Honor Bound

After months of preparation and depleting my Qwerky Photography bank account to pay for silver gelatin paper, chemicals and framing services, I delivered my seven 16x20 photographs to Art Saint Louis in preparation for the delayed Honor Awards 2020 exhibition. What a long, strange trip it’s been to get my work to this moment.

The seven 16x20 silver gelatin prints (20x24 framed) made by artist CB Adams, delivered to Art Saint Louis for the upcoming Honor Awards exhibition. The prints, made from 4x5 large-format negatives, were developed and printed by Adams. Adams was one of 10 award-winning artists selected for this juried show.

To qualify for the annual Honor Awards, you have to been awarded an Award of Excellence from have the previous year's juried exhibitions. I’ve made it to that point twice before and this is the first time my work made it into the highly competitive Honor Awards exhibition. I just rewrote the previous sentence. The first iteration stated “…the first time I made it into the Honor Awards…” Not a profound change to you, but it marks a distinct maturation point for me as an artist. I have learned that there is a different and healthier approach between the art and its maker. In the past, when my work wasn’t accepted into an exhibition, I stomped around for far too long, considering the exclusion to be a personal affront. The juror or curator was clearly rejecting me.  

But no. They were passing on my work, not me. It’s cliché but nonetheless true: art is subjective. Now, I’m still disappointed when my work won’t be shown in a particular exhibit, but my focus is already on making new work and submitting it elsewhere. I’m confident my “audience” is looking for me somewhere and it’s up to me to seek you out.

This Honor Awards was delayed a year because of the global health crisis. This turned out to be a blessing because I had more time to reprint some of the work with some adjustments that perhaps only I could see. I also had a year’s worth of pay from adjunct teaching – my side hustle teaching pays for most of my photography.

So, I delivered the seven, carefully wrapped works. Originally, the Juror Amy MacLennan, chose eight of my photographs. Unfortunately, three days before delivery, a flooring contractor working on my home dislodged one framed piece from its closet shelf. It shattered the glass, bent the frame and damage the print itself. As fate would have it, this was the only print for which I had neither an artist’s proof nor extra copy. So only seven go on the wall.

True confessions: as gratified as I am to have finally made it into the Honors exhibit, seeing the seven pieces leaning against the wall seemed so…well, paltry. My first thought was, “Is that it?” I can’t speak about the relationship between other artists and their work, but mine recently continues to be, “It’s not enough. Work more.”

Is that healthy? Dunno. But it keeps driving me for now. One image at a time. Hoping to find a wall for each. Still trying not to think that it’s me hanging there.

Reactive Art

Two CB Adams Photographs Featured in ‘This Moment’ Exhibition at Art Saint Louis

by John Bent, Riverback Communications

Two works by St. Louis-area writer and photographer CB Adams were selected by juror Robin Hirsch-Steinhoff for inclusion Art Saint Louis’ latest exhibition, “This Moment.” Adams’ two black-and-white silver gelatin prints were taken this spring on the same day near each other along Union Avenue in St. louis. But beyond these similarities, the two images were rendered by two distinctively different cameras, according to Adams.

“Get Malcolmized” by CB Adams, a gelatin silver print available for sale through the Art Saint Louis “This Moment” onlien

“I usually explore an area with a variety of cameras because I use the unique signatures of different cameras and lenses the same way a painter chooses brushes. I was toward the end of a day of shooting near the Central West End and on my way home. I knew my classic Rolleiflex and my plastic Holga toy camera had some unshot film in them. I shot ‘Get Malcolmized’ with the Rolleiflex because I had shot the scene before with a toy camera and didn’t like how they turned out. I finished off that roll and looked for a scene that I thought was ‘Holga perfect.’ That yielded the scene in ‘Chain of Fools.’”

According to the show’s announcement, “’This Moment’ is a virtual and online juried exhibit featuring works by 42 St. Louis regional artists. This multi-media exhibit features 48 original artworks created in 2020 that reflect upon or are otherwise inspired by the impact, significance, complexity, profundity and meaning of This Moment in our lives as individuals, as a community, as a nation.”

Adams, who has a toy camera image in Art Saint Louis’ current in-galley exhibition, “Storytellers,” was drawn to the theme of “This Moment.” Reviewing the work he had been capturing during 2020, he noticed that much of the imagery was a reaction to current events and challenges.

“The car wash sign with Malcolm X has been on the side of a pawn shop for years, but in relation to recent events, its message takes on a new urgency. The sign itself hasn’t changed, but my reaction to it certainly has,” he says. “I also like the juxtaposition of the car wash words and the words of Malcolm X. That’s why I named it ‘Get Malcolmized,’ to play off the old ‘Simoniz Your Car’ car wax advertisements.”

“Chain of Fools” is a gelatin silver print made from a negative rendered by a Holga toy camera. It is for sale through the Art Saint Louis “This Moment” online and vitual exhibit.

The toy camera shot, “Chain of Fools,” offers more than one interpretation, according to Adams. “I’m reminded of something the filmmaker Andrei Tarkovsky said, ‘A book read by a thousand different people is a thousand different books.’ So ‘Chain of Fools’ has an ambiguity that lends itself to multiple interpretations. For instance, I think during the pandemic, we all feel chained in place and restrained, unable to run as freely as before. On a different level, many people in our society, feel chained by their skin color, sexual orientation, economic status and other constraints,” he says.

The idea of Tarkovsky’s ‘thousand different books’ is applicable to all the art in “This Moment.” After reviewing the work of the other 41 artists, Adams found that most of them were open to interpretation.

“Some of the artwork is very pointed and on-the-nose, yet I can see how different people would react to those strong statements differently. Other work is more abstract, which by its nature allows an even broader range of interpretations. Collectively, I think this show is tremendously cohesive and relevant. And in a crazy sort of way, it’s enhanced by being available only online. I say this because perhaps more people will check it out because they don’t have to leave home to do it,” Adams says.

“This Moment” will be available online through September 15 at the Exhibbit.com platform.