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Posted on February 13, 2017

Realometer: 50 Years of America
Charter Weeks
March 7 – May 12, 2017

Reception April 20, 2017 from 6-8 PM

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Charter Weeks

Realometer: 50 Years of America

March 7 – May 12, 2017

reception is April 20, 2017 from 6-8

As an art student in the 1960’s studying with Harry Callahan at the Rhode Island School of Design, Charter Weeks got a fundamental grounding in the technical and structural elements of image making. The influences of Callahan, Steichen’s Family of Man, Walker Evans, Weston, Adams and others of the time “shaped every element of his photography and sustained his desire to say something useful with his photographs.”

Week’s series, Realometer: 50 Years of America, is featured in the Griffin’s satellite gallery, The Griffin@Digital Silver Imaging from March 7 through May 12, 2017. A reception will take place on April 20, 2017 from 6­-8pm. The reception is free and open to the public.

Independent Curator J. Sybylla Smith has been working with Charter Weeks to bring this exhibition to the gallery. “Charter and I met during the New England Portfolio Reviews where he introduced me to his expansive curiosity via an eclectic batch of black and white images spanning years, continents and subjects,” Smith said. “Charter gladly furnished back-stories with a sharp memory for detail and an obvious delight. Fast-forward a year of culling his vast archives, and you have, Realometer: 50 Years of America, a glimmer of Charter’s empathic eye,” she said.

In his book Walden, Hendy David Thoreau writes about the existence of an imagined instrument called the realometer that is capable of measuring the extent of reality inherent in one’s perceptions. He says the purpose of the instrument is to move us beyond the “mud and slush of opinion, and prejudice, and tradition, and delusion, and appearance … to a hard bottom.” Smith says, “Weeks’ photographs are this hard bottom.” She continues, “Charter Weeks has spent 50-plus years mining, illuminating and recording from vantage points around the globe. From the window of his lower East Side tenement in New York during the 1960’s to the back roads of the Carolinas where he made it his mission to chronicle the impact of the 2008 recession, Charter has consistently kept a measured eye on the evolving landscape of his homeland, America. Here is a multi-decade glimpse of his honed humanistic vision – full of our shared painful, wonderful, absurd reality.”

Charter Weeks studied with Harry Callahan in 1961. He graduated from the University of New Hampshire in 1964 with a degree in art and went on to study film making at the London School of Film Technique. He returned to the US and worked as a commercial photographer in New York City in the late 1960s shooting for ad agencies, magazines and the music industry. He was also a partner in Chicago Films producing documentaries and working for the BBC shooting news and documentary subjects. Weeks lived in Japan for 18 months teaching design and photography at Friends World College in Hiroshima and returned to the US in 1972 to build his own home in a rural community. He had various jobs from framing carpenter to film editor and in 1981 started his own business as a free lance photographer and owner of Isinglass Marketing, an Industrial and Business to Business marketing and communications company, which he still runs.

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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.

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