\nburned wood, 38x37x10\"", "type": "image", "content": "box-and-burn.jpg", "size": { "content": { "width": 1200, "height": 1680 }, "thumb": { "width": 0, "height": 0 }, "featuredImage": { "width": 0, "height": 0 }, "bytes": 345159 }, "overrides": {}, "filters": [ "Rethinking Fire" ], "dateAdded": "2017-07-27T07:27:23.000Z", "key": "10141", "linkTarget": "" }, "10142": { "id": 10142, "label": "Flow", "caption": "Flow
\noil on canvas, 30x50\"diptych", "type": "image", "content": "airfoil.jpg", "size": { "content": { "width": 2000, "height": 1186 }, "thumb": { "width": 0, "height": 0 }, "featuredImage": { "width": 0, "height": 0 }, "bytes": 168278 }, "dateAdded": "2017-07-27T08:06:27.000Z", "filters": [ "Continuum" ], "linkTarget": "", "key": "10142", "overrides": {} }, "10143": { "id": 10143, "label": "Connection", "caption": "Connection
\noil on canvas, 30x30\"", "type": "image", "content": "brokenline.jpg", "size": { "content": { "width": 1500, "height": 1491 }, "thumb": { "width": 0, "height": 0 }, "featuredImage": { "width": 0, "height": 0 }, "bytes": 136753 }, "linkTarget": "", "dateAdded": "2017-07-27T08:06:32.000Z", "filters": [ "Continuum" ], "overrides": {}, "key": "10143" }, "10144": { "id": 10144, "label": "G1606 Untitled", "caption": "G1606
\noil on canvas, 30x30\"", "type": "image", "content": "centerdot.jpg", "size": { "content": { "width": 1400, "height": 1398 }, "thumb": { "width": 0, "height": 0 }, "featuredImage": { "width": 0, "height": 0 }, "bytes": 113987 }, "overrides": {}, "key": "10144", "filters": [ "Continuum" ], "dateAdded": "2017-07-27T08:06:36.000Z", "linkTarget": "" }, "10145": { "id": 10145, "label": "Continuum I", "caption": "Continuum I
\noil on canvas, two panels, 30x40\" each
\nSOLD", "type": "image", "content": "centerline.jpg", "size": { "content": { "width": 2000, "height": 1320 }, "thumb": { "width": 0, "height": 0 }, "bytes": 200781, "featuredImage": { "width": 0, "height": 0 } }, "key": "10145", "dateAdded": "2017-07-27T08:06:42.000Z", "overrides": {}, "linkTarget": "", "filters": [ "Continuum" ] }, "10146": { "id": 10146, "label": "Seamless", "caption": "Seamless
\noil on canvas, wood 36x52\" (sold)", "type": "image", "content": "comet_3.jpg", "size": { "content": { "width": 2000, "height": 1351 }, "thumb": { "width": 0, "height": 0 }, "featuredImage": { "width": 0, "height": 0 }, "bytes": 179899 }, "filters": [ "Continuum" ], "overrides": {}, "linkTarget": "", "dateAdded": "2017-07-27T08:06:47.000Z", "key": "10146" }, "10147": { "id": 10147, "label": "Emanate", "caption": "Emanate
\noil on canvas, 30x30\"", "type": "image", "content": "diagonal.jpg", "size": { "content": { "width": 1400, "height": 1402 }, "thumb": { "width": 0, "height": 0 }, "bytes": 88608, "featuredImage": { "width": 0, "height": 0 } }, "dateAdded": "2017-07-27T08:06:51.000Z", "overrides": {}, "linkTarget": "", "filters": [ "Continuum" ], "key": "10147" }, "10148": { "id": 10148, "label": "Elliptical", "caption": "Elliptical
\noil on canvas, two panels, 30x40\" each", "type": "image", "content": "ellipse.jpg", "size": { "content": { "width": 2000, "height": 1326 }, "thumb": { "width": 0, "height": 0 }, "featuredImage": { "width": 0, "height": 0 }, "bytes": 216735 }, "overrides": {}, "dateAdded": "2017-07-27T08:06:56.000Z", "filters": [ "Continuum" ], "key": "10148", "linkTarget": "" }, "10150": { "id": 10150, "label": "Three Circles", "caption": "Three Circles
\noil on canvas, 30x40\"", "type": "image", "content": "three-circles.jpg", "size": { "content": { "width": 2000, "height": 1498 }, "thumb": { "width": 0, "height": 0 }, "featuredImage": { "width": 0, "height": 0 }, "bytes": 287558 }, "linkTarget": "", "filters": [ "Continuum" ], "key": "10150", "overrides": {}, "dateAdded": "2017-07-27T08:07:08.000Z" }, "10151": { "id": 10151, "label": "Untitled G1601", "caption": "G1601
\noil on canvas, 48x48\"", "type": "image", "content": "three-stripe-painting.jpg", "size": { "content": { "width": 1400, "height": 1399 }, "thumb": { "width": 0, "height": 0 }, "featuredImage": { "width": 0, "height": 0 }, "bytes": 160161 }, "filters": [ "Continuum" ], "dateAdded": "2017-07-27T08:07:13.000Z", "linkTarget": "", "overrides": {}, "key": "10151" }, "10152": { "id": 10152, "label": "Intersect", "caption": "Intersect
\noil on canvas, 30x40\"", "type": "image", "content": "x.jpg", "size": { "content": { "width": 2000, "height": 1492 }, "thumb": { "width": 0, "height": 0 }, "featuredImage": { "width": 0, "height": 0 }, "bytes": 253524 }, "linkTarget": "", "dateAdded": "2017-07-27T08:07:20.000Z", "overrides": {}, "filters": [ "Continuum" ], "key": "10152" }, "10153": { "id": 10153, "label": "CONTACT US", "caption": "", "type": "contactForm", "content": "{\"contactFormEmail\":\"bryandavidgriffith@hotmail.com\",\"contactFormFields\":\"Name,Email,Phone,Comments\",\"contactFormSubject\":\"Contact Form Submitted\",\"contactFormExtra\":\"
\\n6 Pine Ridge Drive\\nFlagstaff, AZ 86005\\n1.888.450.6597\\nbryandavidgriffith (at) hotmail.com\\nfacebook: @bryandavidgriffith\\n\\n
Represented in Arizona by Bentley Gallery, Phoenix. Please contact the gallery to inquire about purchases of paintings, sculptures, and experimental work.\\n
view available works in gallery inventory\\n
view available works for sale on Artsy\\n\\n
To inquire about purchasing photographic prints, \\nclick here to sign up for our mailing list.\\nYou will then receive an automated reply containing our price list.\\n\\nFor image licensing, commissions, exhibition planning, and other inquiries,\\nplease use the contact form on this page.\"}", "size": { "content": { "width": 0, "height": 0 }, "thumb": { "width": 0, "height": 0 }, "bytes": 0, "featuredImage": { "width": 0, "height": 0 } }, "dateAdded": "2017-07-27T09:06:23.000Z", "key": "10153", "linkTarget": "", "overrides": {}, "filters": [ "Text Pages" ] }, "10154": { "id": 10154, "label": "F1701 Sine Qua Non", "caption": "Sine Qua Non
\npetroleum smoke accumulated on paper, 10x10\"", "type": "image", "content": "F1701_small.jpg", "size": { "content": { "width": 1800, "height": 1800 }, "thumb": { "width": 0, "height": 0 }, "featuredImage": { "width": 0, "height": 0 }, "bytes": 326975 }, "dateAdded": "2017-07-28T06:00:07.000Z", "overrides": {}, "linkTarget": "", "filters": [ "Rethinking Fire" ] }, "10155": { "id": 10155, "label": "F1702_small", "caption": "Liminal F1702
\npetroleum smoke accumulated on paper, 10x10\"", "type": "image", "content": "F1702_small.jpg", "size": { "content": { "width": 1800, "height": 1801 }, "thumb": { "width": 0, "height": 0 }, "bytes": 203251, "featuredImage": { "width": 0, "height": 0 } }, "dateAdded": "2017-07-28T06:00:13.000Z", "filters": [ "Rethinking Fire" ], "overrides": {}, "linkTarget": "" }, "10156": { "id": 10156, "label": "F1703_small", "caption": "Liminal F1703
\npetroleum smoke accumulated on paper, 10x10\" each", "type": "image", "content": "F1703_small.jpg", "size": { "content": { "width": 1800, "height": 1800 }, "thumb": { "width": 0, "height": 0 }, "bytes": 292193, "featuredImage": { "width": 0, "height": 0 } }, "overrides": {}, "dateAdded": "2017-07-28T06:00:20.000Z", "linkTarget": "", "filters": [ "Rethinking Fire" ] }, "10157": { "id": 10157, "label": "Broken Equilibrium", "caption": "Broken Equilibrium
\nwalk-through installation of burned trees salvaged from wildfire sites and trees from thinning projects, 13.5x14x8 feet
\nInstallation at Coconino Center for the Arts.", "type": "image", "content": "broken-equilibrium-web.jpg", "size": { "content": { "width": 1920, "height": 1080 }, "thumb": { "width": 0, "height": 0 }, "featuredImage": { "width": 0, "height": 0 }, "bytes": 365554 }, "dateAdded": "2017-07-28T07:05:04.000Z", "overrides": {}, "linkTarget": "", "filters": [ "Rethinking Fire" ] }, "10158": { "id": 10158, "label": "E1611 Breakthrough", "caption": "Breakthrough
\nsmoke accumulated in encaustic beeswax on panels, wood, 36x52x5\"
\nSOLD", "type": "image", "content": "E1611.jpg", "size": { "content": { "width": 1800, "height": 1257 }, "thumb": { "width": 0, "height": 0 }, "featuredImage": { "width": 0, "height": 0 }, "bytes": 166553 }, "overrides": {}, "filters": [ "Rethinking Fire" ], "linkTarget": "", "key": "10158", "dateAdded": "2017-07-28T07:05:09.000Z" }, "10159": { "id": 10159, "label": "E1615 Radiance", "caption": "Radiance
\nsmoke accumulated in encaustic beeswax on panel, 30x30x2.5\"
\nSOLD", "type": "image", "content": "E1615.jpg", "size": { "content": { "width": 1800, "height": 1800 }, "thumb": { "width": 0, "height": 0 }, "featuredImage": { "width": 0, "height": 0 }, "bytes": 271811 }, "linkTarget": "", "filters": [ "Rethinking Fire" ], "overrides": {}, "key": "10159", "dateAdded": "2017-07-28T07:05:15.000Z" }, "10160": { "id": 10160, "label": "E1618", "caption": "Convergence
\nsmoke accumulated in encaustic beeswax on panel, 30x30x2.5\"", "type": "image", "content": "E1618.jpg", "size": { "content": { "width": 1800, "height": 1800 }, "thumb": { "width": 0, "height": 0 }, "featuredImage": { "width": 0, "height": 0 }, "bytes": 247356 }, "linkTarget": "", "filters": [ "Rethinking Fire" ], "overrides": {}, "dateAdded": "2017-07-28T07:05:22.000Z", "key": "10160" }, "10161": { "id": 10161, "label": "E1619 Aureole", "caption": "Aureole
\nsmoke accumulated in encaustic beeswax on panel, 30x30x2.5\"", "type": "image", "content": "E1619.jpg", "size": { "content": { "width": 1800, "height": 1801 }, "thumb": { "width": 0, "height": 0 }, "bytes": 228253, "featuredImage": { "width": 0, "height": 0 } }, "filters": [ "Rethinking Fire" ], "overrides": {}, "linkTarget": "", "dateAdded": "2017-07-28T07:05:28.000Z" }, "10165": { "id": 10165, "label": "E1623 Continuity", "caption": "Continuity
\nsmoke accumulated in encaustic beeswax on panels, wood, 36x72x5\"", "type": "image", "content": "E1623-Continuity.jpg", "size": { "content": { "width": 2132, "height": 1200 }, "thumb": { "width": 0, "height": 0 }, "featuredImage": { "width": 0, "height": 0 }, "bytes": 279224 }, "overrides": {}, "linkTarget": "", "filters": [ "Rethinking Fire" ], "dateAdded": "2017-07-28T07:05:54.000Z" }, "10168": { "id": 10168, "label": "Eclipse", "caption": "Eclipse", "type": "image", "content": "eclipse.jpg", "size": { "content": { "width": 1800, "height": 1800 }, "thumb": { "width": 0, "height": 0 }, "featuredImage": { "width": 0, "height": 0 }, "bytes": 231477 }, "linkTarget": "", "filters": [ "Rethinking Fire" ], "dateAdded": "2017-07-28T07:06:11.000Z", "overrides": {} }, "10169": { "id": 10169, "label": "Penumbra", "caption": "© Bryan David Griffith", "type": "image", "content": "eclipse2.jpg", "size": { "content": { "width": 1800, "height": 1799 }, "thumb": { "width": 0, "height": 0 }, "bytes": 315047, "featuredImage": { "width": 0, "height": 0 } }, "dateAdded": "2017-07-28T07:06:19.000Z", "filters": [ "Rethinking Fire" ], "linkTarget": "", "overrides": {} }, "10170": { "id": 10170, "label": "eclipse3", "caption": "© Bryan David Griffith", "type": "image", "content": "eclipse3.jpg", "size": { "content": { "width": 1800, "height": 1800 }, "thumb": { "width": 0, "height": 0 }, "bytes": 251271, "featuredImage": { "width": 0, "height": 0 } }, "overrides": {}, "dateAdded": "2017-07-28T07:06:25.000Z", "linkTarget": "", "filters": [ "Rethinking Fire" ] }, "10171": { "id": 10171, "label": "equilibrium", "caption": "© Bryan David Griffith", "type": "image", "content": "equilibrium.jpg", "size": { "content": { "width": 1800, "height": 1414 }, "thumb": { "width": 0, "height": 0 }, "featuredImage": { "width": 0, "height": 0 }, "bytes": 195441 }, "dateAdded": "2017-07-28T07:06:30.000Z", "filters": [ "Rethinking Fire" ], "overrides": {}, "linkTarget": "" }, "10172": { "id": 10172, "label": "exclipse1", "caption": "© Bryan David Griffith", "type": "image", "content": "exclipse1.jpg", "size": { "content": { "width": 1800, "height": 1800 }, "thumb": { "width": 0, "height": 0 }, "featuredImage": { "width": 0, "height": 0 }, "bytes": 348249 }, "linkTarget": "", "dateAdded": "2017-07-28T07:06:38.000Z", "overrides": {}, "filters": [ "Rethinking Fire" ] }, "10173": { "id": 10173, "label": "horizon-1", "caption": "© Bryan David Griffith", "type": "image", "content": "horizon-1.jpg", "size": { "content": { "width": 1800, "height": 1800 }, "thumb": { "width": 0, "height": 0 }, "bytes": 319183, "featuredImage": { "width": 0, "height": 0 } }, "linkTarget": "", "overrides": {}, "filters": [ "Rethinking Fire" ], "dateAdded": "2017-07-28T07:06:45.000Z" }, "10174": { "id": 10174, "label": "horizon-3", "caption": "© Bryan David Griffith", "type": "image", "content": "horizon-3.jpg", "size": { "content": { "width": 1800, "height": 1800 }, "thumb": { "width": 0, "height": 0 }, "bytes": 317981, "featuredImage": { "width": 0, "height": 0 } }, "filters": [ "Rethinking Fire" ], "dateAdded": "2017-07-28T07:06:52.000Z", "linkTarget": "", "overrides": {} }, "10175": { "id": 10175, "label": "horizon-4", "caption": "© Bryan David Griffith", "type": "image", "content": "horizon-4.jpg", "size": { "content": { "width": 1800, "height": 1800 }, "thumb": { "width": 0, "height": 0 }, "featuredImage": { "width": 0, "height": 0 }, "bytes": 273754 }, "linkTarget": "", "dateAdded": "2017-07-28T07:06:58.000Z", "filters": [ "Rethinking Fire" ], "overrides": {} }, "10176": { "id": 10176, "label": "horizon-5", "caption": "© Bryan David Griffith", "type": "image", "content": "horizon-5.jpg", "size": { "content": { "width": 1800, "height": 1800 }, "thumb": { "width": 0, "height": 0 }, "featuredImage": { "width": 0, "height": 0 }, "bytes": 227844 }, "filters": [ "Rethinking Fire" ], "dateAdded": "2017-07-28T07:07:04.000Z", "linkTarget": "", "overrides": {} }, "10177": { "id": 10177, "label": "horizon-6", "caption": "© Bryan David Griffith", "type": "image", "content": "horizon-6.jpg", "size": { "content": { "width": 1800, "height": 1800 }, "thumb": { "width": 0, "height": 0 }, "bytes": 276504, "featuredImage": { "width": 0, "height": 0 } }, "overrides": {}, "filters": [ "Rethinking Fire" ], "dateAdded": "2017-07-28T07:07:10.000Z", "linkTarget": "" }, "10178": { "id": 10178, "label": "horizon2", "caption": "© Bryan David Griffith", "type": "image", "content": "horizon2.jpg", "size": { "content": { "width": 1800, "height": 1800 }, "thumb": { "width": 0, "height": 0 }, "bytes": 398574, "featuredImage": { "width": 0, "height": 0 } }, "linkTarget": "", "filters": [ "Rethinking Fire" ], "dateAdded": "2017-07-28T07:07:19.000Z", "overrides": {} }, "10179": { "id": 10179, "label": "", "caption": "Bryan David Griffith: Rethinking Fire installed at Mesa Contemporary Arts Museum, 2017
\nRethinking Fire is a traveling exhibition that explores the issues behind catastrophic wildfires, from past land management practices to climate change.
\nNamed a top-10 art exhibition of 2017 by the Phoenix New Times
\n\"A breathtaking commentary on human interference with nature\" -Deborah Ross, Visual Art Source\n", "type": "image", "content": "mesa-entrance-pano-small.jpg", "size": { "content": { "width": 2476, "height": 1000 }, "thumb": { "width": 0, "height": 0 }, "bytes": 338016, "featuredImage": { "width": 0, "height": 0 } }, "filters": [ "Rethinking Fire" ], "postDate": "2019-02-10T22:59:39.619Z", "key": "10179", "overrides": { "captionDefault": true, "captionAnchorTo": "media item", "captionFontColor": "#7D7D7D", "captionAlignHorizontal": "left", "captionAlignVertical": "bottom", "captionOffsetY": -100, "captionWidth": 800, "captionHeight": 100, "captionTextAlignVertical": "top", "captionTextAlign": "left", "captionPaddingTop": 10, "captionPaddingBottom": 10, "captionPaddingLeft": 0, "captionPaddingRight": 0, "captionOffsetX": 0, "captionBackgroundRectColor": "#FFFFFF", "captionAutoPosition": false }, "linkTarget": "", "dateAdded": "2017-07-28T07:07:26.000Z" }, "10180": { "id": 10180, "label": "P1632-Impermanence-of-Forests", "caption": "© Bryan David Griffith", "type": "image", "content": "P1632-Impermanence-of-Forests.jpg", "size": { "content": { "width": 1200, "height": 1793 }, "thumb": { "width": 0, "height": 0 }, "featuredImage": { "width": 0, "height": 0 }, "bytes": 248052 }, "dateAdded": "2017-07-28T07:07:32.000Z", "overrides": {}, "filters": [ "Rethinking Fire" ], "linkTarget": "" }, "10181": { "id": 10181, "label": "reconstruction", "caption": "© Bryan David Griffith", "type": "image", "content": "reconstruction.jpg", "size": { "content": { "width": 1200, "height": 1200 }, "thumb": { "width": 0, "height": 0 }, "featuredImage": { "width": 0, "height": 0 }, "bytes": 478669 }, "linkTarget": "", "dateAdded": "2017-07-28T07:07:44.000Z", "overrides": {}, "filters": [ "Rethinking Fire" ] }, "10182": { "id": 10182, "label": "S1629 Two Degrees of Impact", "caption": "Two Degrees of Impact
\nburned wood, 36x35x5\"", "type": "image", "content": "S1629.jpg", "size": { "content": { "width": 1200, "height": 1500 }, "thumb": { "width": 0, "height": 0 }, "bytes": 389904, "featuredImage": { "width": 0, "height": 0 } }, "linkTarget": "", "key": "10182", "overrides": {}, "dateAdded": "2017-07-28T07:07:52.000Z", "filters": [ "Rethinking Fire" ] }, "10183": { "id": 10183, "label": "S1630-Containment", "caption": "© Bryan David Griffith", "type": "image", "content": "S1630-Containment.jpg", "size": { "content": { "width": 1200, "height": 1500 }, "thumb": { "width": 0, "height": 0 }, "bytes": 296407, "featuredImage": { "width": 0, "height": 0 } }, "overrides": {}, "linkTarget": "", "dateAdded": "2017-07-28T07:08:00.000Z", "filters": [ "Rethinking Fire" ] }, "10184": { "id": 10184, "label": "S1631-Rebirth-detail-small", "caption": "© Bryan David Griffith", "type": "image", "content": "S1631-Rebirth-detail-small.jpg", "size": { "content": { "width": 1793, "height": 1200 }, "thumb": { "width": 0, "height": 0 }, "featuredImage": { "width": 0, "height": 0 }, "bytes": 308640 }, "filters": [ "Rethinking Fire" ], "dateAdded": "2017-07-28T07:08:07.000Z", "linkTarget": "", "overrides": {} }, "10185": { "id": 10185, "label": "S1631 Rebirth", "caption": "Rebirth
\nAspen leaves coated in encaustic beeswax, charcoal debris from forest fire, 4.5x4.5x10 feet
\nInstallation at Mesa Contemporary Arts Museum", "type": "image", "content": "S1631-Rebirth-small.jpg", "size": { "content": { "width": 1200, "height": 1800 }, "thumb": { "width": 0, "height": 0 }, "bytes": 345339, "featuredImage": { "width": 0, "height": 0 } }, "overrides": {}, "dateAdded": "2017-07-28T07:08:14.000Z", "filters": [ "Rethinking Fire" ], "linkTarget": "" }, "10186": { "id": 10186, "label": "S1632-Impermanence-of-Forests-installed", "caption": "© Bryan David Griffith", "type": "image", "content": "S1632-Impermanence-of-Forests-installed.jpg", "size": { "content": { "width": 2134, "height": 1200 }, "thumb": { "width": 0, "height": 0 }, "featuredImage": { "width": 0, "height": 0 }, "bytes": 247150 }, "filters": [ "Rethinking Fire" ], "overrides": {}, "dateAdded": "2017-07-28T07:08:20.000Z", "linkTarget": "" }, "10187": { "id": 10187, "label": "Severance", "caption": "Severance
\nsmoke accumulated in encaustic beeswax on panels, wood, 60x52x5\"", "type": "image", "content": "severance-4.jpg", "size": { "content": { "width": 1591, "height": 1250 }, "thumb": { "width": 0, "height": 0 }, "featuredImage": { "width": 0, "height": 0 }, "bytes": 316119 }, "filters": [ "Rethinking Fire" ], "linkTarget": "", "dateAdded": "2017-07-28T07:08:27.000Z", "key": "10187", "overrides": {} }, "10188": { "id": 10188, "label": "severance-side-view", "caption": "© Bryan David Griffith", "type": "image", "content": "severance-side-view.jpg", "size": { "content": { "width": 1712, "height": 1250 }, "thumb": { "width": 0, "height": 0 }, "bytes": 276718, "featuredImage": { "width": 0, "height": 0 } }, "linkTarget": "", "overrides": {}, "dateAdded": "2017-07-28T07:08:34.000Z", "filters": [ "Rethinking Fire" ] }, "10189": { "id": 10189, "label": "Tension, Compression, Equilibrium", "caption": "Tension, Compression, Equilibrium
\nSmoke accumulated in encaustic beeswax on panels, 11x14x1.5\" each", "type": "image", "content": "tension-compression-equilibrium.jpg", "size": { "content": { "width": 2400, "height": 614 }, "thumb": { "width": 0, "height": 0 }, "bytes": 156124, "featuredImage": { "width": 0, "height": 0 } }, "linkTarget": "", "overrides": {}, "dateAdded": "2017-07-28T07:08:38.000Z", "filters": [ "Rethinking Fire" ], "key": "10189" }, "10190": { "id": 10190, "label": "UAMA_Broken_Equilibrium", "caption": "© Bryan David Griffith", "type": "image", "content": "UAMA_Broken_Equilibrium.jpg", "size": { "content": { "width": 1793, "height": 1200 }, "thumb": { "width": 0, "height": 0 }, "featuredImage": { "width": 0, "height": 0 }, "bytes": 511604 }, "dateAdded": "2017-07-28T07:08:48.000Z", "overrides": {}, "filters": [ "Rethinking Fire" ], "linkTarget": "" }, "10191": { "id": 10191, "label": "UAMA_install_south", "caption": "© Bryan David Griffith", "type": "image", "content": "UAMA_install_south.jpg", "size": { "content": { "width": 1800, "height": 1099 }, "thumb": { "width": 0, "height": 0 }, "bytes": 308874, "featuredImage": { "width": 0, "height": 0 } }, "linkTarget": "", "filters": [ "Rethinking Fire" ], "dateAdded": "2017-07-28T07:08:55.000Z", "overrides": {} }, "10192": { "id": 10192, "label": "UAMA_north", "caption": "© Bryan David Griffith", "type": "image", "content": "UAMA_north.jpg", "size": { "content": { "width": 1797, "height": 1200 }, "thumb": { "width": 0, "height": 0 }, "bytes": 224750, "featuredImage": { "width": 0, "height": 0 } }, "linkTarget": "", "overrides": {}, "filters": [ "Rethinking Fire" ], "dateAdded": "2017-07-28T07:09:00.000Z" }, "10193": { "id": 10193, "label": "UAMA-northwest", "caption": "© Bryan David Griffith", "type": "image", "content": "UAMA-northwest.jpg", "size": { "content": { "width": 1793, "height": 1200 }, "thumb": { "width": 0, "height": 0 }, "featuredImage": { "width": 0, "height": 0 }, "bytes": 246766 }, "overrides": {}, "filters": [ "Rethinking Fire" ], "dateAdded": "2017-07-28T07:09:06.000Z", "linkTarget": "" }, "10194": { "id": 10194, "label": "Remnant", "caption": "Remnant
\nsmoke accumulated in encaustic beeswax on panel, 30x30x2.5\"", "type": "image", "content": "white-ring.jpg", "size": { "content": { "width": 1800, "height": 1799 }, "thumb": { "width": 0, "height": 0 }, "featuredImage": { "width": 0, "height": 0 }, "bytes": 268668 }, "dateAdded": "2017-07-28T07:09:12.000Z", "key": "10194", "linkTarget": "", "overrides": {}, "filters": [ "Rethinking Fire" ] }, "10195": { "id": 10195, "label": "BIOGRAPHY", "caption": "", "type": "html", "content": "
Bryan David Griffith explores profound issues using simple forms and materials. An interdisciplinary artist, he works across multiple media and learns or invents new techniques as needed to convey the concepts in each body of work. Griffith’s unconventional career began when he stumbled upon an abandoned, dog-eared photo manual and built a makeshift darkroom while studying engineering at the University of Michigan. After graduation he worked for an international management consulting firm, but found his job unfulfilling and was troubled by the environmental impact of his clients. He ultimately resigned to follow his conscience. He bought an old van to live out of, saving every dime for gas and supplies as he toured the country to build a new career as an artist. When Griffith’s van broke down in Flagstaff, he fell in love with the town, and then his wife, Tasha. He never left.
In 2016, Griffith won the Flagstaff Arts Council’s Viola Award and the Phoenix Art Museum’s Artist Grant for his work on wildfire. His work is held in a number of permanent collections including the Museum of Fine Arts Houston, Phoenix Art Museum, University of Michigan Museum of Art, Center for Creative Photography, and Fort Wayne Museum of Art. His recent solo exhibitions include the High Desert Museum, Fresno Art Museum, Mesa Contemporary Arts Museum, Coconino Center for the Arts, and Griffin Museum of Photography.
Mar 9: Opening reception at Bermudez Projects in Los Angeles for Of Flames and Shadows Gone Astray, featuring four artists finding catharsis through fire: Bryan David Griffith, Francesca Bifulco, Cody Norris, and Malado Francine.
Mar 1: Bryan has been named a Finalist once again by panelists for Creative Flagstaff's Viola Awards for outstanding visual arts project of 2023 for Envision. Tickets now available for the awards ceremony at the Orpheum on March 23.
Feb 22: Enrollment now open for Bryan's 2024 Oregon Coast workshops at Sitka Center for Art and Ecology: Cyanotype for Mixed-Media Artists, June 13–15, and The Art of Seeing: Composition for Photographers, June 16–17.
Jun 2: Envision is held over from ARTx: Arizona Art + Ideas Experience by popular demand for an additional viewing during First Friday Art Walk 5:30-10pm at the pop-up Nackard Gallery.
May 4: The Arizona Daily Sun features an article about Bryan's upcoming large-scale installation Envision and collaboration with the Coconino High School welding program for ARTx: Arizona Art + Ideas Experience
Mar 3: Southwest Contemporary magazine features Bryan's work on water issues Watershed, along with Rethinking Fire.
Feb 23: Sitka Center for Art and Ecology
has invited Bryan to teach a workshop July 26-28 on approaches to printing from botanical forms without a press. Registration now open.
Jan 3: Phoenix Art Museum interviews Bryan about his background, inspiration, and advice for aspiring artists.
Oct 7: World Forestry Center interviews Bryan and Paul Hessburg about the art and science collaboration behind Rethinking Fire.
Sep 20: Hyperallergic features Bryan in an article about artists working with wildfire.
Jun 15: Bryan's solo exhibition Rethinking Fire opens at the World Forestry Center Discovery Museum in Portland, OR.
Mar 9: Creative Flagstaff names Bryan's project Watershed a Finalist for the 2022 Viola Award for Excellence in Visual Arts.
Feb 23: Sitka Center for Art and Ecology has invited Bryan to teach a workshop Aug 1-4 on creative approaches to contemporary botanical art, including the techniques he developed for Watershed. Registration now open.
Jan 9:\tBryan interviewed on News Channel 21's segment about Rethinking Fire closing at the High Desert Museum.
Jan 6:\tBryan featured on OPB's Think Out Loud episode \"How Wildfires Inspired Artists\", broadcast on Oregon NPR stations.
Jan 4:\tBryan and Julie Comnick deliver the keynote lecture \"Art on Fire\" for the Spring Creek Project at Oregon State University's lecture series \"Lookout: Envisioning Futures with Wildfire\".
Jan 3:\tBryan and Julie Comnick interviewed on JPR's Jefferson Exchange episode \"How Art Can Help Us Understand Wildfire\", broadcast on Southern Oregon/Northern California NPR stations.
Nov 2:\tRethinking Fire at the High Desert Museum is included in Lindsay Costello's column \"VizArts Monthly: Exploratory Work in Fresh Spaces\" for Oregon Arts Watch.
Oct 28: Watershed at the Coconino Center for the Arts included in Sedona Monthly magazine's November picks for things to do in Northern Arizona.
Oct 16: News Channel 21 reviews Rethinking Fire at the High Desert Museum.
Oct 1:\tMountain Living Magazine includes Watershed in its picks for October events
Aug 30: The Arizona Daily Sun reviews Watershed and the new shows at the Coconino Center for the Arts.
Feb 7:\tAlison Antelman interviews Bryan about working with natural and unconventional materials for the Stories from the Studio Series.
Jul 27:\tCurator Chaden Halfhill interviews Bryan for Emerging Horizons at Olsen-Larson Gallery, an exhibition about artists whose work has evolved in response to crises.
Jul 15:\tBryan will be giving a free lecture for the Flagstaff Coconino County Public Library's Artist and Author Speaker Series at 6pm.
Apr 21:\tBryan's photo Sanctuary is featured as Duncan Miller Gallery's Daily Photograph on the theme of self-isolation.
Dec 30: Bryan's solo exhibition Rethinking Fire at Fresno Art Museum named one of the top 20 cultural events of 2019 in California's Central Valley by the Munro Review.
Sep 1:\tSedona Monthly publishes a six page interview and article about Bryan by Teresa Traverse \"If Bryan David Griffith's story wasn't real, you'd swear he made the whole thing up.\"
Jun 8:\tDonald Munroe reviews Rethinking Fire: Critic's Choice: Rethinking Fire Sparks Questions at Fresno Art Museum.
Jun 6:\tThe Phoenix New Times names In the Absence of Color at Bentley Gallery one of the seven best exhibits in the metro area this month.
Feb 1:\tRethinking Fire opens tonight 6–8pm at the Fresno Art Museum. Talks with Bryan, director Michelle Perry-Ellis and curator Sarah Vargas begin at 6pm.
Sep 21: 145 Degrees Fahrenheit: Bryan David Griffith, Hiro Yokose, Michael David, and Mitja Tusek opens at Bentley Gallery in Phoenix, continuing until Nov 10.
Jan 27: The Phoenix Art Museum's Going Once! art auction and fundraising gala features a work by Bryan along with pieces by Eric Fischl, Kehinde Wiley, Erica Deeman, Patricia Sannit, and more.
Dec 17: \"Griffith's exhibition prompted reflection on the role human choices play before, during, and after a wide variety of events typically dubbed natural disasters. But it also demonstrated that tragedy can give birth to beauty and resilience.\" Lynn Trimble names Rethinking Fire one of metro Phoenix's top 10 art exhibitions of 2017 in the Phoenix New Times.
Jun 9: The Downtown Phoenix Journal covers the opening of Contemporary Forum at the Phoenix Art Museum, featuring major works by David Emmitt Adams, Cristine Cassano, Bryan David Griffith, Constance McBride, Mary Meyer, and Patricia Sannit, on view until Sep. 17.
May 28: The Albuquerque Journal interviews Bryan about \"Fires of Change\" at 516 ARTS, on view until July 22.
Apr 28: Arizona Citizens for the Arts has commissioned Bryan to create a new work for the 2017 Governor's Art Awards at the Phoenician Resort in Scottsdale.
Apr 1: \"A breathtaking commentary on human interference with nature...\", critic Deborah Ross reviews Bryan's show \"Rethinking Fire\" at the Mesa Contemporary Art Museum for Visual Art Source. Mar 8: Lynn Trimble includes Bryan's show \"Rethinking Fire\" in the Phoenix New Times article \"You Need to See these 10 Spring Art Shows in Metro Phoenix.
Dec 15: AZ Lifestyle features Bryan as one of \"Three Must Know Artists\" in an 8-page article by Amy Young in the December issue.
Nov 11: Bryan is now represented by Bentley Gallery, one of Phoenix's leading contemporary galleries, \"representing mid-career and museum-collected artists from the US and Europe for over 30 years.\"
Nov 1: The December 2016 cover of Black & White, features \"Bryan David Griffith: Searching Within\", a 10-page article by Lorraine Anne Davis. Available at bookstores and newsstands nationally until mid-December.
Oct 28: The City of Portland, Oregon has acquired one of Bryan's photographs for its permanent collection, the Visual Chronicle of Portland.
Sep 18: Seth Muller's review \"Griffith: Speaking Volumes\", headlines the Arts and Living section of the Arizona Daily Sun.
May 16: Bryan is the featured artist this week on Art Photo Index.
May 11: The Phoenix Art Museum has awarded Bryan one of five 2016 Contemporary Forum Artist Grants, as reported in the Phoenix New Times.
Apr 15: Bryan has been named one of 7 finalists to receive a $5000 grant and advance to the final round of the Arrow Electronics Five Years Out Art Challenge in Denver this summer.
Mar 5: The Flagstaff Arts Council has announced Bryan as the winner of the 2016 Viola Award for Excellence in the Visual Arts at this year's Viola Awards Gala, a record-setting fundraiser for the arts at the High Country Conference Center.
Feb 12: Bryan's shows The Last Bookstores and Fires of Change are featured on All About Photo in this article by Ann Jastrab.
The HeArt Box, Flagstaff, AZ
Bryan David Griffith: Tending the Flame
Nov 21, 2025 – Jan 4, 2026
Bentley Gallery, Phoenix, AZ
Springboard
Jun 3 – 28, 2025
Bermudez Projects, Los Angeles, CA
Of Flames and Ashes Gone Astray
Bryan David Griffith, Francesca Bifulco, Cody Norris, and Malado Francine
Mar 9 – Apr 6, 2024
Beasley Gallery at Northern Arizona University, Flagstaff, AZ
Local, featuring 10 platinum/palladium prints from Traversing the Fog
Oct 6 – Nov 1, 2023
World Forestry Center Discovery Museum, Portland, OR
Bryan David Griffith: Rethinking Fire solo exhibition
HELD OVER until Jul 31, 2023
Bentley Gallery, Phoenix, AZ
Summer Show, featuring paintings from Rethinking Fire
Jun 14 – Jul 15, 2023
Cherry Creek Arts Festival, Denver, CO
selected works from Watershed
Jul 1-3, 2023
ARTx: Art x Ideas Experience Arizona, Flagstaff, AZ
Bryan David Griffith: Envision large-scale community installation in
May 26-27, 2023 HELD OVER until June 3, 2023
High Desert Museum, Bend, OR
Bryan David Griffith: Rethinking Fire solo exhibition
Oct 16 – Jan 15, 2022
Coconino Center for the Arts, Flagstaff, AZ
Bryan David Griffith: Watershed solo exhibition
Aug 25 – Nov 13, 2021
Bentley Gallery, Phoenix, AZ
Annual Summer Show group show of represented artists
Jul 2 – Aug 13, 2021
MUSEUM COLLECTIONS
Museum of Fine Arts, Houston, Texas
Phoenix Art Museum, Phoenix, Arizona
University of Michigan Museum of Art, Ann Arbor, Michigan
Fresno Art Museum, Fresno, California
Center for Creative Photography, Tucson, Arizona
High Desert Museum, Bend, Oregon
Mesa Contemporary Arts Museum, Arizona
Fort Wayne Museum of Art, Fort Wayne, Indiana
SELECT SOLO EXHIBITIONS
2023\tARTx: Arizona Art + Ideas Experience, Flagstaff, Arizona
2022\tWorld Forestry Center Discovery Museum, Portland, Oregon
2021\tHigh Desert Museum, Bend, Oregon
2021\tCoconino Center for the Arts, Flagstaff, Arizona
2019\tFresno Art Museum, Fresno, California
2017\tMesa Contemporary Arts Museum, Mesa, Arizona
2016\tCoconino Center for the Arts, Flagstaff, Arizona
2016\tCentral Gallery, Phoenix Public Library, Phoenix, Arizona
2015\tGriffin Museum of Photography, Winchester, Massachusetts
2013\tFlagstaff Photography Center, Flagstaff, Arizona
2012\tGalerie BMG, Woodstock, New York
2012\tShanghai International Photographic Art Exhibition, China
2012\tFlagstaff Photography Center, Flagstaff, Arizona
2011\tTranslations Gallery, Denver, Colorado
2011\tOpen Shutter Gallery, Durango, Colorado
SELECT GROUP EXHIBITIONS
2024\tOf Flames and Shadows Gone Astray, Bermudez Projects, Los Angeles, California
2023\tLOCAL, Beasley Gallery at Northern Arizona University, Flagstaff, Arizona
2023\tAnnual Group Show, Bentley Gallery, Phoenix, Arizona
2019\tIn the Absence of Color, Bentley Gallery, Phoenix, Arizona
2018\tOut of 145 Degrees: Bryan David Griffith, Michael David, Hiro Yokose, and Mitja Tusek, Bentley Gallery, Phoenix, Arizona
2017\tContemporary Forum, Phoenix Art Museum, Arizona
2017\tFires of Change, 516 ARTS, Albuquerque, New Mexico
2017\tWorks on Paper, Bentley Gallery, Phoenix, Arizona
2016\tFires of Change, University of Arizona Museum of Art, Tucson, Arizona
2016\tSouthwestern Invitational, Phoenix Airport Museum and Coconino Center for the Arts, Arizona
2016\tLight Sensitive, Art Intersection, Gilbert, Arizona
2015\tFires of Change, Coconino Center for the Arts, Flagstaff, Arizona
2015\tAll Art Arizona, Art Intersection, Gilbert, Arizona
2015\tSouthwestern Invitational, Prescott College Gallery, Tubac Center for the Arts, and Yuma Arts Center, Arizona
2014\tINFOCUS, Phoenix Art Museum, Phoenix, Arizona
2014\tApproaching the Unreal, Modernbook Gallery, San Francisco, California
2014\tAltered Views, Lightbox Gallery, Astoria, Oregon
2014\tThe National: Contemporary Photography 2014, Fort Wayne Museum of Art, Fort Wayne, Indiana
2013\tPhoto Forum, Museum of Fine Arts, Houston, Texas
2013\tExtended Photography, Anderson Gallery, Bridgewater State University, Massachusetts
2013\tChristina Z. Anderson, Bryan David Griffith, and Michael Puff, Art Intersection, Gilbert, Arizona
2012\tProcesses & Dreams, Panopticon Gallery, Boston, Massachusetts
2012\tCrossing Territories, Wall Space, Santa Barbara, California and Wall Space, Seattle, Washington
2012\tAlternative Process, Center for Fine Art Photography, Fort Collins, Colorado
2012\tLight Sensitive, Art Intersection, Gilbert, Arizona
2011\tPhotoAlchemy, 23 Sandy Gallery, Portland, Oregon
SELECT HONORS
2024\tCreative Flagstaff Viola Award Finalist for Excellence in the Visual Arts
2023\tARTx: Arizona Art + Ideas Experience Pilot Project Grant
2022\tCreative Flagstaff Viola Award Finalist for Excellence in the Visual Arts
2019\tArizona Commission on the Arts Opportunity Grant
2016\tPhoenix Art Museum Contemporary Forum Artist Grant
2016\tFlagstaff Arts Council Viola Award for Excellence in the Visual Arts
2016\tArrow Five Years Out Art Challenge $5000 Finalist Award to develop proposed new work
2014\tFlagstaff Arts Council grant for Fires of Change, funded by the National Endowment for the Arts
2013\tFlagstaff Arts Council Viola Award Finalist
SELECT COLLECTIONS & COMMISSIONS
Northern Arizona University, Flagstaff, Arizona
University of Michigan Medical School, Ann Arbor, Michigan
Robert Morris College, Peoria, Illinois
Pacific University, Forest Grove, Oregon
Visual Chronicle of Portland, City of Portland, Oregon
Springfield Civic Purchase Collection, Springfield, Illinois
Wisconsin Education Association Trust, Madison, Wisconsin
Governor's Art Awards, Arizona Citizens for the Arts, Scottsdale, Arizona
Janus Capital Student Art Buying Program, Denver, Colorado
Evans Army Hospital, Fort Carson, Colorado
Phoenix Children’s Hospital, Phoenix, Arizona
Casey Health Institute, Gathersburg, Maryland
Arrow Electronics, Denver, Colorado
Levi Strauss & Co., San Francisco, California
Avfuel Corp., Ann Arbor, Michigan
Albrecht & Co., Cincinnati, Ohio
VOA Architecture & Design, Chicago, Illinois
Herring & Trowbridge Architects, Herndon, Virginia
Urban Design Associates, Ltd., Scottsdale, Arizona
The Chalk Hill Winery, Healdsburg, California
Wrymark Inc., Maryland Heights, Missouri
EDUCATION
BSE, Industrial and Operations Engineering, University of Michigan, Ann Arbor, Michigan
Commencement Speaker, College of Engineering
Arlan Hellsworth Award for outstanding student leader
Wyeth B. Allen Award for outstanding character and achievement
Site Leader, University of Michigan Project SERVE, Cheyenne River Reservation, South Dakota
President, Alpha Pi Mu honor society
Co-Vice President, Tau Beta Pi honor society
SELECT BIBLIOGRAPHY
Grimaldi, Sabrina. \"Born from Ashes: 'Envision' Sparks Dialogue on Flagstaff's Environmental and Social Regrowth\", Arizona Daily Sun / Flagstaff LIVE, May 4, 2023
Trimble, Lynn. \"Finding Water in the West: Bryan David Griffith\", Southwest Contemporary, vol. 7, Mar. 2023, pp. 72-73
Santos, Samantha. \"Bryan David Griffith: In His Own Words\", Phoenix Art Museum PhxArt Stories, Jan. 3, 2023
Trimble, Lynn. \"How Artists in the Southwest are Drawing Attention to Wildfires\", Hyperallergic, Sept. 20, 2022
Hernandez, Rolando. \"How Wildfires Inspired Artists\", Oregon Public Broadcasting's Think Out Loud, Jan. 6, 2022
Costello, Lindsay. \"VizArts Monthly: Exploratory Work in Fresh Spaces\", Oregon ArtsWatch, Nov. 2, 2021
Munro, Donald. “Top 20 Cultural Events of 2019”, Munro Review, Dec. 31, 2019
Trimble, Lynn. “The Best Phoenix Art Exhibitions of 2017”, Phoenix New Times, Dec. 16, 2017
Roberts, Kathaleen. “Blunt Visions: Exhibits explore catastrophic fires, images of death”, Albuquerque Journal, May 28, 2017
Ross, Deborah. “Bryan David Griffith at Mesa Contemporary Arts Museum”, Visual Art Source, Mar. 2017
Trimble, Lynn. “You Need to See These 10 Spring Art Shows in Metro Phoenix”, Phoenix New Times, Mar. 8, 2017
Davis, Lorraine Ann. “Bryan David Griffith: Searching Within”, Black & White, Dec. 2016
Young, Amy. “Art in the Valley: Three Must-Know Artists”, AZ Lifestyle, Dec. 2016, pp. 182-187
Muller, Seth. “Griffith: Speaking Volumes”, Arizona Daily Sun, Sept. 18, 2016, pp. B1,B6
Jastrab, Ann. “Bryan David Griffith: The Last Bookstores and Fires of Change,” All-About-Photo.com, Feb. 12, 2016
Monoyios, Kalliopi. “Science Art Exhibits in 2016: Early Edition”, Scientific American, Dec. 29, 2015
Peiffer, Rebecca. “Fires of Change Exhibit Brings Illumination”, UA News, December 2, 2015
Markgraf, Diandra. “Burn is Beautiful”, Flagstaff Live!, vol. 21 issue 38, Sept. 2015, cover
James, Christopher. The Book of Alternative Photographic Processes, Third Edition, Cengage Learning, 2015, p. 307
Feeney, Mark. \"Photo Shows at Griffin Focus on Mississippi and Books\", Boston Globe, Jan. 17, 2015
\"Images that Speak\", Harvard Magazine, Jan.–Feb. 2015
Rosenburg, David. \"Why Independent Bookstores are More Than Just Places to Buy Books\", Slate, Nov. 19, 2014
\"This is Our Natural Color\", Arizona Highways, Oct. 2014, pp. 3, 20–21
Kida, Jeff. \"Bryan David Griffith\", Arizona Highways, Oct. 2013, pp. 9, 28–29
Mitchell, Blue. \"The Artist's Hand\", Diffusion, vol. IV, 2012
In 2014, after the Slide Fire threatened my home, I received a small grant to study wildfire with the Southwest Fire Science Consortium. After visiting many fire sites with scientists and firefighters, I came to believe that the root cause of the catastrophic wildfires we are seeing today is a fundamental set of cultural perceptions—perceptions we must re-examine before we can agree on solutions.
In Western culture we tend to view dualities—light and darkness, life and death, forest and fire—as opposing forces in a struggle of good vs. evil. We see ourselves as fighting to preserve life and subdue death by taming nature to prevent disasters like wildfire. But what if these dualities are both vital parts of the same whole?
For thousands of years prior to European settlement, fires shaped Western forests. Many native species are adapted to fires and depend on the diversity of habitats they create. But today’s forests are younger, denser, more contiguous, and less diverse than pre-settlement forests—a legacy of cutting the biggest, most fire-tolerant trees followed by a century of putting fires out. For forests formerly adapted to fire, these changes combined with years of unburned needles and brush on the ground provide fuel for unnaturally severe, ecosystem-damaging fires during weather extremes, when they are hardest to contain. By trying to eradicate fires, we have made them more lethal. By trying to prevent the death of individual trees, we have put the life of the whole forest at risk.
Now wildfires are coming back with a vengeance, becoming more frequent and extreme with climate change. Today's fire season is up to 80 days longer than in the 1970s. Meanwhile, residential development has mushroomed in fire-prone areas since the 1990s, making management more difficult, ignitions more likely, and fires more dangerous and expensive to fight.
I investigate these concepts by using fire itself as my medium. I juxtapose soft organic lines and natural edges with geometric forms that convey our desire to control capricious natural processes—often with unintended consequences. The forms of my work compel your eye to complete them. I try to create a charged atmosphere where you can spark your own discoveries, sometimes different than mine. Just as different ecosystems have adapted to different types of fire, different communities can find different ways to adapt to fire’s inevitable return. Art can provoke questions, but it takes a community to forge solutions.
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My work explores the idea that dualities—light and darkness, life and death, object and emptiness, forest and fire—aren’t opposed forces, but rather part of the same continuous cycle. One can’t exist without the other. In Rethinking Fire, I juxtapose soft organic lines with geometric forms that convey our desire to compartmentalize and control capricious natural processes, often with unintended consequences.\n
Continuum further investigates the subtle gray areas between apparent dualities begun in Rethinking Fire. I deliberately challenge traditional painting guidelines of composition, unresolved tension, and tonal scale. I blur the relationship between foreground and background, creating an ambiguity of space: what appears to be a floating sense of light at a distance blends into the surface as the viewer approaches the painting. My goal is a hint of dynamic energy within a quiet, contemplative space. The seemingly white or black surface of each painting is actually comprised of several colors that reveal themselves gradually after several minutes of meditation, bringing a temporal dimension to the viewing experience.", "thumb": "Statement.png", "size": { "content": { "width": 0, "height": 0 }, "thumb": { "width": 1200, "height": 900 }, "bytes": 0, "pageImages": [], "featuredImage": { "width": 0, "height": 0 } }, "dateAdded": "2017-08-01T20:50:49.000Z", "linkTarget": "", "filters": [ "Text Pages-Statements" ], "overrides": {}, "key": "10267" }, "10268": { "id": 10268, "label": "ARTIST STATEMENT: TRAVERSING THE FOG", "caption": "", "type": "html", "content": "
This body of work is about the artist’s journey and navigating uncertainty along the way. I find these images also speak to the struggles and isolation many face today as a result of the coronavirus pandemic.
I try to make photographs that appear remembered rather than observed: images that are often playful, sometimes haunting, and always soaked in ambiguity. I whisper a line from the middle of a story, and let you conjure up the rest. Like the memories that inspire them, my images are open to interpretation, yet deeply rooted in my personal journey. Years ago my wife (the figure in the photos) and I left our jobs to pursue our passions together. The years since have been filled with tremendous freedom, joy, and satisfaction, along with sizable doses of hardship, fear, frustration, and failure. My work has become about finding our way and persisting despite a nagging angst. It’s about accepting ambiguity, climbing past our own insignificance, and finding wonder on the other side.
I create my images in-camera on film, using vintage and homemade equipment without digital compositing or manipulation. I print in platinum/palladium on handmade Japanese tissue, yielding delicate, translucent prints that seem like visions on the edge of being grasped, reinterpreted, or forgotten. I make them for those who, in this virtual age, long to commune quietly with a genuine object in hand.
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The store itself has its own personality. As opposed to a chain store, which has more of a top-down corporate mentality. Here we have a bookstore that means a lot of different things to a lot of different people. Some people think of it as a cozy, grandmotherly place. Other people think of it as having hot political topic discussions. And always, good literature—a lot of our staff favorites are good fiction: authors who are going around the country as well as local authors that we mix in for events.\n
\nThe store has its own personality at different times, even different times of the day. We get different types of people in during the day, in the morning, and we’re open until 10 at night. We get younger people in at night. \n
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\n–Will Peters
\nmanager, Annie Bloom's Books, Portland, OR",
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It's the happiest job I've ever had. I mean where else do you get to dress a skeleton in old book pages?\n
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\n–Kate Stone
\nbookseller, Annie Bloom's Books, Portland, OR",
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"caption": "We have usually about 15 staff members at a time, and they range in age from people just out of college to 70 years old. We’re always seeking to have a balanced staff: different types of people who have different interests and relate to different types of customers over books. It’s a great, well-read staff. Some of them are teachers and work part time. … A few of them are artists. One’s a potter. One’s a musician who owned a record store and is now our publicist. … We don’t have a lot of turnover on the staff.\n
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\n–Will Peters
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\nPictured: Matt Plies, a teacher and bookseller since '99 Annie Bloom's Books, Portland, OR",
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Local legend Richard German calligraphed the signs seen throughout Annie Bloom’s Books. “His nickname was the mayor of Multnomah Village. He would just kind of make his rounds everywhere,” says manager Will Peters. \n
\n“He was a hanger-arounder early in the store, and finally Bobby said, ‘Do you want a job?’ He said, ‘Sure.’ So then he hung around for pay,” recounts bookseller Matt Plies.\n
\nIn the late ‘70s German would sometimes hang a sign on the door that read “Gone to Gabriel Park\", and the store would be closed for hours. In the ‘80s, when the store offices were upstairs, German started a side business repairing bikes in the basement. \n
\n“He did once sell books to customers, like ring them up and stuff. But once we got computers, that was too much; he didn’t want to deal with computers,” Plies says. German stayed on behind the scenes, handling shipping and maintenance. He kept a desk and a few personal belongings in the store’s basement.\n
\n“If we had out-of-store events, though, he would go sell books … he was just this eccentric guy. He’d make friends with the authors a lot,” Peters remembers.\n
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The physical size of our store may turn out to be a blessing, whereas people may have thought it was a curse in the ‘90s when the big-box chain stores were proliferating. Now I think they can’t pay the rents for that big of space with their sales.\n
\nWe’ve got a really good regional wholesaler … I’m going to order in some things that people asked for today, and I’ll have [them] tomorrow. … We still can maintain a breadth of titles without spending inventory dollars stocking up on specific titles in big quantities, because we know we can continue to get them pretty quickly as we need them.\n
\nStill, there are hot titles that we need to have a lot of, like the Cheryl Strayed book Wild, which we sell really quickly, a local author like that.\n
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\n–Will Peters
\nmanager, Annie Bloom's Books, Portland, OR",
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"label": "Front of the Store, Bookbug, Kalamazoo, Michigan",
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Opening in 2008, we had the extraordinary benefit of assuming—from day one—that we had to do much more than sell books. We needed to be a place where people feel welcome and feel a desire to give themselves and their families an education beyond the experience of reading a book alone—to give them an education related to searching for great books, talking about great books, celebrating great books, meeting authors, celebrating art, and celebrating music. We had to fight with our hearts and minds to make this clear to our customers every single day.\n
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\n–Joanna Parzakonis
\nco-owner, Bookbug, Kalamazoo, MI\n",
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"label": "Kids Can Change the World, Bookbug, Kalamazoo, Michigan",
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It’s a really rewarding and wonderful experience to be a part of handing a young reader a book that changes their assumptions about themselves, about the world, about what a book can offer them—especially those kids who don’t think of themselves as readers, have never liked books, or resist things that their teachers and parents give them because they aren’t the right match for them. Before I started this business, I would have thought that’s cheesy and romantic, and probably doesn’t happen very often. But it is happily one of the most frequent and simple joys of being a passionate bookseller.\n
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\n–Joanna Parzakonis
\nco-owner, Bookbug, Kalamazoo, MI",
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"caption": "The store is, quite simply, a member of our family. It’s our passion, and it’s our joy to be working towards making the place we’ve created better. Thankfully, our kids are still at an age where they’re on board with that. They love it as much as we do. They may not always be happy that sometimes mom or dad isn’t there on the weekend, or that we have to come to the store for every single event that we host, but the energy from everybody in our family toward Bookbug is overwhelmingly positive.\n
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\n–Joanna Parzakonis
\nco-owner, Bookbug, Kalamazoo, MI",
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"label": "Bulletin Board, City Lights Bookstore",
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There is a whole new generation of younger people coming into the business being very clear about how challenging this will be … but have the persistence, the tenacity, and the talent to work in a low-paying field—but one that will reward them immensely.\n
\nThat’s the other part: the people in the business are great. I always find it rewarding to go into somebody else’s store.\n\n
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\n–Paul Yamazaki
\ncoordinating buyer, City Lights, San Francisco\n",
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"label": "Lobby, City Lights Bookstore, San Francisco",
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City Lights was founded in 1953… The goal was to create a literary meeting place, where those who might be looking for an alternative to the consumerism and conformism of the time could find inspiration and a place to encounter others who were seeking it, too. …\n
\nIt seems we have come full circle in our mission. With a government bent on stifling dissent, with public space almost completely commodified and placed under total surveillance, with our private lives turned into fodder for marketing and branding campaigns, with the notion of access to “free information” offered up as a panacea that somehow can replace the need for investigation, reflection, education and action, a place like City Lights becomes more important than ever. …The point was always to awaken and inspire, to sound the alarm against the deepening consumerist slumber and the violence of capitalism run amok. Books offer keys to visions and revelations, and a bookstore offers a place to encounter a community of others who might share them. That is why we’re still here, because there is a real and potent value in that.\n
\nWe know that the world is wide, and that being online is important as well. It’s another way to reach people and connect them to one another, with the same kinds of knowledge and ideas and cross-fertilizations that we’ve always had a role in promoting. But there is nothing like coming to the bookstore. Something will always unexpectedly grab your attention, shake you out of your complacency, inspire your curiosity and affirm your sense of belonging to a tribe of intelligent and sensitive beings who cohabit this world along with you. It’s a place to rejuvenate hope and commitment, and it offers a safe harbor for many of us in an increasingly stormy world.\n
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\n–Elaine Katzenberger
\npublisher and executive director, City Lights, San Francisco\n",
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"label": "Celebrating 60 Years, City Lights Bookstore, San Francisco",
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The corollary question, whether stated or politely left unasked, is usually “And how will you ever survive?” In the background of course is an ever-rolling drumbeat, said to portend “the death of books”—and, concomitantly, the death of bookstores. Fueled by corporations who need us to believe that we must have their latest gizmos, which have supposedly rendered most everything else obsolete, the noise that’s generated can make it hard to find a different tune to dance to.\n
\nHow, then, are we still here after all these years, and what is it now that makes us feel there’s any future for us? Is a place like City Lights even necessary anymore?\n
\nThose who continue to come to the bookstore to find what they need tell me that the answer is an emphatic YES. And since I am one of them, I would like to raise my own din now and joyfully proclaim on the 60th Anniversary of the founding of City Lights: HELL YES, WE’RE STILL HERE, AND WE ARE HERE TO STAY!\n
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\n–Elaine Katzenberger
\npublisher and executive director, City Lights, San Francisco\n",
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"label": "Paul's Office, City Lights Bookstore",
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Our specific job at City Lights is to bring books and writers up from the depths and get a little sunlight on them. … If it’s a book we happen to carry and it gets on a bestseller list, that’s great, but it’s not something we’re looking for when acquiring books. The least compelling thing that you can say to us at City Lights is: “we think this book is going to sell well.” We want to know: What is this book saying, and how well is it told?\n
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\n–Paul Yamazaki
\ncoordinating buyer, City Lights, San Francisco\n",
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"label": "Jennifer behind the Counter, Green Bean Books, Portland, Oregon",
"caption": "\n
We have lots of old vending machines all around the store. This one sells finger puppets. I make those. They’re muskrats, and we change them out to be different characters frequently. … This old tampon machine is a mustache and beard machine. There’s a baby machine over here where you can adopt a baby with a birth certificate. This one is unlikely friendships (it’s based on a book that became popular last year): you get two animals that wouldn’t necessarily be friends and a little quotation about friendship.\n
\nWe have these little boxes around the store, too. … These are dioramas. This last time we had a diorama contest with kids, and they did the dioramas this time. Sometimes we have visiting artists, or sometimes I make them.\n
\nKids can come in and discover things; that’s the idea—they can explore. It’s fun to do things like that. They’re based on books. We started to sell miniatures, too, because people got so into the dioramas, as a sideline to go with books.\n
\nWe’re a place where people can meet, talk, and have activities. I feel like we’re a community resource in some ways, or a gathering place. Sometimes I feel like: are we a non-profit, or are we a business?\n
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\n–Jennifer Green
\nowner, Green Bean Books, Portland, OR",
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Story time is just fun. I just pretend like I’m reading to my kid. I have so much fun doing it. I do love music too, so I always try to do musical story times. \n
\nI’ve worked in quite a few bookstores, and this is the best one I’ve ever worked in. Everything is just so carefully curated, much more than Powell’s, more than any other place. We have to be, because we’re tiny.\n
\nI don’t use this word lightly—it’s magical. It’s very magical. Children love it. Parents love it. I have never seen anybody unhappy here. It’s really a special place. It sounds cliché, but it’s true. \n
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\n–Andrea Lampman
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"label": "Restroom Hallway, Tsunami Books",
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It’s a unique place in that it’s built from recycled high school and university gymnasium bleachers.\n
\nA lot of people claim that this has the best sound of any music venue in town. In 18 years we’ve had over 2,000 events. Gatherings, political, theatre, poetry slam—we’ll get 200 people in the back room for our poetry slam, world class musicians…. Musicians come in and they claim they can feel the energy coming off the floor, from the things that have happened.\n
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\n–Scott Landfield
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[Tsunami Books] is a treasure in our community. … Scott really loves music and he makes a place for us all to have.\n
\nI’m making a new record. So I’m liquidating my personal collection, because what I want to do is make space where I am. I’m an inveterate vinyl hoarder. … I’ve done this for thirty years—traveled around in my truck and played music, and made records, and sold them. Only in the last five years has it become that no one really is into that anymore. They’re like, “Well, I want to download it for free now.”\n
\nWe’re definitely straddling eras here. This era is an old way that’s moving out, and the people who still like records, the people who still like books, they’re considered to be not modern anymore. Which is really weird. It’s like in the '50s, when you’d read science fiction books. [Holds up a copy of Fahrenheit 451.]\n
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\n–Brian Cutean
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We started with no money, literally no money: trading, dealing with people, getting things for free, sweat equity—a tremendous amount of sweat equity—and positive energy. Two people, my bookstore partner and I, thought that energy equals capital. That was our theory.\n
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What happens in a book is that it takes you out of the three dimensions, and shows you that you’re bigger than you think … and that the opportunity to be aware in a larger sense is really available to you. A book is that, and then when you get a whole bookstore full of them, it’s bursting with dimensions.\n
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\n–Margareta Waterman
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People come in; they’re holding a [smartphone]. They’ll [scan] each of our books, and if our book is $4.50, they’ll order it from Amazon for $4.00, rather than just grab it right now. They’re just programmed to do that, and they’re being told they’re stupid if they don’t. … If you’re not walking around with a device in your hand telling you what next to do, you’re a dummy.\n
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Those are the pieces of our history that matter the most to me, now that I’m the generation in charge. But what’s compromising that is obviously what’s happening to books, and literacy as a larger social, cultural question.\n
\nI feel like I have a window to make some good decisions—for our business, for my family, for the people that work for me—to make some of things my parents set out to accomplish continue, because I value those same things, too. It’s not enough for me to make, personally, money every year. If in order for me to make money, I have to eliminate health insurance for my employees, then why do this?\n
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"caption": "[Amazon] contacted us and tried to entice us in. … To me that’s like feeding the dragon that’s going to eat you. Why would I do that? Why would I jump into your world and give you a percentage of everything I sell, when your goal is to put me out of business? Your CEO has been very clear about this from the beginning. He wants it all. He wants all of us to go away. He wants book publishing to go away.\n
\nSo here’s my little protest. It completely does not matter in the scheme of things. But it matters to me, and to our business, to say no to you. So we refused. We just won’t. We will, on our last day of business, still not be on Amazon.com!
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\n–Evon Smith
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Our question is: Did we grow to a level that’s sustainable, or are we too big for this community? Are our spaces too big? Do we carry too many books?\n
\nSmith Family, from the mid '70s when we started until now, has always been about expansion. We started as a tiny, tiny little book business. My parents bought properties and buildings that we could grow into. I think that is the brilliance of my parents: that they both understood that right away. If they wanted a business that would support our family, and be good for this community, it had to be big enough that we could all make good livings.\n
\nMy father was a bit of a socialist in that respect, in that he didn’t want to build a business simply for personal gain. He wanted to build a business where the people who worked in the business also could make a living. Heath insurance—all the things he never had—he was determined to provide.\n
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One day last year in December, I was working behind the front counter, helping people ringing up sales. At one point I looked up. There was a line of people from the front counter stretched back the entire length of the store to the information desk that was, I’m guessing, 70 people deep standing there with their baskets and their arms full of books. We were not having a sale event. We were not doing any discounts. We did not have the sexiest new game or device or anything like that. They had come because they wanted to buy their books and their gifts from us—and pay the full retail price and stand in line to do that.\n
\nPeople understand that if they want to continue to have choices and things that they value available to them, they have to vote with their feet and their wallets.\n
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\n–Peter Aaron
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"caption": "We annually put on between 500–600 author events a year. We average not quite two a day. It is an extraordinarily large and broad and comprehensive program of author events. It really covers the range from the highest profile to the most obscure, and everything in between.\n
\nThe vast, vast majority of them (which is to say all of the events that are within the store) are free to the public. … Thousands and thousands of people have the opportunity to have this wonderful, rather intimate, encounter with writers and their work.\n
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\n–Peter Aaron
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We sell more books off of the staff picks shelf than anywhere else in the store. And they’re not necessarily wide audience books. Some of them are pretty idiosyncratic, but if you’re a person like Holly or Kenny is, then you’re going to like what they’ve picked. That’s another thing about independents: we’re not being paid by anyone to put books on our shelves. If they’re up there it’s because that person is fired up about getting it out into the world.\n
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The one thing Amazon won’t ever be able to offer is a place to go. People still need to get out of the house, they still need to socialize with other people. I think people want bookstores in their community, and I think they’ll continue to support them.\n
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\n–Kevin Ryan
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Amazon isn’t forced to turn a profit. Their whole business model is basically founded upon investors propping up the enterprise while the beast gains market share. The only possible goal of that could be complete domination. … And then I’m guessing prices wouldn’t be so cheap.\n
\nHomogenization in any industry is a bad thing. In the book business it’s even worse, because books aren’t just a commodity, they’re a cultural underpinning.\n
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\n–Kevin Ryan
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E-books are here to stay. We’re not going to fight it; we’re going to try to get a toe in the water. We feature it. We put it in our newsletter all the time. We have a big display in the store. … But the fact is we don’t really make any money on it—it’s still such a small percentage of our business. But we’re not going to give up on it either. We want anybody who wants to read e-books, but wants to stay loyal to us to [have] that option. … The one thing I don’t want to do is just send somebody to Amazon. \n
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Our tag line when we do a lot of advertising and support is “brothers in arts”. Whether you’re music, performance, visual, or a bookstore, we partner. And schools: we do every hop-a-thon, read-a-thon, whatever we can donate to. I do a lot of book fair fundraisers for the libraries within the schools. … I just donated a slumber party in the bookstore for eight kids … where we will bake, and cook, and listen to music really loud, and play hide and go seek when it gets dark in the bookstore, go to sleep on air mattresses and sleeping bags, and wake up to waffles in the café.\n
\nIf I dry up, if all of the businesses in this town dry up, we also don’t have these non-profits. We are all dependent on each other.\n
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\n–Sarah Hedrick
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I don’t have a piano at home, so I really just learned to play here. After work I’ll come play this piano and just write all my own stuff. … It’s been out of tune until just before I came home, so most of the songs (except for the new ones) only use the keys that used to be in tune. … But now that it’s back in tune, I’ve been super inspired to write new stuff.\n
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\n–Noah Koski
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\n[Noah] works here for enough months until he saves enough money to travel. This last trip was to India, and he was gone like four or five months. He sent me an email from the hotel in Boise the night before he was flying out, and he said, “…Working at Iconoclast, and you, have allowed me to have the life I want, because I get to do what I love for my job, and I get the time off to travel. It’s invaluable to me.” That’s why it doesn’t matter what time of year he returns—how slow it is, how whatever—he always, always will have a job, for as long as he wants it.\n
\nHe’s a fabulous bookseller, and he has the best, best attitude ever. He never [clocks out] without first saying, “is there anything I can do before I go?” And then, when he’s done working, he sits down at the piano and plays for an hour.\n
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My kids, when my husband died, they lost him, but they also lost me to some degree—and not because I had the luxury of lying in bed for six weeks and shutting the world out and mourning or whatever. They lost me because the day after his funeral, I was back at work. I had no choice. I had four sets of eyes looking at me going, \"we’re hungry, and what’s going on today?\"\n
\nAgain, where’s the line between business and personal? It wasn’t like a job I could call in sick to for another couple of weeks, it was my livelihood, and I had major decisions to make. … If I lose the store, I lose my house, too. There is no line when you own your own business.\n
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Consider the long-term consequences of a world controlled by Amazon. What would your community look like without independent businesses? Who would sit on your neighborhood boards and donate to local charities? What would happen to the web of your community? Where would the tax dollars that build your schools, roads, and parks come from if none of the money you spent stayed in your state? When you spend online, none of it stays at home. This is simple economics, and studies such as the one done in my city—the Utah Study Series by Civic Economics—prove it so.\n
\nBut books transcend economics. A world where one company (a company which just bought one of the nation’s major newspapers) controls the manufacture and distribution of books—of ideas, in other words—doesn’t bear thinking about.\n
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\n–Betsy Burton
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We’ve never adopted the “one of everything” philosophy at The King’s English, instead preferring to engage knowledgeable booksellers and to pick and choose titles carefully, hoping to excite curiosity, fire imaginations, scratch some itch readers didn’t even know they had. The fact that our customers are always on our minds enables us to place the right books into the right hands so that each sale is a transaction that pleases everyone—or at least that’s our intention.\n
\nAmazon’s intention, on the other hand, is to put the most books into the most hands. Worse, they use books as loss leaders to achieve their stated long-term goal: total control of retail. The competitive methods that feed their “vaulting ambition” (so Shakespeare described Macbeth) involve everything from failing to collect sales tax to bullying publishers, devaluing books in the eyes of the public, manipulating the best-seller list to reflect what they intend to sell, and encouraging customers to use bricks and mortar stores as showrooms—to browse our shelves but buy from Amazon.\n
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\n–Betsy Burton
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"caption": "It was important to us to acknowledge the legacy of 80 years of bookselling history. … But, at the same time, we were able to work on trying to design a store that would flow.\n
\nOne of the things we really have loved is the metaphor of physical bookstore for the journey that a person has when they take a book. It’s an exploration, so we tried to keep that sense of exploration, that sense of opening and moving forward.\n
\nWe still believe that the beauty of the printed word is how broad it is, how it really can show you new things. … We want people to come in here and find what they’re not looking for.\n
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\n–Catherine Weller
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"label": "Brandishing a Title, Tony Brandishing Lebhar, Weller Book Works",
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The last 10 years have been a huge shakeup. … We’re a close-knit industry despite the fact that we’re competitors, and to see stores go out of business is hard—it’s really hard.\n
\nThere were people in the industry who urged Tony and me to not move the store, to simply close it, and take the assets from that business and live very comfortably, which we could have. But I can’t be somebody who does nothing. I can’t be a lady who lunches. I have to work, and I’ve pretty much made myself unfit for nearly anything else at this point. I could go back to libraries, but I really love this, and Tony really loves it. It’s what we want to keep doing until we can’t do it anymore.\n
\nSo it was worth not taking the money and running, and, you know, it was a financial risk. We had to move or die. It was a risk to come here, but it was the right risk to take for us.\n
\n
\n–Catherine Weller
\nco-owner, Weller Book Works, Salt Lake City\n
\n
\nPictured: Tony Weller brandishes a volume from 1932.",
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I’m very influenced by a whole bunch of dead people, and people who spoke languages I don’t share, by the magic of the book. This is the only thing that has ideas trapped in it very literally. It’s a big deal in my mind—more than just a job, more than just retail. I don’t like being called a retailer, and I don’t like being called a businessman. I prefer bookseller! In my mind, that’s saying you’re a purveyor of ideas and dreams and thinking.\n
\n
\n–Tony Weller
\nco-owner, Weller Book Works, Salt Lake City",
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"caption": "The primary quality I’m looking for [in staff] is curiosity. I want folks who are interested in learning more and being exposed to new things. One of the best things about being a bookseller is the interaction with the customers. As much as we turn folks onto our favorite titles, new books, or new areas of interest that we’ve only just come across with a new shipment, we get as much, if not more, back from our customers. … As a co-op we try to make sure we’re representing what they want in the store.\n
\n
\n–Thomas Flynn
\nmanager, 57th Street Books, Chicago",
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"10326": {
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"label": "ARTIST STATEMENT: THE LAST BOOKSTORES",
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The Last Bookstores documents America’s remaining independent bookstores and the people behind their survival and potential comeback. Why do they persist after the vast majority of independents folded from 1992–2010 in the face of cutthroat competition from chain superstores and Amazon? What would we lose without them?\n
\nThe booksellers I met are passionately committed to enriching their local communities and keeping the flame of literary culture alive. Far from giving up, they’re fighting back. And the latest statistics show they just might be winning: more stores are now opening than closing for the first time in 20 years. Grassroots “Buy Local” campaigns—many of which were founded by bookstores on the principle that a dollar spent at an independent business is more likely to stimulate the local economy than a dollar spent at a competing national chain or online store—are gaining momentum. Could this be the dawn of a remarkable comeback? Who will curate and control the distribution of literature in the future?
\nI photographed this project exclusively on large and medium-format film—a slow but superlative craft that has largely been replaced by faster, easier, and less expensive digital alternatives. Two of the color films I used to shoot these images were discontinued partway through the project, necessitating a mix of color and b&w film for the remainder.\n", "thumb": "powells-800__at__2x.jpg", "featuredImage": "powells-800__at__2x.jpg", "size": { "content": { "width": 0, "height": 0 }, "thumb": { "width": 800, "height": 640 }, "bytes": 0, "pageImages": [], "featuredImage": { "width": 800, "height": 640 } }, "filters": [ "Text Pages-Bookstores" ], "linkTarget": "", "dateAdded": "2017-08-04T08:12:58.000Z", "key": "10326", "overrides": {} }, "10327": { "id": 10327, "label": "BACKGROUND: CITY LIGHTS BOOKSTORE", "caption": "", "type": "html", "content": "
“Let the adoring hordes enter!” proclaims Scott Davis, turning the lock on the front door of the San Francisco bookstore where he’s worked for 33 years. While that sounds like hyperbole for a Wednesday morning, a respectable wave gushes into the tiny triangular room. Regulars pour down the basement stairs to claim their favorite roosts. Locals surge over the threshold to the right, plucking premeditated titles from the shelves. Newcomers eddy around the triangle, trying to take it all in before drifting under the hand-painted archway “Abandon All Despair Ye Who Enter Here,” as though unsure if this twist on Dante is an exhortation to hope or the entrance to the Inferno. “Ferlinghetti painted that sign,” one of them whispers to her companion in French. “This is where Ginsberg and Kerouac used to hang out,” murmurs another pair, pausing to feel the creak of each stair underfoot.\n
Poet Lawrence Ferlinghetti and Peter Martin founded City Lights Bookstore in this same triangular room in 1953 with $500 apiece and the conviction that a wider-read public would lead to a stronger democracy. Ferlinghetti ventured into publishing in 1955 with his Pocket Poets Series, intending to bypass leather-bound academia and bring dissident poets to a new audience in the back pockets of blue jeans.\n
In 1957, two undercover officers arrested manager Shigeyoshi “Shig” Murao in this room for selling them Allen Ginsberg’s Howl and Other Poems, book number four in the Pocket Poets Series. An arrest warrant was issued against Ferlinghetti for publishing the seminal Beat poem, charging that Howl was obscene. He turned himself in to face the charges in court. The ACLU defended Ferlinghetti in a landmark decision that rallied First Amendment advocates and launched City Lights into the national media spotlight.\n
City Lights’ commitment to publishing dissident literary and political works from around the world continues today. Upstairs, a wedge-shaped office juts over Columbus Ave. like the bow of a ship about to plunge head-on into the Financial District. Taxi horns reverberate up through the open windows. A bus stops with a screech-sigh in time with the syncopated jazz trumpeting from the room’s little stereo. Paul Yamazaki bobs along with the rhythm, adding a flourish of keystrokes between pauses to contemplate his monitor with chin in hand.\n
“I came straight out of jail into City Lights,” chuckles Yamazaki. “I was very politically active in the late '60s. Because of that political activity, I was incarcerated and sentenced to six-month sentences. To get out early, I needed somebody to say that they would employ me. … Sight unseen, that’s what they did. I think it gives a sense of City Lights’ adventurous spirit.”\n
That was 1970. He’s now the longest serving staff member, head book buyer, and part of a triumvirate—along with manager Andy Bellows and executive director Elaine Katzenberger —that manages the bookstore. (Now 94, Ferlinghetti devotes most of his time to painting and writing. He painted City Lights’ 60th anniversary signs, and is completing a new book of poems to be published in 2014.)\n
Yamazaki learned his craft under the skeptical eye of Shig Murao, “the literary pope of North Beach.” He credits another influence, co-owner Nancy Peters, with shepherding the store out of financial difficulties in the early ‘80s and into a sustainable business that remains true to Ferlinghetti’s principles—principles like closing the store in protest during the first day of the 2003 U.S. invasion of Iraq. \n
“I’m thinking a lot these days (I’ll be 65 in April…) about the things I got from Lawrence, Nancy, and Shig—how to instill that intellectual curiosity, the spirit, the dedicated reading,” Yamazaki says. “We’re celebrating our 60th year, and it’s all our hope—Nancy, Lawrence, myself, Elaine, and Andy—that when none of us are around, when we’re celebrating our hundredth anniversary, that there will be a whole new generation of City Lights staff that will be just as dedicated.”", "thumb": "city-lights-alley__at__2x.jpg", "featuredImage": "city-lights-alley__at__2x.jpg", "size": { "content": { "width": 0, "height": 0 }, "thumb": { "width": 700, "height": 552 }, "featuredImage": { "width": 700, "height": 552 }, "bytes": 0, "pageImages": [] }, "key": "10327", "dateAdded": "2017-08-04T08:54:40.000Z", "linkTarget": "", "overrides": {}, "filters": [ "Text Pages-Bookstores" ] }, "10328": { "id": 10328, "label": "BACKGROUND: WELLER BOOK WORKS", "caption": "", "type": "html", "content": "
Tony Weller started working in his parents’ bookstore when he was 10 years old and wanted a new bike. It was 1972, and there was a lot of work for a new delivery boy: that year a four-alarm fire burned all night on Main Street in Salt Lake City, severely damaging the bookstore and many other businesses. Tony’s father Sam rushed back in, rescuing as many books as he could until the firemen forced him to stop. Determined to save the business that his father, German immigrant Gustav Weller, had started in 1929, Sam noticed an empty storefront on the way home. The bookstore opened temporarily in that space with a fire sale on the salvaged books. Months later, Sam moved back and re-opened the bookstore—newly expanded into areas vacated by the fire.
\nTony slowly moved up the ranks from delivery boy to bookseller, bookkeeper, appraiser, manager, and eventually, owner. “I expected I would sell books from our Main Street location for the rest of my life,” he says. But South Main Street’s heyday as a retail center was long past, and book industry changes had turned the store’s enormous size (30,000 square feet)—once its biggest asset—into a liability. “The last 10 years have been a huge shakeup. … We’re a close-knit industry despite the fact that we’re competitors, and to see stores go out of business is hard—it’s really hard,” says Catherine Weller, Tony's wife, holding back tears. She left her career as a University of Utah librarian to join the family business in 1994.
\n“One of the major issues with that store—aside from the size, which isn’t sustainable in a city of this size and density, really—was parking, and the lack of willingness of people to use mass transit, or to go downtown and shop on Main Street,” Catherine claims. \"There were people in the industry who urged Tony and me to not move the store, to simply close it,\" she says. \"We had to move or die. It was a risk to come here, but it was the right risk to take for us.\"
\nAfter years of planning, Sam Weller’s Books on Main Street closed on Christmas Eve, 2011. It reopened as Weller Book Works on Epiphany, 2012, in the Trolley Square redevelopment downtown. “It was important to us to acknowledge the legacy of 80 years of bookselling history,” Catherine says of new floorplan. “But, at the same time, we were able to work on trying to design a store that would flow. One of the things we really have loved is the metaphor of physical bookstore for the journey that a person has when they take a book. It’s an exploration, so we tried to keep that sense of exploration, that sense of opening and moving forward,” she adds. “We still believe that the beauty of the printed word is how broad it is, how it really can show you new things. … We want people to come in here and find what they’re not looking for.”", "thumb": "weller-ladders-700__at__2x.jpg", "featuredImage": "weller-ladders-700__at__2x.jpg", "size": { "content": { "width": 0, "height": 0 }, "thumb": { "width": 700, "height": 560 }, "featuredImage": { "width": 700, "height": 560 }, "bytes": 0, "pageImages": [] }, "dateAdded": "2017-08-04T09:40:45.000Z", "linkTarget": "", "overrides": {}, "filters": [ "Text Pages-Bookstores" ], "key": "10328" }, "10329": { "id": 10329, "label": "BACKGROUND: ICONOCLAST BOOKS", "caption": "", "type": "html", "content": "
“By November I called my school and said I’m not coming back.” Sarah Hedrick had fallen in love—both with Ketchum, Idaho and her new job at a little bookstore called The Book Cellar. The small mountain town and its vibrant culture provided the respite and nourishment she craved during a semester off from teaching at an inner city school in Boston. She also fell for a quick-witted ski bum that wandered into the Book Cellar to feed his insatiable appetite for literature. But Gary Hunt—the longhaired, globetrotting ski bum, discontent with his career as a part-time waiter and bike repairman—was too humble to ask her out.
\nInstead he moved to Seattle, where his friend Royce Wilson taught him the basics of the used book business over too many glasses of Scotch. Gary started out scouting garage sales and estate auctions for Seattle’s book dealers. Soon he scraped together enough to open Iconoclast Books as a tiny store in Seattle’s Green Lake neighborhood, where he bought used books, sold a few, and read a great many more. In 1994, he packed the entire store into a reluctant U-Haul and coaxed it over the mountains back to Idaho.
\nGary reopened Iconoclast in an underground dive below Perry’s restaurant in Ketchum. “He came to me like, ‘Tada! Now I own a bookstore. Come be with me,’” recounts Sarah. “And I was engaged to be married to somebody else, because he had been flipping gone in Seattle. And I loved him, but I went ahead and got married.”
\nGary slowly expanded his business. His roots began to grow. He ran the Great Books Club at the Community Library. He moved Iconoclast into an old house downtown. The store had a fire pit and benches out front, where Gary hosted his “Thinking and Drinking Club.” He screened vintage films on an old projector. He hosted readings and poetry slams. He sold cigars. He rented foreign and independent films. He moved the store again into a bigger house downtown. And, during those years, he married.
\nMeanwhile, Sarah became a mother of three. She continued working at the Book Cellar, which moved downtown and became the Main Street Book Café under a confederation of new owners. “It was big and beautiful and in this historic building, but there were too many people and not enough books,” she says. Sarah eventually left the bookstore when she could see that it wasn’t going to survive.
\nA few years later, her son lost his first tooth during a meal at Perry’s restaurant. “Can we go show Gary?” he asked. “That’s who he was to them: the friendly neighborhood bookseller,” explains Sarah. The family walked into the bookstore and were shocked by what they saw: Gary, who always wore his hair long, had buzzed it completely off.
\n“What’s going on?” asked Sarah.
\n“I just moved [my ex-wife] down to Malibu,” sighed Gary. “We finally decided to get a divorce.”
\n“Really? There’s a bunch of us going out this week who are all recently separated and divorced,” said Sarah. She and her husband had parted ways a few months earlier. “Do you want to join us?”
\n“And that was it,” Sarah remembers. “My kids already knew and loved him. I had loved him forever.” The two dynamos joined forces in the book business. They moved Iconoclast into the three-story brick building where the Main Street Book Café had been. They expanded into new books. Sarah grew the children’s section. She partnered with schools and community groups. “We were doing really, really well,” she says, “despite books being the worst retail item you could sell as far as profit margins go.”
\nIn September 2007, Iconoclast’s five-year lease was about to expire, but the pair had locked into a purchase price—or so they thought. Just before closing, the sale fell through. Iconoclast had to find a new home, and find one fast: the holiday shopping season was just around the corner. They began renovating a new space near the Community Library.
\n“We had books in both stores in November,” Sarah explains. “We had a point-of-sale system not yet running here, but still functioning there. I think our phones worked here, but not over there.” On Thanksgiving weekend, Sarah boxed up books for shoppers at the new store and let them take the books over to the old store to pay for them. “They loved it. I never once worried that somebody wouldn’t show up there.”
\nThe cost of the move saddled Iconoclast with extensive construction debt just as the credit crunch and recession began squeezing the business. Then, in May 2008, tragedy struck: a car accident took Gary’s life. Sarah was left with four kids, ages 2–12, and little time to mourn. She knew Iconoclast would founder quickly without someone at the helm, and her children and employees depended on its survival.
\nThe financial situation was worse than she had suspected. In the week following Gary’s death, the State Tax Commission cleared their bank account and threatened to seize the store’s assets for unpaid bills. Gary and Sarah had pledged their time, merchandise, and use of their space to an exhaustive array of local causes for years. Now it was their family’s turn to be on the receiving end of that generosity. “Our community has four children to raise,” Ketchum’s mayor told Sarah. Local customers bought books profusely. A member of Gary’s book club at the library gave Hedrick a $5,000 check to buy time with the Tax Commission.
\n“I had the option, with everybody in this community, to walk away,” Sarah says. “And I couldn’t in a million years envision doing that.” Sarah sees a bookstore like Iconoclast as essential to a thriving town. “It’s not just about the books on the walls,” she says. “Incredible things were born out of bookstores. It is about supporting intellectual curiosity, but it’s also [that] they’re hubs of communities.”
\nAfter a few hours in Iconoclast, it’s clear that Sarah’s boundless energy keeps this hub buzzing. She doesn’t just find people books; she finds them friends, dates, and jobs. She makes connections. People seek her conversation as surely as a jolt of espresso from the café.
\nIconoclast’s future is still precarious, however, as Amazon and a new Starbucks nearby chip away sales. “It’s up to my community,” Sarah says. “If we’ve made it through the recession, and I’ve made it through losing my husband and business partner, why would they worry about me? … But if they realized every time they were pushing that pay button on Amazon, how close they were to closing our doors, I do believe they would think differently.”", "thumb": "iconoclast-sarah_800__at__2x.jpg", "featuredImage": "iconoclast-sarah_800__at__2x.jpg", "size": { "content": { "width": 0, "height": 0 }, "thumb": { "width": 700, "height": 700 }, "featuredImage": { "width": 700, "height": 700 }, "bytes": 0, "pageImages": [] }, "overrides": {}, "linkTarget": "", "filters": [ "Text Pages-Bookstores" ], "key": "10329", "dateAdded": "2017-08-04T19:21:03.000Z" }, "10330": { "id": 10330, "label": "BACKGROUND: ELLIOTT BAY BOOK CO.", "caption": "", "type": "html", "content": "
“No, you can’t. Elliott Bay can’t be anyplace else,” thought owner Peter Aaron as he stood among the century-old brick walls, creaky wood floors, and hand-built cedar shelves that had held—and heard—so many stories since 1973, when Walter Carr founded the bookstore in a single room off Seattle's Pioneer Square. Over the years, Carr expanded it into a beloved labyrinth, “an organically arrived at series of rooms,” according to chief buyer Rick Simonson, who started as a clerk in 1976. But by 2005, the neighborhood had gained a reputation for rowdy fans from the nearby stadiums, homelessness, and crime. Retail shoppers—especially families—were staying away. When sales collapsed with the recession in 2008, Aaron’s choice was clear: move or close.\n
Having finally found his passion, Aaron wasn’t going to let Elliott Bay close without a fight. In 1998, after 25 unfulfilling years in the department store industry, “I literally picked a date, just drew a line in the sand and walked away, without a job and without still knowing what I was going to do,” he remembers. When Aaron was brought in as a consultant to analyze the store’s chances of survival in the shadow of Amazon, he fell in love with Elliott Bay and the idea of saving it. He ended up buying the store.
\nAaron found a promising 1916 building in Seattle’s revitalized Capitol Hill neighborhood. With flaking paint, drop ceilings, and linoleum floors, it needed a complete overhaul. “People would be walking into the store for the first time bound and determined not to like it, because it wasn’t the old store,” he feared. No one could replicate the magic of the original Elliott Bay interior. Instead, his design team created an open, light-filled contemporary space that exposed and celebrated the massive old-growth timbers, skylights, and wood floors of the 1916 structure while incorporating elements from the old store like the hand-built cedar shelves.
\nAaron also had a strategy for turning the business around: focus the remaining resources on the things that Elliott Bay does best. He continued to invest in an expert staff and a broad inventory. He chose not to sell e-readers in the store. “I didn’t want to turn our staff of great booksellers into mediocre electronics salespeople,” he says. He eliminated Elliott Bay’s used book business. He expanded the children’s section, and dedicated a large basement room to the author readings program, which Simonson had built into the most extensive in the country. \"We annually put on between 500–600 author events a year,\" says Aaron. \"The vast, vast majority of them (which is to say all of the events that are within the store) are free to the public,\" he adds. \"Thousands and thousands of people have the opportunity to have this wonderful, rather intimate, encounter with writers and their work.\"
\nSince the store moved in 2010, sales have risen every year. Aaron waxes lyrical about early mornings in Elliott Bay’s new home, before anyone else arrives. He loves “the suede of the shelves in half-light, the exaggerated ring of my footsteps, the familiar complaint of floorboards, the smells of wood and paper, coffee and scones … poised to welcome the stir and clamor of the coming day.” It looks like his gamble has paid off: not only has Peter Aaron reinvigorated Elliott Bay’s future, Elliott Bay has reinvigorated him, too.
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\n–Thomas Flynn
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Looking around, you’re going to discover new books on all sides. Our store is subterranean. It feels like we tried to shove as many books into the space as possible, at odd angles and around pipes. It verges on the claustrophobic, then takes a step back. It leaves you with the feeling of being surrounded by—and among—the books. … There’s a quiet hum to it, a quiet buzzing sound. It has the feel of activity.\n
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\n–Thomas Flynn
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San Francisco's Green Apple Books meanders, turns back on itself, and spills over into even more improbable rooms filled with the scents of fresh ink and paper turning into dust. A motley horde of ethnic masks stare down from walls. Clever handmade signs litter the shelves and ceiling (and anywhere tape can hold for any amount of time), colorful new ones accumulating over faded ones like fallen leaves.\n
“Everybody who has ever worked here has probably made a contribution that can still be found,” says co-owner Kevin Ryan. “The store is its own being in a funny way, and we’re just taking care of it.” \n
Ryan and two other long-term employees, Kevin Hunsanger and Pete Mulvihill, became Green Apple’s caretakers in 1999 and outright owners in 2009. Rich Savoy, who opened Green Apple in 1967, came up with an innovative succession plan when he was ready to retire but couldn’t find a buyer for the store. The three employees bought the store gradually over a ten-year period, which avoided the overhead of a loan and allowed Savoy to supervise the transition.\nGreen Apple’s owners take advantage of their complementary interests to operate the store. Ryan handles new book buying and operations, Hunsanger runs the used and collectible part of the business, and Mulvihill oversees the general management functions like accounting, staffing, and marketing. How do they handle ownership decisions? “We all work here every day, so we just talk to each other,” Ryan says.\n
In addition to the oddball atmosphere that makes the store a destination, Green Apple makes reacting to customers and keeping things fresh a priority. “I love coming into work everyday,” Ryan says. “It’s always a new store; there are always new books on offer and something to get excited about.”\n
“I’m totally bullish on the future of the reader,” Ryan adds. “In the late ‘80s and early ‘90s, one of the truths of book buying was that people didn’t buy hardback young adult fiction. … Those were published for the library market, and then we’d get the paperback and sell that. The strongest growth in our store is from the kids, young adult, and teen sections. They’re amazing readers. I think it has to do with the writers who are focusing on that group now. You’ve got all these sensational series of books like Harry Potter and Lemony Snicket and the Hunger Games. It seems to me it’s a generation of readers.”\n
“The one thing Amazon won’t ever be able to offer is a place to go,” he claims. “People still need to get out of the house, they still need to socialize with other people. I think people want bookstores in their community, and I think they’ll continue to support them.”\n", "thumb": "greenapple-author-reading__at__2x.jpg", "featuredImage": "greenapple-author-reading__at__2x.jpg", "size": { "content": { "width": 0, "height": 0 }, "thumb": { "width": 700, "height": 560 }, "featuredImage": { "width": 700, "height": 560 }, "bytes": 0, "pageImages": [] }, "filters": [ "Text Pages-Bookstores" ], "key": "10333", "linkTarget": "", "overrides": {}, "dateAdded": "2017-08-04T23:53:53.000Z" }, "10334": { "id": 10334, "label": "EXHIBITION PROPOSALS", "caption": "", "type": "html", "content": "
RETHINKING FIRE
Rethinking Fire explores the ecological role of fire and human impacts behind the rise of catastrophic wildfires, from past land management practices to climate change. Each work in the exhibition is created by using fire itself in some capacity, and informed by studying with fire ecologists in the field. Works include paintings, sculptures, photographs, and large-scale installations using non-traditional and natural materials. Quotes from leading scholars in the fields of fire ecology, firefighting, and climate science or commentary by the artist accompany each work. The goal is to inspire community dialogue that will lead to implementation of more effective policies for creating fire resiliency in a changing climate. Rethinking Fire is designed for a 1000–2500 sq. ft. gallery. The number of works included in the exhibition is flexible (16–25) and may be expanded or condensed to meet the curatorial vision of the hosting venue.
The Phoenix New Times named the exhibition's debut at the Mesa Contemporary Arts Museum one of the Phoenix area's top-10 art exhibitions of 2017. In 2018–2019, the exhibition was expanded with additional works and issue text relevant to California and will be on view at the Fresno Art Museum until June 23.
A concise exhibition proposal may be viewed online in book form here.
THE LAST BOOKSTORES
The Last Bookstores documents America’s remaining independent bookstores and the people behind their survival and potential comeback. Artist Bryan David Griffith pairs photographs—meticulously crafted with the dying art of large-format film—with quotes distilled from hours of interview material with booksellers. The first-hand accounts provoke questions about how the growth of big-box chain retailers and Amazon affect the distribution of literature and impact local economies. The Last Bookstores debuted in 2015 at The Griffin Museum of Photography outside Boston. The project has been featured in Slate and Photo District News and reviewed in Harvard Magazine, the Boston Globe, and the Arizona Daily Sun.The Last Bookstores is designed for a 500–1000 sq. ft. gallery. The number of works included in the exhibition is flexible (18-24) and may be expanded or condensed to meet the curatorial vision of the hosting venue. The majority of the photographs are 11x14” framed to 20x24”. Up to four large images (22x28” framed to 32x40”) may be included, as well as up to six small black & white portraits (5x7” framed to 11x14”).
The show is a good fit for ancillary events like book festivals, writer’s conferences, library events, and “buy local” campaigns. A portion of the project can be viewed in book form here.
TRAVERSING THE FOG
Traversing the Fog is about navigating uncertainty along the creative journey and relevant to the challenges many face as a result of the Covid-19 pandemic. Artist Bryan David Griffith uses simple homemade and vintage equipment to create narrative fragments from memories of his personal artist's journey that seem like \"ideas on the edge of being grasped—or forgotten.\" Prints from this series are included in a number of significant museum and private collections.
Traversing the Fog is designed for a 500–1000 sq. ft. gallery and includes 20–30 8x10\" platinum/palladium prints on handmade Japanese paper framed to 16x20\".
\nprice list\n",
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\n\nI listened to the song of the last rose leaves persisting in the breeze, and harmonized the background into a soft chorus around the leaf.\n
\nprice list",
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"label": "414 Dogwood Study, West Clear Creek Wilderness, Arizona",
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\n\nWith soft botanical images, I try to free myself of the routine technical goals of landscape photography, such as crisp focus, in order to create an image more by listening and feeling. I listened to the whispers of the dogwood persisting through the frost, and harmonized the background into a soft haiku around the leaf. \n
\nprice list",
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"label": "415 Light Across the Canyon, Grand Canyon National Park, Arizona",
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\nGrand Canyon National Park, Arizona
\n\nThe first rays of dawn slice through the icy haze of morning, awakening the temples of Buddha, Brahma, and Zoroaster, warming the red walls of Dana Butte, while the restless Colorado continues to churn in the gorge below. A sliver of the river appears here, near the confluence with Bright Angel Canyon. This final exposure is the fruit of several days spent observing the changing light in this part of the canyon.\n",
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\nChaco Culture National Park, New Mexico
\nThe crumbling walls of this ancient pueblo reflecting the sinking sun lend a different color temperature to each room, conveying that feeling of walking through generations with each doorway, of hearing ancestors grinding maize and polishing turquoise: that feeling of mystery and wonder that is Chaco. Observant viewers will recognize the same set of doorways from others in this series, shot from the opposite direction under different lighting conditions. All three images are journey metaphors, and complement each other as companions. ",
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"label": "421 Illuminated Doorways, Chaco Culture National Park, New Mexico",
"caption": "Illuminated Doorways
\nChaco Culture National Park, New Mexico
\nA passage into the past… the passing of generations. The evolution of an individual… the pursuit of the infinite. To me, doorways represent possibilities and growth along the path of life. Rays of sunrise reflected and diffused by the walls of this ancient pueblo lend luminescent color to each room, further evoking a journey from darkness to light. Once home to a culture that created large-scale, pre-planned architecture, astronomical markers, and a network of roads, Chaco Canyon has fascinated archeologists for decades.\n
\nprice list",
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"caption": "Gulf Horizon
\nGulf of Mexico, Florida
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"label": "425 Cathedral Rock & Prickly Pear, Coconino National Forest, Arizona",
"caption": "Cathedral Rock & Prickly Pear
\nCoconino National Forest, Arizona
\n\nPerhaps the most beautiful formation in the Sedona area, Cathedral Rock is also the most photographed. As an artist I believe that there is always an opportunity to create something unique, even with a common subject. After a good deal of scrambling I found this perch, where a prickly pear cactus bathed in the last light. Finding a route down in the darkness proved to be an adventure. \n",
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"label": "305 Aspen Bark, Elk Sign, Coconino National Forest, Arizona",
"caption": "Aspen Bark, Elk Sign
\nCoconino National Forest, Arizona
\n\nThe painterly scar in the aspen bark was likely made by an elk,. who rub their antlers on trunks and bite off bark for nutrients. Photographing in the blue light of shade on an overcast day brings out the blue tones on the fallen aspen trunk.\n",
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"caption": "Beyond the Shore
\nLake Michigan, Michigan
\nThe hues of twilight blend with the last hint of sunset as the sun slips below the horizon to form this abstraction. It reminds me of the close of summer days spent on the water, of the satisfying rest that comes from a long day under the sun.",
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"label": "501 Agave",
"caption": "Agave
\nRed Rock-Secret Mtn. Wilderness, Arizona
\n\nThe hardy agave, or century plant, can wait 25 years or more before growing a single, enormous flower stalk, up to 14 ft. tall, that dwarfs the plant. The agave spends all of its energy to father a new generation, sacrificing its life in the process. I photographed this plant along the Secret Canyon trail near Sedona.\n
\nprice list",
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"caption": "\nSunbeams through Aspens
\nUncompahgre National Forest, Colorado
\n\n\nAutumn aspens filter the rays of the rising sun as they melt the frost on the rabbitbrush in the foreground. I found this composition accidentally, while hiking to another destination, but by the time I set up the camera, it was gone. I returned the next morning to capture this fleeting moment.\n",
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\nUncompahgre National Forest, Colorado
\n\n\nSunset hues slice across the Sneffels Range of the San Juan Mountains. Scrub oak, aspen, and wild rose paint the foothills with red and gold at the peak of autumn.\n
\nprice list",
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"label": "505 Sequoias, Sequoia National Park, California",
"caption": "Sequoias
\nSequoia National Park, California
\n\nSunlight reflecting off the bark of the giant sequoia in the foreground illuminates the background tree, but only for a few minutes. I was fascinated by the variety of colors, textures and scars in the bark of these trees when viewed up close. I wonder what stories these ancient patriarchs could tell.\n",
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"label": "506Pueblo del arroyo Doorways, Chaco Culture National Park, New Mexico",
"caption": "Pueblo del Arroyo Doorways
\nChaco Culture National Park, New Mexico
\n\nA universal journey metaphor, these ancient pueblo doorways give me a feeling of walking through generations with each door, of hearing ancestors grinding maize and polishing turquoise: that feeling of mystery and wonder that is Chaco. The color differences are caused by a natural phenomenon I have studied for years and termed “reverberant lighting.” This effect depends on precise alignments of reflected sunlight and is only reproducible for a few minutes of the day, on certain days of the year.\n",
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"label": "507 Pueblo Bonito Doorways, Chaco Culture National Park, New Mexico",
"caption": "Pueblo Bonito Doorways
\nChaco Culture National Park, New Mexico
\nTo me, doorways represent possibilities and growth along the path of life. How do these doors speak to you? Rays of sunrise reflected and diffused by the walls of this ancient pueblo lend luminescent color to each room, further invoking a journey from darkness to light. The ancient pueblo architects built “T”-shaped doorways in special locations throughout the Southwest, but their purpose remains a mystery. Archeologists believe Pueblo Bonito, containing over 600 rooms, was not a residence, but a special work of public architecture.",
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"label": "508 Crumbled Walls, Chaco Culture National Park, New Mexico",
"caption": "Crumbled Walls
\nChaco Culture National Park, New Mexico
\nThese crumbled walls of Pueblo del Arroyo frame a series of doorways like a window to the past. Dawn light, reflected off the interior wall, lends a red glow to the interior room, contrasted with the cool hues of the shaded foreground wall. Once home to a culture that created large-scale, pre-planned architecture, astronomical markers, and a network of roads over hundreds of miles, Chaco Canyon has fascinated archeologists for decades.",
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"label": "509 Maples in the Creek, Red Rock-Secret Mtn. Wilderness, Arizona",
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\nRed Rock-Secret Mtn. Wilderness, Arizona
\n\nMaples and moss in the lush canyon of the West Fork of Oak Creek, near my home, live juxtaposed with the red rock and yucca of the desert above. After a storm blew many of the maple leaves into the creek, I composed this image at water level along a bubbling cascade.",
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"label": "510 Cloud Break Over Jenny Lake, Grand Teton National Park, Wyoming",
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\nGrand Teton National Park, Wyoming
\n\nAfter returning to the shores of Jenny Lake at dawn for what looked like another overcast day, the sun sliced through the clouds for a moment, illuminating the Tetons and Cascade Canyon with a sliver of light. \n
\nprice list",
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"label": "511 Shell Collection, Sanibel-Captiva Islands, Florida",
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\n\nThe island beaches of Sanibel and Captiva are famous for their shells. Unlike most of Florida, they have also resisted over-development in favor of local business and eco-tourism. After walking the beach, my fiancee and I emptied our pockets of shells into a pile near the tide line so that others might enjoy them. Pictured here are a variety of clams, scallops, murexes, conchs, olives, whelks, coquinas, mussels, and others found in the Gulf of Mexico.\n
\nprice list",
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"label": "515 Water above the Canyon, Canyon de Chelly National Monument, Arizona",
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\nCanyon de Chelly National Monument, Arizona
\n\nIn the Southwest, a little moisture and elevation change can make all the difference, as shown by the sandstone and juniper of the canyon rim contrasted with the golden cottonwoods along the meandering wash below. On the high sandstone, wildlife look for rainwater trapped in pockets. Early inhabitants and pioneers also relied on them. This canyon has sustained people for thousands of years, from ancient cliff-dwellers to the current Navajo residents.",
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"label": "601 Cacti, Organ Pipe Cactus National Monument, Arizona",
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\nOrgan Pipe Cactus National Monument, Arizona
\n\nMorning sunlight illuminates the trunks of saguaro and organ pipe cacti from behind, reflecting from one to the other, creating variations on the theme of green.",
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"label": "604 Flowers & Chollas, Kofa National Wildlife Refuge, Arizona",
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\nKofa National Wildlife Refuge, Arizona
\n\nThe desert wildflower bloom varies greatly in both magnitude and duration from year to year. In an exceptionally wet winter, when snow piles to the bottom branches on the high peaks, and wash bottoms that had faded to mere wrinkles in the dust course again with water, seeds that have lain forgotten for years awake to reclaim their ancestral lands. Mountainsides and valleys erupt in fireworks of wildflower celebration.\nI shot this photo as a storm was clearing the mountains of the Kofa National Wildlife Refuge, blowing a sea of wildflowers around the stationary, and less ephemeral, chollas.\n
\nprice list",
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"label": "605 Cobbles & Tree, Zion National Park, Utah",
"caption": "Cobbles & Tree
\nZion National Park, Utah
\n\nI was drawn to the melody of water across the cobbles, the harmony of blue-green water, pink cliffs, and yellow leaves of this box elder growing in the Virgin River narrows. The river reminded me of change and renewel. A few weeks earlier I had been attracted to this same tree, although the leaves were green, and the water a muddy yellow from a recent flood, which had prevented me from hiking much farther.\n
\nprice list",
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"label": "606 Red Rock Crossing, Coconino National Forest, Arizona",
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\nCoconino National Forest, Arizona
\n\nWillows, cottonwoods, and sycamores show their colors at the peak of fall along the bank of Oak Creek as it cascades beneath the famous Sedona landmark Cathedral Rock at sunset. I live near the headwaters of Oak Creek and consider its meanders my extended home. I love this particular cascade for its contrast between the moving and the still: cool water brings life to a burning desert while the ephemeral stream shapes everlasting stone.\n
\nprice list",
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"label": "607 Cliffs above the Colorado, Grand Canyon National Park, Arizona",
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\nGrand Canyon National Park, Arizona
\n\nThe Colorado River cuts an arc through the Grand Canyon as the last red rays of sunset illuminate the cliffs. As I climbed down on an exfoliating piece of sandstone with over 1,000 feet of exposure for this shot, a thunder rumbled through the canyon. I turned to see a bus-sized rock break loose from the opposite cliff and tumble into the canyon, striking a few hundred feet above the river in an explosion of dust and debris- a reminder that the forces of erosion this river began long ago are still at work.\n
\nprice list",
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"caption": "Clouds Over the Gulf
\nGulf of Mexico, Florida
\nA band of hopeful sunlight shines on the horizon past these dark clouds off the shore of Sanibel Island. My inspiration for this series comes from abstract color-field painting. I seek to take photography to a similar level of expression by creating minimal, meditative images of the horizon, a place where the imagination wanders.",
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"label": "611 Winter Fog, Coconino National Forest, Arizona",
"caption": "Winter Fog
\nCoconino National Forest, Arizona
\n\nA cloud obscures the top of the San Francisco Peaks, resulting in an icy fog on the high slopes. The soft, paintery tones convey the pristine stillness of winter and barely suggest the aspen trees, leaving the rest to the imagination.\n
\nprice list",
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"label": "612 Misty Spring, Ozark National Riverways, Missouri",
"caption": "Misty Spring
\nOzark National Riverways, Missouri
\n\nMist rises off the water of the water of this limestone spring as the cool morning light diffuses through the humidity and dense green canopy of the forest on the cliffs above. The spring, known as Blue Spring for its intense color, feeds the Current River downstream. The turquoise color in the foreground is algae growing beneath the blue water. I find natural springs, large or small, with their lush vegetation, and dripping water, to be sanctuaries for the soul.",
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\nOrgan Pipe Cactus National Monument, Arizona
\n\nThis nearly abstract study of the trunks of an organ pipe cactus showcases a phenomenon I call reverberant lighting, whereby sunlight is reflected off of nearby surfaces in varying degrees of hue and intensity. This effect depends on a precise alignment of the sun and is therefore only reproducible for a few minutes of the day, on certain days of the year. The needles of the organ pipe cactus transmit some light and appear red when backlit, similar to a hand held over a flashlight in the dark.",
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"label": "603 Desert in Bloom, Organ Pipe Cactus National Monument, Arizona",
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\nOrgan Pipe Cactus National Monument, Arizona
\n\nThe desert wildflower bloom varies greatly in both magnitude and duration from year to year. In an exceptionally wet winter, when snow piles to the bottom branches on the high peaks, and wash bottoms that had faded to mere wrinkles in the dust course again with water, seeds that have lain forgotten for years awake to reclaim their ancestral lands. Mountainsides and valleys erupt in fireworks of wildflower celebration. Lupine, brittlebush, ocotillo, and delicate gold poppies cover this hillside in the usually parched Diablo Mountains.\n
\nprice list",
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\nFlagstaff, Arizona
\n\nWith this long exposure during a heavy snowfall, the forest fades to white as the snowflakes combine to record a fog-like effect on film. This particular ponderosa pine forest, typical of the landscape around Flagstaff, happens to be my shot from my backyard.\n",
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"label": "718 Heliconia Study, Balenbouche Estate, St. Lucia",
"caption": "Heliconia Study
\nBalenbouche Estate, St. Lucia
\n\nI used the slight breeze off the Caribbean together with a wide aperture to create a soft, painterly composition emphasizing the curves and colors of this heliconia (heliconia psittacorum.) This photo comes from Balenbouche Estate on the island nation of St. Lucia, an historic plantation, organic farm, and eco-tourism site owned by the creative and resourceful Uta Lawaetz and her family.",
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"caption": "Coral, Surf, & Stones
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\n\nCaribbean waves passed in and out several times during this long exposure as sunset turned to the purple hues of highlight. I like the hints of the orange horizon reflected in the highlights on the wet rocks and the ghostly record of the passing surf. Large-format photography, with its inherently long exposures, has taught me to embrace the passage of time instead of trying to freeze an instant. The rocks on the right are pieces of coral washed ashore. Coral of all types is protected in St. Lucia.",
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"label": "720 Moon Lily (Datura Opening), Zion National Park, Utah",
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\n\nSince the Sacred Datura, or Moon Lily, opens at night and closes and withers in the daylight, it is hard to catch one in the act of opening while there is still enough light to photograph. I focused selectively to emphasize the soft, delicate quality of the flower against the leaves floating like a star or the moon in the twilight sky. Native to the desert Southwest, Daturas were a favorite subject of painter Georgia O’Keefe. The plant is extremely poisonous, but derivitaves were used in some native spiritual and medicinal purposes, as well as in modern medicine.",
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\n\nAs a thunderstorm clears at twilight, primroses seize the opportunity to open like popcorn across the dunes. The delicate, white blossoms, opening for just one night, seem out of place in this landscape of coarse sand, harsh wind, and blistering heat. Yet sprout and blossom they do, quickly and vigorously, when conditions are just right in the dunes, a reminder of the value of patience and the rare beauty of the present moment.",
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"caption": "Gathering Storm
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\nTowering storm clouds envelop the island of St. Vincent, visible near the horizon, as seen from the coast of St. Lucia. I held the shutter open just long enough to soften the waves without bluring the rolling, boiling clouds.",
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"caption": "Caribbean Gold
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\nBoth the sea and sky shimmer like gold as the haze of the horizon diffuses the sun along the Caribbean coast of St. Lucia. I wonder how many have looked across such a golden sea and wondered what new lands and fortunes might lie beyond the horizon",
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\nCoconino National Forest, Arizona
\n\nThe sun dips beneath the clouds for dramatic lighting as a storm clears to reveal the San Francisco Peaks freshly dusted with snow, a rarity during the October peak of the autumn leaf change around Flagstaff.\n",
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\n\nA still life with birch, balsam fir, and fungi typical of the cool, moist north woods boreal forest in the waning days of autumn.",
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\n\nThe sun peeks beneath a clearing storm over Bright Angel Canyon in this view from the North Rim of the Grand Canyon. The renowned Bright Angel hiking trail follows the canyon below, connecting the North and South Rims. In the distance lie Zoroaster Temple and the South Rim. On the horizon looms Mt. Humphreys, the highest point in Arizona, over 50 miles away, a reminder of the Canyon’s massive scale.",
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\n\nSunset illuminates the sandstone peak known as The Watchman, which seems to stand sentinel over Zion Canyon as the Virgin River meanders below. Cottonwoods along this desert oasis show hints of autumn gold.
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\n\nSunrise through hazy winter clouds reflects in the still mineral waters of Mono Lake. A stark, surreal landscape, due to the extreme saltiness and alkalinity of the lake and nearby soil, Mono Lake has a specially evolved ecosystem of algae, brine shrimp, and salt flies that is an important oasis for migratory birds. After diversion of valley water by the Los Angeles aqueduct began in 1941, the level of the lake dropped over 45 ft. until a coalition of local residents and environmentalists succeeded in protecting the lake and reversing its water loss in 1994. ",
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\n\nThis image evokes the feeling of complete immersion in the wilderness, surrounded by trees as far as the eye can see. It makes me want to fill my lungs with cool, crisp autumn air in the Colorado mountains. I used a long lens on my 4x5 view camera to flatten the perspective and emphasize the density of the aspens.
\n\nprice list",
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\nCoconino National Forest, Arizona
\n\nBox elders bask their yellow leaves in the low autumn sunlight as oak creek bubbles through the cool green canyon. The swirling waters of the creek blur these hues together into a brilliant watercolor. I spent several days revisiting this spot throughout the season, looking for just the right time of year and day. I found the angle I was looking for by climbing a boulder in the middle of the creek with just enough room for a tripod and box camera.\n
\nprice list",
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"label": "901 Mono Lake, Sunrise, Inyo National Forest, California",
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\nInyo National Forest, California
\n\nThin clouds in the southeast cast rolling shadows across the mountains and bathe the granite Alabama Hills in diffused light on this winter morning in the East Sierra Nevada. Lone Pine Peak dominates the skyline with Mt. Whitney, the highest peak in the lower 48 states, behind.",
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"label": "904 Oak, Blowing Fog, Shenandoah National Park, Virginia",
"caption": "Oak, Blowing Fog
\nShenandoah National Park, Virginia
\n\nThe sprawling limbs of a venerable old white oak tree sway in the mountain top breeze as thick fog obscures the distant Shenandoah Valley. The simplicity of the single solid oak, the subtle tones of late fall, and the mystery of fog compelled me to make this photograph. \nI held the shutter open extra long to catch the blowing wind.\n
\nprice list\n",
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"label": "907 Lake Superior, Sunset, Pictured Rocks National Lakeshore, Michigan",
"caption": "Lake Superior, Sunset
\nPictured Rocks National Lakeshore, Michigan
\n\nThe Hurricane River flows into Lake Superior as the sun sinks on the horizon. The river seems to carry all my worries away and over the horizon- away from the present and into the past. Due to the long shutter speed required by the large format camera, I only had time to make one exposure while the sun was on the horizon. I rushed to calculate the exposure and development time manually, and kept my fingers crossed until I could develop the film a week later, since shooting into the sun leaves no latitude for error.",
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"label": "908 Pebbles & Stones, Pictured Rocks National Lakeshore, Michigan",
"caption": "Pebbles & Stones
\nPictured Rocks National Lakeshore, Michigan
\n\nI found this diverse collection of colorful rocks arranged by the surf of Lake Superior near the Au Sable River. These rocks seem to come from all over Michigan, Wisconsin, Minnesota, and Ontario, plucked thousands of years ago by glaciers, then washed by rivers into the mighty lake, to be turned, polished, and carried by the waves to this beach. The waves were still rearranging them as I set up the camera for this shot.\n
\nprice list",
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\n\nAs the first light of morning begins to filter through the forest, a streamlet spills gently over the mouth of a cave into a tranquil pool lined with freshly fallen leaves.",
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"label": "913 Black Canyon & Buckwheat",
"caption": "Black Canyon & Buckwheat
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\n\nA hardy buckwheat flowers in a little pocket of soil in the granite rim of the Black Canyon of the Gunnison, as the evening sun sinks behind the cliffs. Over millions of years, the churning Gunnison River has carved a spectacular 2000 ft. deep canyon through hard metamorphic and igneous rock at the rate of 1 inch per 100 years. The gneiss at the bottom is over 2 billion years old, some of the oldest exposed rock on earth.",
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"label": "917",
"caption": "Maples & Ferns
\nPictured Rocks National Lakeshore, Michigan
\n\nA fallen maple leaf rests on an autumn fern in the lush second-growth maple and beech forest above the south shore of Lake Superior. This area was once home to towering white pines before being logged out by the turn of the century.",
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"caption": "Snowstorm, Lake Tahoe
\nLake Tahoe, California
\nA snowstorm obscures all but the faintest hint of the Sierra Nevada mountains surrounding Lake Tahoe, turning the scene into a subtle abstraction.",
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"label": "905 Maples in Fog, Shenandoah National Park, Virginia",
"caption": "Maples in Fog
\nShenandoah National Park, Virginia
\n\nFallen leaves blanket the forest floor beneath a maple canopy on an early fall morning in Shenandoah National Park. The fog expands space and reveals subtlety, transforming an ordinary forest into a place of quiet contemplation.",
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"label": "906 Last Leaves Falling, Ottawa National Forest, Michigan",
"caption": "Last Leaves Falling
\nOttawa National Forest, Michigan
\n\nIn the waning days of autumn, I came across one sugar maple that still held its vibrant leaves in a forest of barren trunks. The wind picked up as a storm blew in, and the grey trunks began to dance under the smoky sky. Soon that last maple began to release its leaves to the wind, one at a time. I tried to capture the wind on film, and the feeling of the last days of fall.",
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"caption": "Redbud & Dogwoods
\nMammoth Cave National Park, Kentucky
\n\nEastern redbud and dogwood flowers adorn the forest above Mammoth Cave. I love the first weeks of spring, when fresh young leaves seem to sprout in every shade of vivid green before concurring on the verdant hue of summer.",
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"label": "916 Scarlet Maple, Hiawatha National Forest, Michigan",
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\nHiawatha National Forest, Michigan
\n\nI made this exposure just after the sunset, but while the clouds were still illuminated enough to provide a subtle side lighting and bring out the color of this sugar maple tree at the peak of autumn brilliance. The low level of light and use of large-format film required an exposure over 30 seconds long. Surprisingly, the breeze that had been blowing that day abated long enough for me to capture detail in the leaves.",
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"label": "918 Golden Forest & Sentinel Tree, Pictured Rocks National Lakeshore, Michigan",
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\nPictured Rocks National Lakeshore, Michigan
\n\nA bend in the trail suddenly revealed what seemed to be the entrance to a secret golden forest, with an old tree guarding the gate, its trunks like massive pillars. Just then the first light of morning began to filter through the leaves. ",
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"caption": "©Bryan David Griffith",
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"label": "1001 Tetons & Morning Mist, Grand Teton National Park, Wyoming",
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\nGrand Teton National Park, Wyoming
\n\nThe Teton Range peeks through the mist at dawn, the day after a late summer storm brought fresh snow to the mountains. When I first arrived on this particular morning, after visiting the same spot for many days, this little valley near the Snake River was completely filled with mist, entirely concealing the mountains. Right as the sun was coming up, the mist cleared just enough for me to make this exposure before blanketing the mountains again.\n",
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"label": "Tetons & Blacktail Ponds, Grand Teton National Park, Wyoming",
"caption": "©Bryan David Griffith",
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"label": "Sunset at Ruby beach, Olympic National Park, Washington",
"caption": "©Bryan David Griffith",
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"label": "Redwood Trunks, Jedediah Smith State Park, Redwood National Park, California",
"caption": "©Bryan David Griffith",
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"id": 10504,
"label": "Path through the Giants, Redwood Natioanl Park, Jedediah Smith State Park, California",
"caption": "©Bryan David Griffith",
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"label": "1008 Coastal Forest, Heavy Fog, Cape Lookout State Park, Oregon",
"caption": "Coastal Forest, Heavy Fog
\nCape Lookout State Park, Oregon
\n\nHeavy coastal fog obscures the forest of Cape Lookout, high above the ocean, leaving the extent of the forest and height of the bluffs open to the imagination. The Sitka Spruce and Western Hemlock trees are typical of the temperate, moist coastal forests of the Pacific Northwest that thrive with life.\n",
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"label": "Sitka Spruce Forest, Olympic National Park, Washington",
"caption": "©Bryan David Griffith",
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"label": "Redwoods in Fog",
"caption": "Redwoods & Fog
\nRedwood National Park-Del Norte Coast State Park, California
\n\nWhen I walk among a grove of giant Redwoods, towering over 250 feet tall, I find myself humbled, instinctively speaking softly, as though visiting one of Europe’s great cathedrals. The forest seems even more primordial and mysterious when the fog rolls in, as though I have traveled back in time. The fog is a significant source of moisture for the Redwoods in the relatively dry summer months, helping them grow to such great heights.\n",
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"id": 10508,
"label": "1013 Cannon Beach in Fog, Ecola State Park, Oregon",
"caption": "Cannon Beach in Fog
\nEcola State Park, Oregon",
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"label": "Sitka Sruces, Fog, Cape Lookout State Park, Oregon",
"caption": "©Bryan David Griffith",
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"label": "Neskowin Beach, Twilight",
"caption": "©Bryan David Griffith",
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"label": "1018 Sea Stacks at Twilight, Olympic National Park, Washington",
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\nOlympic National Park, Washington
\n\nThe waves swished in and out as I held the shutter open for an extended exposure to capture the fading light of dusk. I was drawn to the calm, contemplative time between day and night, and the eternal, essential rhythms of the waves, the tide, the sun, and moon.\n",
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"label": "1019 Starfish & Surf, Cape Ferraro, Oregon",
"caption": "Starfish & Surf
\nSamuel Boardman State Park, Oregon
\n\nOne wave rolls out as another crashes in during this long exposure on the foggy Oregon coast. The tide is rising after an a very low tide has exposed the plethora of intertidal life clinging to the boulders and tide pools. I am amazed by how the steadfast sea stars are able to endure the pounding of the waves. Making this photograph was a challenge. By the time I was able to climb down and carefully assemble my large format camera and tripod one piece at a time on a small rock, the tide had risen so quickly that the waves were lapping at my feet.\n",
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"label": "1020 Horseshoe Bend, Rainstorm, Glen Canyon National Recreation Area, Arizona",
"caption": "Horseshoe Bend, Rainstorm
\nGlen Canyon National Recreation Area, Arizona
\n\nThe Colorado River meanders through the sandstone cliffs of Glen Canyon upstream from Grand Canyon National Park. A rainstorm at sunrise provides a few moments of unusually soft, warm light before drenching the thirsty desert. The first drops of rain are visible in the foreground. Luckily I had just enough time to make this exposure with my large-format view camera before I had to pack it away due to the rain.\n",
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"label": "Mt. Hayden during morning snowstorm, Grand Canyon National Park, Arizona",
"caption": "©Bryan David Griffith",
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"label": "1022 Canyon Snowstorm at Dawn, Grand Canyon National Park, Arizona",
"caption": "Canyon Snowstorm at Dawn
\nGrand Canyon National Park, Arizona
\n\nClouds of moisture billow around Mt. Hayden on the North Rim of Grand Canyon National Park, as the first red rays of sunrise pierce through an opening in the storm. This autumn storm brought a few inches of snow to the highest elevations of the North Rim.\n",
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"label": "1023 Bryce Amphitheater, Sunrise, Bryce Canyon National Park, Utah",
"caption": "Bryce Amphitheater, Sunrise
\nBryce Canyon National Park, Utah
\n\nThe first rays of sunrise, when the sun is just peeking above the horizon, bathe the surreal limestone “hoodoo” formations of Bryce Amphitheater in soft red light.\n
\nprice list",
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"label": "1024 Virgin River, Morning Light, Zion National Park, Utah",
"caption": "Virgin River, Morning Light
\nZion National Park, Utah
\n\nI liked the ephemeral nature of this simple image in the famous Virgin River narrows. River stones left by the last flood… fallen leaves… the sound of flowing water… all bathed for but a moment in the warm morning light reflected off the sandstone cliffs above. The sandstone wall seems as smooth and flowing as the river that has carved and polished it.\n",
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"label": "1025 The Narrows, Zion National Park, Utah",
"caption": "The Narrows
\nZion National Park, Utah
\n\nI hiked the Virgin River narrows many times in the fall, with a heavy large-format camera and frigid water up to my waist at times, before finally finding a shot that I thought conveyed the spirit of this famous hike through a dark, narrow, sinuous sandstone canyon, filled with the echoes of rushing water, where the walls sometimes glow with reflected light for a half-hour or so when the angle of the sun is just right.\n",
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"label": "1026 Silent City, Bryce Canyon National Park, Utah",
"caption": "Silent City
\nBryce Canyon National Park, Utah
\n\nWhile conventional wisdom says that the most dramatic lighting is very early and late in the day, I found that I preferred to photograph this formation, known as the “silent city,” when the sun was much higher in the sky. The soft backlighting of the winter sun, slightly diffused by a thin cloud, made the cascading shapes glow with subtle, pastel colors.\n",
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"label": "Sitka Spruce Forest in Fog, Cape Lookout State Park, Oregon",
"caption": "©Bryan David Griffith",
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"label": "1028 Sea Stars & Anemones, Olympic National Park, Washington",
"caption": "Sea Stars & Anemones
\nOlympic National Park, Washington
\n\nSea stars and anemones cling steadfastly to the side of a boulder between the crashing waves of the rising tide. The tide pool creatures look soft and fragile, yet are incredibly strong and resilient, able to withstand pounding surf and constant changes in temperature, moisture, and salinity.\n",
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"label": "1029 Wukoki Pueblo, Crescent Moon, Wupatki National Monument, Arizona",
"caption": "Wukoki Pueblo, Crescent Moon
\nWupatki National Monument, Arizona
\n\nThe last glow of sunset illuminates the red walls of ancient Wukoki pueblo as the crescent moon hangs in the sky above. The ruins seem to grow organically out of a sandstone island that rises above a flat plain, with sweeping views across the desert. While archeologists believe that trade, agriculture, and construction flourished in the Wupatki basin in the 1100’s, by 1300 the original inhabitants had abandoned the area.\n",
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"label": "Sitka Spruce Forest in Fog, Cape Lookout State Park, Oregon",
"caption": "©Bryan David Griffith",
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"label": "1200 Doorways Through The Ages, Chaco Culture National Park, New Mexico",
"caption": "Doorways Through The Ages
\nChaco Culture National Park, New Mexico
\n\nA universal journey metaphor, these ancient pueblo doorways give me a feeling of walking through generations with each door, of hearing ancestors grinding maize and polishing turquoise: that feeling of mystery and wonder that is Chaco Canyon. The color differences are caused by a natural phenomenon I have studied for years and termed “reverberant lighting.” This effect depends on precise alignments of reflected sunlight and is only reproducible for a few minutes of the day, on certain days of the year.\n
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"label": "1201 Bunchberry Leaves, Cascade River State Park, Minnesota",
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\nprice list",
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\nprice list\n",
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\n\nMist obscures the far shore of this Michigan lake as the sun hides behinds the haze, creating a tranquil abstraction of blue on blue. This image was part of a challenge to see the long winters of my native Midwest through new eyes. Sometimes the simplest things are the most powerful.",
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\n\nOne last sweet gum holds proudly to its color, stretching Autumn to its end. But, alas, it too has fallen, and shall fade into the brown earth with winter just as the oaks, beeches, and maples that fell before. I believe that we need not climb to a mountain vista to witness the beauty of nature, but only need to listen to the stories at our feet.",
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\nSawtooth National Forest, Idaho
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"10564": {
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"label": "1004 Enchanted Forest, Olympic National Park, Washington",
"caption": "Enchanted Forest
\nOlympic National Park, Washington
\n\nThe small patches of old growth forest remaining in the once vast rainforests of the Pacific Northwest evoke the enchanted forests of Old World legend, full of giant Western Hemlocks, Douglas Firs, Sitka Spruces, and Red Cedars cloaked in moss and vines. This part of the Hoh Rain Forest, one of the finest examples of primeval temperate rainforest left in the world, was protected by the creation of Olympic National Park. Unfortunately, the rest of this forest has been extensively logged in the 20th century.\n
\nprice list", "type": "image", "content": "1004.jpg", "size": { "content": { "width": 2000, "height": 1037 }, "thumb": { "width": 0, "height": 0 }, "featuredImage": { "width": 0, "height": 0 }, "bytes": 668456 }, "overrides": {}, "filters": [ "Landscape" ], "linkTarget": "", "key": "10564", "dateAdded": "2017-09-05T06:19:40.000Z" }, "10565": { "id": 10565, "label": "Broken-Equilibrium-at-516-ARTS", "caption": "Broken Equilibrium
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Another Man’s Treasure began as a challenge to see beauty in ugliness: to find worth in the discarded or left behind. I wanted to slow down and appreciate the ordinary. In my travels for my work as a large-format landscape photographer, I often encountered the prevalent abandoned cars, derelict structures, and railroad equipment strewn throughout the American West. While such sights were eyesores to me, I tried to see them anew with the eyes of an abstract painter, and to photograph them with the same methods and intensity I use to photograph a landscape, curious to see what would result.\n
Soon I began to hear stories and see patterns in the rust. My subjects were mass-produced, but time had since transformed them from identical to individual characters. The unique patina that distinguishes one rusted car from another of the same model is a record of events witnessed and human lives encountered during the intervening years. Like an archeologist who seeks out the refuse heaps of an ancient society to learn about their way of life, I see my subjects as relics of twentieth-century America, being slowly entombed in dust. I try to imagine what future archeologists will conclude about us from what we’ve left behind.\n
I photograph these found compositions with an \"old-fashioned\" large-format view camera in the field using natural light. This camera has no electronics and is much more difficult to use than a 35mm or digital camera, but with practice it produces images of a quality unmatched by any other method. I continue to rely on vision, practice, patience, and luck to make my work—not special filters, digital effects, or other gimmicks.\n", "thumb": "Statement-4.png", "size": { "content": { "width": 0, "height": 0 }, "thumb": { "width": 1200, "height": 900 }, "featuredImage": { "width": 0, "height": 0 }, "bytes": 0, "pageImages": [] }, "dateAdded": "2017-09-10T22:37:47.000Z", "linkTarget": "", "overrides": {}, "filters": [ "Text Pages-Statements" ], "key": "10567" }, "10568": { "id": 10568, "label": "ARTIST STATEMENT: LISTEN TO THE WILD", "caption": "", "type": "html", "content": "
Listen to the Wild is about slowing down and noticing beauty in the world, especially that which is in danger of being lost or taken for granted. I strive for simple, subtle images that capture the intimate experience of nature, not just the striking colors or scenic vistas. I try to pull you into the image, to re-create the essential human experience of being in awe of and in rhythm with the heartbeat of the natural landscape—a fading heartbeat that we must preserve, if not for the planet, then for the soul. Most of all, I want my work to remind you to leave the computer, turn off the television, open a window, and smile at the warm gift of sunlight on your face.\n
The message of my work also applies to its creation. For every exposure I make, I spend many more days in the field just observing, waiting for that rare moment when season, time, and weather add up to just the right light. \n
I rely on creative vision, practice, patience, and luck—not digital processing or other gimmicks. I use “old-fashioned” large-format film cameras without electronics. These cameras are much larger, slower, and more difficult to operate than 35mm or digital cameras, but produce incredibly detailed, nuanced images unattainable by any other means. While the world of photography is changing, my goal will always be the same: to inspire people to slow down and appreciate the world around them.\n", "thumb": "Statement-5.png", "featuredImage": "bryanbehindcamera_quote2__at__2x.jpg", "size": { "content": { "width": 0, "height": 0 }, "thumb": { "width": 1200, "height": 900 }, "bytes": 0, "featuredImage": { "width": 700, "height": 605 }, "pageImages": [] }, "key": "10568", "dateAdded": "Sun, 10 Sep 2017 23:13:41 GMT", "linkTarget": "", "overrides": {}, "filters": [ "Text Pages-Statements" ] }, "10569": { "id": 10569, "label": "cyanotype-plans__at__2x", "caption": "", "type": "image", "content": "cyanotype-plans__at__2x.jpg", "size": { "content": { "width": 700, "height": 537 }, "thumb": { "width": 0, "height": 0 }, "featuredImage": { "width": 0, "height": 0 }, "bytes": 90587 }, "overrides": {}, "linkTarget": "", "filters": [ "Text Pages-Statements" ], "dateAdded": "Mon, 11 Sep 2017 00:16:33 GMT" }, "10570": { "id": 10570, "label": "ARTIST STATEMENT: OUR HANDS HAVE POWER", "caption": "", "type": "html", "content": "
Our hands have power—the power to make hand-crafted things, to plant, to build, to fix, to heal, to come together, to slow down and re-shape the tangible world around us—even in the current mass-produced digital age. \n
This hand-made installation takes photography off the wall and creates an experience in the present moment, instead of a document about a person, place, or thing. Outstretched hands of community members comprise the flowing image, printed on silk using a historical photographic process by arranging and rearranging live models. In order to view the image, the viewer must walk through its narrow passage, immersed in the simultaneously uplifting and disconcerting power of human touch. Gentle touching is encouraged: the dynamic installation will sway in response.\n",
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\ncommunity-based photo installation of cyanotype prints on silk,14x6x6 feet",
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\nSOLD", "type": "image", "content": "A1808.jpg", "size": { "content": { "width": 1801, "height": 1800 }, "thumb": { "width": 0, "height": 0 }, "featuredImage": { "width": 0, "height": 0 }, "bytes": 457716 }, "overrides": {}, "dateAdded": "2018-06-27T00:06:50.042Z", "linkTarget": "", "filters": [ "Fermata" ], "key": "10580" }, "10581": { "id": 10581, "label": "A1809_v2", "caption": "Fermata 1809
\nacrylic stain on raw canvas, 30x40\"", "type": "image", "content": "A1809_v2.jpg", "size": { "content": { "width": 2267, "height": 1700 }, "thumb": { "width": 0, "height": 0 }, "featuredImage": { "width": 0, "height": 0 }, "bytes": 518751 }, "dateAdded": "2018-06-27T00:06:58.667Z", "linkTarget": "", "overrides": {}, "key": "10581", "filters": [ "Fermata" ] }, "10582": { "id": 10582, "label": "ARTIST STATEMENT: FERMATA", "caption": "", "type": "html", "content": "Fermata noun (music): a pause of unspecified length on a note or rest.\n\nMy Fermata paintings are quiet sanctuaries for personal reflection. Painting has become my antidote to troubling times, my way of contemplating the nuanced gray areas neglected by our increasingly polarized society. I create fields of light and darkness by staining raw canvas with layer upon layer of diluted acrylic pigments that soak into the fabric. These subtle layers of pigment reveal themselves gradually after several minutes of viewing, bringing the dimension of time to the two-dimensional surface. I also blur the distinction between object and ground to create an ambiguity of space. My intent is to create simple but elusive paintings that beckon a hectic world to slow down, pause, and reflect.\n", "thumb": "Statement-6.png", "size": { "content": { "width": 0, "height": 0 }, "thumb": { "width": 1200, "height": 900 }, "featuredImage": { "width": 0, "height": 0 }, "pageImages": [], "bytes": 0 }, "linkTarget": "", "dateAdded": "2018-06-27T00:11:30.993Z", "postDate": "2018-06-27T00:16:33.467Z", "overrides": {}, "filters": [ "Text Pages-Statements" ], "key": "10582" }, "10583": { "id": 10583, "label": "A1810", "caption": "Fermata 1810
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\n
Albuquerque, NM
Fires of Change
May 27–Jul 22, 2017
Opening reception May 27, 6–8pm. Artist and scientist panel discussion, 3:30–5pm.\n\n
Phoenix, AZ
Contemporary Forum Artist Grants Winners
Jun 7–Sep 17, 2017\n\n\n\n
\nPREVIOUS
\n\n\n
University of Arizona Museum of Art,
Tucson, AZ
Fires of Change
Nov 19, 2015–Apr 3, 2016
Opening reception with talks by Bryan David Griffith and David Chorlton, Nov 19, 5–7pm\n\n
Flagstaff, AZ
Southwestern Invitational
A traveling exhibition of select Arizona artists on a tour of six galleries and museums throughout the state
Jan 12–Feb 14, 2016
Opening reception, Jan 9, 6–8pm\n\n
Phoenix Public Library, @Central Gallery,
Phoenix, AZ
Bryan David Griffith: The Last Bookstores
Jan 22, 2015–Mar 4, 2016
Opening reception, Feb 5, 6–8:30pm\n\n
Gilbert/Phoenix, AZ
Light Sensitive
Mar 5–Apr 16, 2016\n\n
Phoenix, AZ
Southwestern Invitational
A traveling exhibition of select Arizona artists on a tour of six galleries and museums throughout the state
Mar 19–Aug 28, 2016\n\n
Flagstaff, AZ
Bryan David Griffith: The Last Bookstores
Aug 23–Oct 28, 2016
Opening reception Aug 27, 6–8pm\n\n
Griffin Museum of Photography,
Winchester (Boston), MA
Bryan David Griffith: The Last Bookstores
Jan 8–Mar 1, 2015\n\n
Yuma, AZ
Southwestern Invitational
A traveling exhibition of Arizona artists that will tour 6 galleries and museums throughout the state in Yuma, Surprise, Prescott, Tubac, Flagstaff, and Phoenix.
Apr 10, 2015–Aug 15, 2016\n\n
Gilbert/Phoenix, AZ
All Art Arizona
May 30–Jul 18, 2015\n\n
Prescott, AZ
Southwestern Invitational
Aug 28–Oct 17, 2015
Artist discussion panel featuring Bryan David Griffith Sep 5, 10am-12pm\n\n
Flagstaff, AZ
Fires of Change
A traveling small-group exhibition of contemporary works and installations exploring wildfire and climate change developed in partnership with the Southwest Fire Science Consortium, Landscape Conservation Initiative, and Flagstaff Arts Council with a supporting grant from the National Endowment for the Arts
Sep 3–Oct 31, 2015\n\n
Phoenix, AZ
INFOCUS Photo Exhibition & Auction
Oct 4–17, 2014\n\n
Astoria, OR
Altered Views
Sep 13–Oct 7, 2014\n\n
San Francisco, CA
Approaching the Unreal
Sep 3–Sep 27, 2014\n\n
Fort Wayne, IN
The National: Best Contemporary Photography 2014
Mar 29–Jun 15, 2014\n\n
The Flagstaff Photography Center,
Flagstaff, AZ
Bryan David Griffith: Redux
Mar 1–19, 2013\n\n
Bridgewater State University, MA
Photography Extended
Jan 22–Feb 21, 2013\n\n
Gilbert/Phoenix, AZ
Bryan David Griffith, Christina Anderson, Michael Puff
Nov 17–Jan 5, 2013\n\n
Shanghai International Photographic Art Exhibition,
Shanghai, China
Bryan David Griffith: In a Big World Wandering
Oct 11–17, 2012\n\n
Seattle, WA
Photolust
Oct 1–Oct 20, 2012\n\n
Phoenix, AZ
INFOCUS Photo Exhibition & Auction
Sep 28–Oct 4, 2012\n\n
The Flagstaff Photography Center,
Flagstaff, AZ
Bryan David Griffith: In a Big World Wandering
Aug 3–Sep 15, 2012
*official Viola awards nominee, Flagstaff's Outstanding Event of the Year in the arts or sciences
\n\n\n
Woodstock, NY
Bryan David Griffith: In a Big World Wandering
May 25–Jul 9, 2012\n\n
The Center for Fine Art Photography,
Ft. Collins, CO
Alternative Processes
May 25–Jun 23, 2012\n\n
Gilbert/Phoenix, AZ
Light Sensitive
Mar 3–Apr 28, 2012\n\n
Santa Barbara, CA
New Directions: Crossing Territories
, juried by Debra Klomp Ching
Jan 4–Jan 29, 2012
(Santa Barbara),
Feb 8–Mar 4, 2012
(Seattle)
\n\n\n
Boston, MA
Processes & Dreams
Jan 7–Feb 28, 2012\n\n
Denver, CO
Bryan David Griffith: In a Big World Wandering
Aug 29–Sep 28, 2011\n\n
Durango, CO
Bryan David Griffith: In a Big World Wandering
Jul 8–Aug 12, 2011\n
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\nAspen leaves coated in encaustic beeswax, charcoal debris from forest fire, 4.5x4.5x10 feet\n
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\nburned leaves, 76 ft. x 5 inches
\nInstallation features a burned leaf for every life lost in the 2018 Camp Fire. The leaves float away from the wall in a 76 ft. asymmetric line of gradually increasing tempo that envelops the gallery.
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\nburned leaves, 76 ft. x 5 inches
\nInstallation features a burned leaf for every life lost in the 2018 Camp Fire. The leaves float away from the wall in a 76 ft. asymmetric line of gradually increasing tempo that envelops the gallery.
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Fundraiser for the Johnson Family, May 25-June 6
100% of the sale price for all photos purchased this week will be donated to the wife and children of Jess Johnson to assist with medical and related expenses. Jess died way too young today from pancreatic cancer, leaving behind his wife, Rebecca, a middle school teacher, and two school-age children. Jess was an incredibly big-hearted dad who gave the shirt off his back to his community and all who needed him. The Kutzner/Johnson family are some of the kindest, most generous people I know and have always supported my work. Please help me help them in their time of need.
How to Participate in this Fundraiser
Visit our photography online store to view available sizes, prices, and framing options. Purchase online and the proceeds from your order will automatically be donated.
If you would like to include a note to the beneficiaries, type it into the Notes section on checkout, or email us at bryandavidgriffith@hotmail.com .
Only a portion of the most popular images are listed in the store. For other images, click the Inquiry Button on the bottom left to send us a contact form inquire about price and availability.
You can also call 928-362-2001 to purchase, and email or call with other questions.
How to Have Your Favorite Non-Profit Included in a Future Fundraiser
From time to time, we support select non-profits by donating a portion of sales made to their supporters to the organization. Typically this takes the form of a 0% discount code valid in our online storefront for a short period of time. Non-profits then promote this code to their mailing lists, and receive a portion of all sales made using the code. Have someone from the organization contact us if you would like your organization be considered.
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\nForaged natural dye, pigment, acrylic on canvas, 30x30x1.5\"", "type": "image", "content": "A1904.jpg", "size": { "content": { "width": 1800, "height": 1800 }, "thumb": { "width": 0, "height": 0 }, "featuredImage": { "width": 0, "height": 0 }, "bytes": 598512 }, "postDate": "2021-02-11T00:41:49.957Z", "overrides": {}, "keywords": [], "filters": [ "WATERSHED" ], "linkTarget": "", "dateAdded": "2021-02-11T00:23:03.216Z" }, "10609": { "id": 10609, "label": "A1906-1907", "caption": "Latent I & II
\nnatural dye, pigment, acrylic on canvas, 30x30x1.5\" each", "type": "image", "content": "A1906-1907.jpg", "size": { "content": { "width": 2436, "height": 1200 }, "thumb": { "width": 0, "height": 0 }, "bytes": 365746, "featuredImage": { "width": 0, "height": 0 } }, "keywords": [], "dateAdded": "2021-02-11T00:23:10.290Z", "filters": [ "WATERSHED" ], "postDate": "2021-02-11T00:41:49.957Z", "overrides": {}, "linkTarget": "" }, "10610": { "id": 10610, "label": "A1920_detail", "caption": "Detail, Flowers & Seeds
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\nnatural dye, pigment, acrylic on canvas, wood 50x58x4\"", "type": "image", "content": "A1920.jpg", "size": { "content": { "width": 2019, "height": 1800 }, "thumb": { "width": 0, "height": 0 }, "featuredImage": { "width": 0, "height": 0 }, "bytes": 480544 }, "keywords": [], "dateAdded": "2021-02-11T00:23:32.080Z", "filters": [ "WATERSHED" ], "postDate": "2021-02-11T00:41:49.957Z", "linkTarget": "", "overrides": {} }, "10612": { "id": 10612, "label": "A1923A1907", "caption": "Winter Oaks and Winter's Eve
\nForaged natural dyes and pigments, acrylic on canvas, 30x30x1.5\" each", "type": "image", "content": "A1923A1907.jpg", "size": { "content": { "width": 2409, "height": 1200 }, "thumb": { "width": 0, "height": 0 }, "bytes": 301035, "featuredImage": { "width": 0, "height": 0 } }, "linkTarget": "", "dateAdded": "2021-02-11T00:23:38.428Z", "filters": [ "WATERSHED" ], "postDate": "2021-02-11T00:41:49.957Z", "overrides": {}, "keywords": [] }, "10613": { "id": 10613, "label": "A2020", "caption": "Maples & Oaks
\nCyanotype, foraged natural dyes, pigments, and toners from landscape depicted, acrylic on canvas, wood, 36x72x4\"", "type": "image", "content": "A2020.jpg", "size": { "content": { "width": 2400, "height": 1244 }, "thumb": { "width": 0, "height": 0 }, "bytes": 364070, "featuredImage": { "width": 0, "height": 0 } }, "keywords": [], "filters": [ "WATERSHED" ], "linkTarget": "", "overrides": {}, "dateAdded": "2021-02-11T00:23:45.684Z" }, "10614": { "id": 10614, "label": "A2021-leaves-and-flowers", "caption": "Spring Leaves & Summer Flowers
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Here in Northern Arizona, a small change in moisture can have profound consequences for life: moss-laden Douglas firs thrive in the shade of Walnut Canyon while parched agaves eke by on the rim above. Our watersheds are stunningly beautiful and diverse microclimates adapted to dry air punctuated by winter snows and summer monsoons. But the future of our land and water are at risk. Climate change is warming our region and altering precipitation patterns. Wildfires, a natural feature of our forests, have grown dramatically more severe, leading to erosion and flooding. Population growth has outpaced our water supply; yet new wells continue to tap the Coconino aquifer. Today, we stand at a watershed moment. The land use decisions we make in the Flagstaff Regional Plan will dramatically affect our community’s future.
The pieces in Watershed respond to local water-related processes disrupted by climate change. I make my work out of the local landscape: I forage dyes and pigments from bark, leaves, seed husks, charcoal, rocks, and barbed wire. I salvage wood from construction and wildfire sites. My process begins with an underpainting of foraged plant forms using iron-based cyanotype chemistry. To this bright blue foundation I add a second layer of botanical forms using a technique I discovered of manipulating the wicking properties of dyes under the Arizona sun. I selectively alter the color with plants that chemically react with the underlying iron. Then I build up additional layers of natural dyes and pigments, along with acrylic paint. These subtle layers reveal themselves gradually with extended viewing, bringing the dimension of time to the two-dimensional surface. I try to create meditative works that beckon you to pause and reflect on the greater mysteries that underlie the natural world and our relationship to it.
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\n
\n\nHigh on the mountain,
\none black cloud eclipses another,
\nthe horizon lost behind.
\nThrough the darkness,
\nthunder rolls.
\nSomewhere distant,
\nwisps of rain quench thirsty sage.
\nSomewhere distant,
\ndroplets scatter dust,
\nand footprints are forgiven.",
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Flagstaff is home to towering pines and flickering aspens,
to bugling elk and yelping coyotes, all beneath a dark,
starry sky. But Flagstaff is also home to wildfires and floods,
which are growing more severe as humans alter the
landscape and climate. Our population is booming, but our
water supply is limited. Not everyone has profited equally
from the real estate boom. Housing remains out of reach
for many. Demand for more housing risks paving over the
very meadows that make Flagstaff beautiful. Can we
prosper economically, while preserving our unique
landscape and creative community?
At the center of Envision, a cloud of aspen leaves rises from
a shadow of charcoal and stone gathered from recent fire
and flood sites. Each is leaf is preserved in beeswax. The
pattern is not a simple grid: different alignments will snap
into view with different viewing angles.
Community members are invited to make an aspen leaf
rubbing, labeled with their concern (carbon on white
paper) or dream (silver on black paper) for Flagstaff’s
future. The installation will grow every hour as I add these
rubbings to the walls.
Can our community transcend the threats we face, adapt,
and form new connections, just as aspens spring new
shoots from their roots when a tree dies in a fire?
Envision is dedicated to the memory of my father, William David Griffith.
This project would not be possible without the support of
the following sponsors, hosts, collaborators, and
volunteers:
Coconino High School Welding Program and Students (pictured)
City of Flagstaff
City of Flagstaff BBB Revenues
Nackard Pepsi
Creative Flagstaff
ARTx
Michael Handforth
Tasha Miller Griffith
Mare Schumacher
Ann Miller
Rick Miller
Luis Fernandez
Amanda Kapp
Creative Flagstaff Staff and Volunteers
Flagstaff Foundry
Open Doors: Art in Action at the Episcopal Church of
Flagstaff
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\nTucked in a warm house in a relatively rich country, I enjoy a bounty of food from southern latitudes throughout the winter. The fuel I burn contributes to a changing climate, yet commodity agriculture insulates me from its effects on the land and people that grow my food. \n
One day, an approaching wildfire dropped ash on my house like snow flurries from the sky. The convection column sucked blackened leaves from the trees and carried them high aloft. They drifted on air currents for miles and fluttered down in my yard. I found it remarkable that something so delicate could survive a situation so violent completely intact.", "type": "image", "content": "IMG_2252.jpg", "size": { "content": { "width": 1080, "height": 1920 }, "thumb": { "width": 0, "height": 0 }, "bytes": 317868, "featuredImage": { "width": 0, "height": 0 } }, "keywords": [], "filters": [ "Landing Media", "Tending the Flame" ], "searchable": true, "key": "10694", "overrides": {}, "dateAdded": "2025-12-15T13:32:37.033Z", "linkTarget": "" }, "10695": { "id": 10695, "label": "ARTIST STATEMENT: TENDING THE FLAME", "caption": "", "type": "html", "content": "
During the long nights of winter, cultures around the world have long gathered around the warm light of fire and imbued it with ritual meaning. Tending the Flame is one man’s attempt to keep the spark of creativity burning during a metaphorical time of darkness.
Artist Bryan David Griffith uses fire as a medium to plumb the relationship between nature and humanity. He has developed an original technique of using beeswax and resin to paint with the heat and smoke of an open flame. The resulting works juxtapose geometric forms with organic energy to convey themes of attempted control, disruption, loss, and ultimately—healing.
Griffith draws on his experiences learning about wildfire from fire ecologists, beginning with the 2015 project Fires of Change, sponsored by the Southwest Fire Science Consortium, and continuing with additional research for solo museum exhibitions across the western U.S. His process reflects both the physical and emotional landscapes shaped by wildfire—destruction giving rise to renewal, darkness giving way to light.
Tending the Flame will embody its theme by transforming over time. The opening reception will debut a special piece on view for only two days, November 21 and 22, as part of the nationwide movement Fall of Freedom, which calls upon the creative community to take action on those dates to highlight threats to the arts and freedom of expression. Following the opening weekend, this work will be replaced with others, with a new iteration on view December 5 for First Friday Art Walk from 5-9pm, and another before the show’s closing on January 4th.
ABOUT THE ARTIST
Bryan David Griffith explores complex social and environmental issues using simple forms and materials. He learns or invents new techniques as needed to convey the concepts in each body of work. Griffith’s art career began when he stumbled upon an abandoned, dog-eared photo manual and built a makeshift darkroom while studying engineering at the University of Michigan. After graduation, he built a career with an international management consulting firm—but found his job unfulfilling and was troubled by the environmental impact of his clients. He ultimately resigned to follow his conscience. He bought an old van to live out of, saving every dime for gas and supplies as he toured the country to build a new career as an artist. When Griffith’s van broke down in Flagstaff, he fell in love with the Arizona landscape—and then his wife, Tasha. He never left.
His work has since been exhibited in over a dozen solo exhibitions, including the High Desert Museum, Fresno Art Museum, Mesa Contemporary Arts Museum, and Griffin Museum of Photgraphy. It is held in a number of permanent collections including the Museum of Fine Arts, Houston, Phoenix Art Museum, University of Michigan Museum of Art, Center for Creative Photography, and Fort Wayne Museum of Art.
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