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X-WR-CALDESC:Events for Luke Olsen Photography
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DTSTART;TZID=America/Los_Angeles:20261114T160000
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DTSTAMP:20261107T114207
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UID:2871-1794672000-1794682800@lukeolsenphotography.com
SUMMARY:Loren Nelson\, Urban Archives
DESCRIPTION:Loren Nelson\, Urban Archives \nNovember 14 – December 12\, 2026\nArtist’s reception on Saturday\, November 14 from 4-7pm. \nLightBox Photographic Gallery & Fine Printing\n1045 Marine Drive\nAstoria\, Oregon 97103\n(503) 468-0238\nHours: Wednesday – Saturday 12 pm to 5 pm \nUrban Archives opens with an artist’s reception on Saturday\, November 14 from 4-7pm. Please join us! \n“When I started organizing the world on the frosted glass of my Deardorff 4X5 view camera in 1974\, I was determined that every fine-art photograph I made would be shot with that camera and black-and-white film and printed by me in my darkroom. But in 2016\, life changed\, and downsizing eased me into the digital world\, where I began processing my images on a computer screen\, burning and dodging in Photoshop. I also came to see that some photographs were better in color. At first\, my subject matter was mostly landscapes\, seascapes\, flowers\, and natural details\, but close-up abstract images in color began to captivate me\, as did the freedom and spontaneity of photographing with a Nikon digital camera and an iPhone. \nI stumble onto many of my favorite photography projects by accident\, and Urban Archives is a good example. When I stopped to photograph layers of torn posters on a building\, I spotted a nearby wooden power pole festooned with layers\, as much a sculpture as a collage; delicate leaves of announcements hang from an infrastructure of wood and staples. As venues to advertise your band’s upcoming gig\, your yard sale\, your poetry reading\, your CD release party\, your offer of services\, or a search for a lost pet\, these beacons of communication seem as important as a Facebook or Instagram post. As curious as I am about the words and messages buried within the layers\, I admire the patina and form time and the elements have imparted. I’m fascinated by this treasure trove of faded records of past events\, and I invite you to be fascinated\, too.” \n– Loren Nelson \nComplete show info is on the LightBox website\, http://lightbox-photographic.com/shows/. LightBox also features work from The Guild at LightBox consisting of Jim Fitzgerald\, Jody Miller\, Julie Moore\, Marc McVey\, Rachel Wolf\, Kathy Radie\, Michael Puff\, Loren Nelson and Nicholas Dill. Contact LightBox at 503-468-0238. LightBox is located at 1045 Marine Drive\, hours Wed. – Sat.\, 12 – 5:00pm \n 
URL:https://lukeolsenphotography.com/event/loren-nelson-urban-archives/
LOCATION:LightBox Photographic Gallery\, 1045 Marine Dr.\, Astoria\, OR\, 97103\, United States
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DTSTART;TZID=America/Los_Angeles:20261115T143000
DTEND;TZID=America/Los_Angeles:20261115T163000
DTSTAMP:20261107T114207
CREATED:20261020T202226Z
LAST-MODIFIED:20261020T202226Z
UID:2862-1794753000-1794760200@lukeolsenphotography.com
SUMMARY:Melanie & Todd Walker\, Good Grief\, The Photograph Reimagined
DESCRIPTION:Melanie & Todd Walker\, Good Grief\, The Photograph Reimagined \nNov. 3rd – 25th\, 2026\nOpening Reception: Second Friday\, November 13th\, 5 – 7:30 pm during the Springfield Art Walk\nArtist Talk: November 15th at 2:30 pm at the Emerald Art Center (use side entrance on 5th St.) \nEmerald Art Center\n500 Main St.\nSpringfield\, OR 97477\n11 am – 4 pm Tues. – Sat.\nFree and open to the public \nGood Grief brings together the innovative work of my father\, photographic artist\, Todd Walker\, and my posthumous collaboration shaped by the imperfect negatives he left behind. \nThe work presented in this exhibition is a sampling of some of his vast body of experimental digital work which he started in 1981\, teaching himself machine language\, way before Photoshop. Drawing on his painterly background where he taught himself color theory cleaning paint buckets at RKO Studios during his teens\, he worked with his black and while negatives to create his own unique approach to color. \nThe works on silk are a part of a posthumous collaboration after finding damaged negatives from his early commercial work. Made around the time I was born\, these compromised negatives carry traces of both photographic experimentation and personal history. Working with them now\, I treat their damage and irregularities not as flaws to correct\, but as openings—places where my father’s images meet my own hand and perspective. The resulting work holds two moments in relation: his act of making the photographs and my return to them decades later. I am interested in the physicality and material qualities of the disrupted surfaces and how they interact with the images recorded so long ago. \n“The title Good Grief speaks to the tenderness and complexity of that return: the joy of discovering new possibilities in his work\, alongside the ache of making something together after his death. The exhibition is a celebration of his inventive spirit and of the unexpected forms collaboration can take across time.” \nMelanie Walker is a third-generation photographic artist whose expertise is in the area of alternative photographic processes\, immersive photographic installations and public art. She has received a number of awards including a National Endowment for the Arts Fellowship\, Colorado Council on the Arts Fellowship\, Polaroid Materials Grants and the Aaron Siskind Award and is a third time PhotoLucida Critical Mass top 50 finalist. Her work is housed in numerous collections including the CCP Tucson\, LACMA\, and the Musee National d’art in Luxembourg. She recently stepped away from teaching at the University of Colorado at Boulder where she taught historic photographic process and alternative ideas for presenting photographs throughout her teaching career of 48 years. She uses her work as a vehicle to understand the world. \nTodd Walker (1917–1998) was a self-taught pioneer in photography. Born in Salt Lake City and raised in Los Angeles\, he built a successful career as a commercial photographer in the 1940s before leaving it to pursue his artistic interests. Beginning in the 1960s\, Walker explored alternative photographic processes—techniques that do not rely on silver gelatin—to develop a distinctive visual language. Dissatisfied with the formal possibilities of conventional photography\, he gravitated toward processes such as the Sabatier effect\, sometimes called solarization\, which emphasizes the edges and lines of forms. He described this quality as “the line drawn by light.” Color also became a defining element of his work. In 1981\, Walker began using digital processing to extend his photographic practice. He taught himself computer programming to create the tools he needed\, carrying his experimentation into the final decades of his career. \n  \nmelaniewalkerartist.com
URL:https://lukeolsenphotography.com/event/melanie-todd-walker-good-grief-the-photograph-reimagined/
LOCATION:Emerald Art Center\, 500 Main St.\, Springfield\, OR\, 97477\, United States
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