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Regarding the Land: Robert Glenn Ketchum And the Legacy of Eliot Porter
Eliot Porter made his first color photograph in 1939, the year he resigned from teaching and research to pursue photography as a career. Over the next fifty years, his work was exhibited widely and he produced more than two dozen books of his photographs. He became a passionate ambassador for environmental causes and, through his images, set the standard for color landscape photography and inspired generations of photographers to come. Robert Glenn Ketchum counts himself among them. Ketchum is among the leading contemporary photographers of the American landscape. His many books use fine art color photography to address environmental issues.
The Amon Carter Museum in Fort Worth, Texas, is a museum of American art. It houses one of the most important collections of photography in the country, including Eliot Porter's archives, which the artist bequeathed to the museum upon his death in 1990. The museum is also a repository of Ketchum's work, and Regarding the Land marks the first time that photographs by these two artists have been brought together into one volume.
Regarding the Robert Glenn Ketchum and the Legacy of Eliot Porter has eighty-eight color and duotone plates. The book also includes chronologies of both artists and lists their publications and major exhibitions.
The Amon Carter Museum in Fort Worth, Texas, is a museum of American art. It houses one of the most important collections of photography in the country, including Eliot Porter's archives, which the artist bequeathed to the museum upon his death in 1990. The museum is also a repository of Ketchum's work, and Regarding the Land marks the first time that photographs by these two artists have been brought together into one volume.
Regarding the Robert Glenn Ketchum and the Legacy of Eliot Porter has eighty-eight color and duotone plates. The book also includes chronologies of both artists and lists their publications and major exhibitions.
111 pages, Hardcover
First published August 15, 2006
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August 3, 2016
Clearly, given the success of Ketchum, and of Ketchum's activist projects, I'm in the minority. But I'll say it anyway.
I find nature photography that focuses on nature as subject to be both more enjoyable and effective. Of the works selected for this volume, I preferred Porter's. Ketchum pays too much attention to color as subject, to shape and line, etc. If he'd go truly abstract, ok, maybe I'd like his stuff more. But he still has recognizable trees and snowflakes and ponds in his pictures... it's just that they seem, to me, to be disrespected as compared to what Porter and I want to see in nature photography.
That being said, Ketchum's work is not bad, by any means. Some is interesting. The embroideries are amazing, and the crews (artisans?) at SERI deserve the highest accolades. And I imagine that if I'd seen Ketchum's work unto itself, instead of in direct comparison to Porter's, I may have enjoyed it more.
But I do believe that I do not feel the need to spend more time with Ketchum's, and I do with Porter's.
I find nature photography that focuses on nature as subject to be both more enjoyable and effective. Of the works selected for this volume, I preferred Porter's. Ketchum pays too much attention to color as subject, to shape and line, etc. If he'd go truly abstract, ok, maybe I'd like his stuff more. But he still has recognizable trees and snowflakes and ponds in his pictures... it's just that they seem, to me, to be disrespected as compared to what Porter and I want to see in nature photography.
That being said, Ketchum's work is not bad, by any means. Some is interesting. The embroideries are amazing, and the crews (artisans?) at SERI deserve the highest accolades. And I imagine that if I'd seen Ketchum's work unto itself, instead of in direct comparison to Porter's, I may have enjoyed it more.
But I do believe that I do not feel the need to spend more time with Ketchum's, and I do with Porter's.
Displaying 1 of 1 review