“black/white”

black/white:  charcoal/snowy, onyx/ivory, pitch/clear, ebony/alabaster, coal/pearly ….

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“Sir Gregory Dodgebourne presented a lecture at the Royal Anthropological Institute in January of 1842.  As he stood up to the well-worn oak podium droplets of water fell from his ice encrusted side whiskers onto his offal and snow stained brogans.  Sir Gregory was also a fellow of the newly formed Billingsgate Perambulation Society.  His friends all agreed that he was a Dickensian sort of fellow. He fancied himself a living Nicholas Nickleby, having also been deserted at an early age; eventually making his way in the world after much misfortune and the afflictions of the false conviviality of those wishing to do him pecuniary harm.   His closest associates called him Nick.  In ’89 he was briefly considered a suspect in the Ripper murders because of his habit of occasionally walking in Whitechapel.   It was decided rather quickly that the then ninety-six year old Dodgebourne could not have wielded the knife with such power and dexterity.

Sir Gregory was knighted just a fortnight prior to the lecture, presently the subject of this writing, by the still young, yet droopy eyed Victoria.  As a member of the staff of the Royal London Ophthalmic Hospital, an institution chartered by and of special interest to the Queen, Dodgebourne was making tremendous progress on the diagnosis of astigmatism of the eye.  He studied under Sir George Biddell Airy, the foremost authority on the affliction.  The Queen fancied herself plagued by a variety of eye disorders.  Consequently when Sir Gregory also diagnosed her with astigmatism she was beside herself.  The knighthood followed shortly thereafter.

As the last participant was being seated, Sir Gregory placed his pince-nez spectacles on the undulating bridge of his boxer’s nose.  Then out of the corner of his eye he caught a flash of color in the room of blacks and browns.  Miss Jane Wemmick, the daughter of Sir Arthur Wemmick and a very accomplished amateur anthropologist, floated in, to the obvious disapproval of the seated men, on a cloud of blue and yellow taffeta and velvet surmounted by a heavy woolen cape.   “Welcome Miss Wemmick,” said Sir Gregory, winking at her father seated in the front row, “Let us begin.”

“As is commonly known, animals can only see the world in black and white, therefore the new invention, photography, is positively fit only for animals.  The photographer cannot possibly capture the world as it is in all of its nuance and beauty with the same accuracy and splendor as the painter,” said Sir Gregory, setting out the premise of his current dissertation.  Miss Wemmick, with her head down, smiled and jotted lines in the leather bound diary on her lap, “My dear M. Daguerre I am here at the Society in your defense.  Dodgebourne will now attempt to warn us off of your creation.  He has said it is only fit for animals.  However, I deeply apprehend the depth and profundity of your child each time I gaze upon my love posed in the garden of our passion, seated next to his wonderful hound. The camera has truly unsheltered his inner beauty, made alive the wistful clouds above himself and even the proud wound on the flank of the beloved canine where the fox turned about on him…”  From “The Scent of Mercury Vapor” by Franklin Cincinnatus

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JUROR |Ann M. Jastrab will be the juror for “black/white”.  Ann is the Executive Director at the Center for Photographic Art (CPA) in Carmel, California.  CPA strives to advance photography through education, exhibition and programming. These regional traditions evolved out of CPA’s predecessor, the renowned Friends of Photography. While respecting these West Coast traditions, CPA is also at the vanguard of the future of photographic imagery.

Before taking the helm at CPA, Ann was the gallery manager at Scott Nichols Gallery and also the gallery director at RayKo Photo Center in San Francisco for 10 years. Ann has curated many shows in California while simultaneously jurying, curating, and organizing numerous exhibitions for other national and international venues. Ann is also a teacher, writer, and master darkroom printer.

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SUBMISSION | Guidelines: Digital images should 1200 pixels on the longest side saved in JPEG format at 72 ppi. Each image should be labeled with consecutive numbers followed by your name, i.e. 1FirstName_LastName.jpg. The number should correspond with the number on the application form.  Please do not watermark your images.  If you need help sizing your images, please follow this link https://convert.town/image-dpi

SUBMISSION | Online:  Fill out our online application to apply, send images, and make payment with Paypal. You will receive an email confirmation upon receiving the submission and payment. You can also fill and submit the online application, print out your confirmation email, and mail it with a check for your fees to the address below.  Please note that gallery emails often end up in spam folders.  Please check your spam if you did not receive a confirmation email.

SUBMISSION | Entry Fee: $40 for the first 5 images, $5 per each additional image.  There is no limit to the number of images you may submit. Submission fees are not refundable.

SUBMISSION | Entry Reviews:  Photographers submitting 13 or more images are entitled to receive a complimentary review by the gallery directors. Photographers that enter less than 13 images, can receive a review for an additional $20. All reviews will be 30 minutes and typically scheduled a week after the exhibition results are announced.

 

ELIGIBILITY | The competition is open to all photographers both professional and amateur working in all photographic mediums and styles. International entries are welcomed. Work that has been previously exhibited in an A Smith Gallery competition is not eligible.

 

ONLINE EXHIBITION AND CATALOGUE | Jurors will be selecting 55 images in total. All 55 images will be in an exhibition catalogue and also be included in the online exhibition gallery.  A complimentary copy of the exhibition catalogue will be mailed to each photographer included in the catalogue.  There is a postage fee of $15 for non US photographers eligible to receive the catalogue.  The gallery will be featuring each of the 55 images on both Facebook and Instagram over the span of the exhibition.

“THE 27” HARDBOUND EXHIBITION BOOK | 27 images from the total 55 images will be selected for “The 27”, a hardbound fine art book of the exhibition.  “The 27” will be available for purchase.

 

NOTIFICATIONS | All photographers who have submitted an entry will receive an email notification of the juror’s selection. Please note that gallery emails often end up in spam folders.  Please check your spam if you did not receive a confirmation email.

AWARDS| The awards are as follows:

Jurors Award – an online solo exhibition, “The 27” exhibition book and feature story on the gallery blog
Directors Award – “The 27” exhibition book and a feature story on the gallery blog
Visitors Award (most Instagram likes) – $100

The solo exhibition awarded as the Juror’s Award will be scheduled at a mutually agreed time for the duration of a month.  An artist reception will be scheduled the last Saturday of the month during our FaceBook Live GalleryWalk(virtual).

 

SALES | The gallery has an online store and will include all images from the exhibition. The gallery will retain 40% of the sales price.  When a print sells, there are two options.  First, the artist may ship a signed print directly to the buyer.  Or the gallery will print the image for the artist.  Please see Printing Services for details.

 

USE RIGHTS | Photographers retain full rights to their own images. The gallery will use the photographer’s images for publicity purposes as well as on line gallery, online store, exhibition catalogue and “The 27” exhibition book.

 

FOR MORE INFORMATION | amanda@asmithgallery.com