in black and white to help make the images visually more about the shapes, and not about guessing which fruit is smoothest, which vegetable is greenest.

Artistic Purpose/Intent

Artistic Purpose/Intent

Tricia Gahagan

 

Photography has been paramount in my personal path of healing from disease and

connecting with consciousness. The intention of my work is to overcome the limits of the

mind and engage the spirit. Like a Zen koan, my images are paradoxes hidden in plain

sight. They are intended to be sat with meditatively, eventually revealing greater truths

about the world and about one’s self.

 

John Chervinsky’s photography is a testament to pensive work without simple answers;

it connects by encouraging discovery and altering perspectives. I see this scholarship

as a potential to continue his legacy and evolve the boundaries of how photography can

explore the human condition.

 

Growing my artistic skill and voice as an emerging photographer is critical, I see this as

a rare opportunity to strengthen my foundation and transition towards an established

and influential future. I am thirsty to engage viewers and provide a transformative

experience through my work. I have been honing my current project and building a plan

for its complete execution. The incredible Griffin community of mentors and the

generous funds would be instrumental for its development. I deeply recognize the

hallmark moment this could be for the introduction of the work. Thank you for providing

this incredible opportunity for budding visions and artists that know they have something

greater to share with the world.

Fran Forman RSVP