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PONY Assateague S.P. Maryland 1998
COVER PHOTOGRAPH
COON Coon Rapids, Minnesota 1996
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TIDE Assateague S.P. Maryland 1998
Photographs by Jerome Page Tobias Curated and Edited by John P. Corrigan
All rights reserved. No part of this book may be reproduced in any form or by any means without written permission from the publisher
Copyright Š 2007 John P. Corrigan
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OR SEND A LETTER TO:
Central Air Nomadic Art Space 3302 E. Baltimore Street Baltimore, Maryland 21224 U.S.A
NO NEGATIVE PHOTOGRAPHIC WORK BY
Jerome Page Tobias
CENTRAL AIR NOMADIC ART SPACE
FOREWORD
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All of the images in this exhibition were created using a Polaroid Land Camera. The photographs have been left unaltered, full framed and reflect a single moment. Using the immediacy of the Polaroid one knows whether the image is to be kept, or destroyed.
Central Air: Nomadic Art Space began in 1999. Initially started as Radiator Art Exhibition Company, with co-founder Lee Anne Swanson, its mission was to create a collective art space allowing founding members to exhibit and promote their work as well as the works of like minded artists. Radiator radically provided an exhibition space for group shows as well as thematic artist pairings. Radiator looked to reinvigorate the exhibition options in Minneapolis. Central Air was the next generation. I wanted to curate a scene or happening. I wanted to publish the collective findings in a thematic publication representing the involvement of multiple disciplined contributor’s. The nomadic essence of an art exhibition represents itself perfectly in a publication, avoiding the gallery atmosphere altogether.
The context for No Negative came from the realization that these Polaroid images, taken by Jerome Page Tobias from 1992-1997, remain the only documentation of his experience with these seemingly obscure places. Jerome is repeatedly drawn to architectural anomalies, as well as his interaction with and memory of these places. These photographs identify obscure landmarks without direct reference. Yet Jerome can actively identify the moment and placement of each photograph. This collection celebrates the chosen limitations of using a Polaroid Land Camera. The photographic medium of the Polaroid, unlike any other camera, relies on the moment of observation. The final image implies the informal documentation of fleeting time. Polaroid images appear small, frail, and delicate in comparison to other photographic formats. The moments between the click of the shutter and the peeling of the emulsion paper consist of hope and anticipation; this represents itself in the final presentation of the image. The images of this photographic exhibition are snap shots of specific places at specific moments. The photographs are grouped according to repeated interest, and represent the collected memories of both place and space. NO NEGATIVE //
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Polaroid photographs provide instant gratification within 30-60 seconds. With this gratification comes either success or failure. In-camera framing forces the photographer to focus themselves on the instant and respond to the subtle details within the limited perceivable space. Concentrating and identifying everything in the momentary viewfinder, while blocking out that which surrounds it. The simplistic beauty of a Polaroid lay is its limitations. The distance and focal plane is broad in definition. Objects up close are relative to one’s judgment of space, while an object at great distance is simplistically set on the dial to infinity. Unlike a reflective or adjustable lens, one does not witness the focal point until the final image has revealed itself. The questionable light meter is only scalable from light to dark. Without a cable release, the exposure time is limited to one or two f-stops. Consistent use of a Polaroid is an observational practice. With a fixed asymmetrical viewfinder, precise framing also takes dedication. Framing an image in the camera viewfinder requires the image to be vertically offset, to represent itself correctly on the framed white photographic paper. Typical photographic developing and printing 6
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techniques allow the possibility to scale and frame a photograph in the darkroom. The set limitations of a Polaroid camera insist the user must consider the picture plane during the moment the picture is taken. Each image actively uses the full frame of the Polaroid image to reinforce the framing and composition choice, made during moment the image was captured and produced. Enlarged images from the recorded size of 4.25” x 3.25” establish a hierarchical rhythm and secondary narrative contrasting the medium’s set size. By doing so the inherent qualities of the original photographs witness additionally progressive story lines that this collection assumes as a whole. In observed retrospection, I take notice of the great freedom this fleeting photographic medium allowed. Unlike photographic film that can be archived and retrieved for future use, the Polaroid image remains an object in itself. Through Jerome’s imagery, I appreciate the physical delicateness of the Polaroid photograph as a medium of his personal documentation. — John P. Corrigan Artistic Director and Curator
ABOUT THE ARTIST
Jerome Page Tobias (1971) is a working artist in Minneapolis Minnesota. His work has been included in numerous solo and group shows. Jerome works in artistic mediums such as sculpture, drawing, printmaking, installation works, photography, and graphic arts. He is also a writer and poet. Jerome’s work often confronts the false documentation of family memories. His work looks at themes of both collection and recollection. Jerome states that, ”Collected family artifacts can be manipulated and redistributed to form a new context.” As with any artist or photographer, volume is the key towards the potential of a great image. By pairing up several photos, a new context increases the potential accuracy, or questioning(?) of historical events and places. As a second generation historian, Jerome looks at unknown events though a diffused and altered observational lens. Without the presence of both the matriarch and patriarch, a new story is recreated from the items left behind. This new story is part fiction and part truth. Jerome’s past drawings were based on family artifacts. His intention was to draw the objects and create a pictorial reference for the collection, in order to dispose of the items themselves. He found that the drawings contained the spirit of the object as well as the person that originally used the object.
Jerome’s personal photographs document his connection to place and space. He uses photography to capture a momentary observation. His photos archive the poetic narrative of roadside ephemeral signage, the grand openness of landscape, as well as a personal pause of observation.
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I.
DOCUMENTED PLACE
FREE HBO Minneapolis, Minnesota 1995
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LEFT
VACANCY St. Louis Park, Minnesota 1993
RIGHT
CABLE TV St. Louis Park, Minnesota 1993
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NO PERMIT NEEDED Minneapolis, Minnesota 1993
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CLOSED AFTER 8 p.m. Minneapolis, Minnesota 1993
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BOB’S Minneapolis, Minnesota 1996
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SWINGING BED Waterloo, Iowa 1995
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ITALIAN SPECIAL Waterloo, Iowa 1995
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NOT WHAT YOU THINK Grand Marais, Minnesota 1993
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II.
OBSERVATIONAL SPACE
PIKE’S PEAK 14110 ft., Colorado 1994
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ABOVE
RIGHT
HIGH
LOW
Deer Isle, Maine 1994
Deer Isle, Maine
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1994
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SEA STAR Deer Isle, Maine 1994
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LOBSTER BOY Deer Isle, Maine 1994
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HAYSTACK Deer Isle, Maine 1994
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FERN WOODS Deer Isle, Maine 1994
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BRIGADE Deer Isle, Maine 1994
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FLASHING AMBER Deer Isle, Maine 1994
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NO ONE THERE Deer Isle, Maine 1994
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DEER ISLE Deer Isle, Maine 1994
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DRIVE IN Deer Isle, Maine 1994
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SWIMMING COVE Deer Isle, Maine 1994
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FRESH WATER Two Harbors, Minnesota 1993
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JONATHON LIVINGSTON MT. Desert Isle, MaIne 1994
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8-10 FOOT CHOP MT. Desert Isle, Maine 1994
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III.
MEMORIAL TRACE
KING’S HIGHWAY no.1 Minneapolis, Minnesota 1995
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KING’S HIGHWAY no.2 Minneapolis, Minnesota 1995
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KING’S HIGHWAY no.3 Minneapolis, Minnesota 1995
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MR. HAYES Minneapolis, Minnesota 1996
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LAKE WOOD Minneapolis, Minnesota 1996
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EXPOSED Coon Rapids, Minnesota 1993
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LEFT
QUARRY ANCHOR Sandstone, Minnesota 1995
RELIC Sandstone, Minnesota 1995
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STRIP(E) Banning S.P. 1995
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STICK CAIRN Colorado Springs, Colorado 1994
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WATCH TOWER Minneapolis, Minnesota 1996
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TANGLE TOWN Minneapolis, Minnesota 1996
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MINE Hibbing, Minnesota 1993
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LYNDALE COIN-OP Minneapolis, Minnesota 1996
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SALVAGE New York, New York 1997
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PUHL HOUSE Minneapolis, Minnesota 1995
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BOLT ON HILL Baltimore, Maryland 1997
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BRICK x BRICK Minneapolis, Minnesota 1994
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SNIP TIMES TWICE Minneapolis, Minnesota 1994
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CURATION PROCESS
My process starts with gaining interest from a select group of potential artists. Artists who are familiar enough for me to know, or know about. I am consistently looking for artists in the direct community, as well as those in separate circles. Consistently, the major requirement is—That I love the work. The work does not necessarily have to adhere to my visual preference, yet it must be open for discussion and debate. I look for works that feel appropriate to pair or multiply, regardless of medium. I start the curation process by choosing a title or theme for a show. Choosing appropriate artists is important in establishing the work that is to follow. Many times I am open to artist suggestions to enlarge the potential scope of any given show. The step that I seem to cherish, almost equally to the show, is the studio visit, or choosing the precise pieces for the show itself. A disclaimer is always stated that I may be taking six pieces of work, but don’t be surprised if I reduce it to four. Often I may call during the installation process and ask for the one that was left behind. During the all important studio tour, I am able to get a greater idea of the artist’s over-all intentions, methods, rhythm, and stories that I am typically able to include in the installation of work in the greater context of a group show. In the studio the artist is typically open to discussion and, seemingly, a much needed critique. Often times the artist has great need to talk about their work, neither the work has seen the work recently, nor has a serious discussion of the perceived notions of the current work. I am able, at this time, to offer my impressions and perception of all the work that is before me, not only the work that interests me for the current show. I am able to record the interactions and potentially retain ideas for upcoming shows, choose certain work and distinguish the potential for showcasing now, or later, and fill the great need for artists to discuss their work. Often upon subsequent visits, I am able to observe the changes or growth, which noticeably happens after a meaningful and open critique.
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5 Vacancy, 1993
17 Lobster Boy, 1994
St. Louis Park, Minnesota Black and White Polaroid Format: 8.5 x 10.8 cm Image Area: 7.3 x 9.5 cm Collection of the artist Photo p. 10
Deer Isle, Maine Black and White Polaroid Format: 8.5 x 10.8 cm Image Area: 7.3 x 9.5 cm Collection of the artist Photo p. 25
6 Cable TV, 1993
18 Haystack, 1994
St. Louis Park, Minnesota Black and White Polaroid Format: 8.5 x 10.8 cm Image Area: 7.3 x 9.5 cm Collection of the artist Photo p. 11
LIST OF EXHIBITED PHOTOGRAPHS
7 NO Permit Needed, 1993 Minneapolis, Minnesota Black and White Polaroid Format: 8.5 x 10.8 cm Image Area: 7.3 x 9.5 cm Collection of the artist Photo p. 12
8 Closed After 8 p.m., 1993 1 Tide, 1998 Assateague S.P., Maryland Black and white Polaroid Format: 8.5 x 10.8 cm Image Area: 7.3 x 9.5 cm Collection of the artist Photo p. 1
2 Pony, 1998 Assateague S.P., Maryland Black and White Polaroid, Format: 8.5 x 10.8 cm Image Area: 7.3 x 9.5 cm Collection of the artist Photo p. 2
3 Coon, 1996 Coon Rapids, Minnesota Black and White Polaroid Format: 8.5 x 10.8 cm Image Area: 7.3 x 9.5 cm Collection of the artist Catalogue Cover Art
4 Free HBO, 1995 Minneapolis, Minnesota Black and White Polaroid Format: 8.5 x 10.8 cm Image Area: 7.3 x 9.5 cm Collection of the artist Photo p.9
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Minneapolis, Minnesota Black and White Polaroid Format: 8.5 x 10.8 cm Image Area: 7.3 x 9.5 cm Collection of the artist Photo p. 13
9 Bob’s, 1996 Minneapolis, Minnesota Black and White Polaroid Format: 8.5 x 10.8 cm Image Area: 7.3 x 9.5 cm Collection of the artist Photo p. 15
10 Swinging Bed, 1995 Waterloo, Iowa Black and White Polaroid Format: 8.5 x 10.8 cm Image Area: 7.3 x 9.5 cm Collection of the artist Photo p. 16
11 Italian Special, 1995 Waterloo, Iowa Black and White Polaroid Format: 8.5 x 10.8 cm Image Area: 7.3 x 9.5 cm Collection of the artist Photo p. 17
12 Not What You Think, 1993 Grand Marais, Minnesota Black and White Polaroid Format: 8.5 x 10.8 cm Image Area: 7.3 x 9.5 cm Collection of the artist Photo p. 18
13 Pike’s Peak, 1994 14110 Ft., Colorado Black and White Polaroid Format: 8.5 x 10.8 cm Image Area: 7.3 x 9.5 cm Collection of the artist Photo p. 21
14 High, 1994
Deer Isle, Maine Black and White Polaroid Format: 8.5 x 10.8 cm Image Area: 7.3 x 9.5 cm Collection of the artist Photo p. 22
15 Low, 1994 Deer Isle, Maine Black and White Polaroid Format: 8.5 x 10.8 cm Image Area: 7.3 x 9.5 cm Collection of the artist Photo p. 22
16 Sea Star, 1994 Deer Isle, Maine Black and White Polaroid Format: 8.5 x 10.8 cm Image Area: 7.3 x 9.5 cm Collection of the artist Photo p. 23
Deer Isle, Maine Black and White Polaroid Format: 8.5 x 10.8 cm Image Area: 7.3 x 9.5 cm Collection of the artist Photo p. 26
19 Fern Woods, 1994 Deer Isle, Maine Black and White Polaroid Format: 8.5 x 10.8 cm Image Area: 7.3 x 9.5 cm Collection of the artist Photo p. 27
20 Brigade, 1994 Deer Isle, Maine Black and White Polaroid Format: 8.5 x 10.8 cm Image Area: 7.3 x 9.5 cm Collection of the artist Photo p. 28
21 Flashing Amber, 1994 Deer Isle, Maine Black and White Polaroid Format: 8.5 x 10.8 cm Image Area: 7.3 x 9.5 cm Collection of the artist Photo p. 29
22 No One There, 1994 Deer Isle, Maine Black and White Polaroid Format: 8.5 x 10.8 cm Image Area: 7.3 x 9.5 cm Collection of the artist Photo p.31
27 Jonathon Livingston, 1994 MT. Desert Isle, Maine Black and White Polaroid Format: 8.5 x 10.8 cm Image Area: 7.3 x 9.5 cm Collection of the artist Photo p. 36
28 8-10 Foot Chop, 1994
23 Deer Isle, 1994 Deer Isle, Maine Black and White Polaroid Format: 8.5 x 10.8 cm Image Area: 7.3 x 9.5 cm Collection of the artist Photo p. 32
24 Drive In, 1994 Deer Isle, Maine Black and White Polaroid Format: 8.5 x 10.8 cm Image Area: 7.3 x 9.5 cm Collection of the artist Photo p. 33
25 Swiming Cove, 1994 Deer Isle, Maine Black and White Polaroid Format: 8.5 x 10.8 cm Image Area: 7.3 x 9.5 cm Collection of the artist Photo p. 34
26 Fresh Water, 1993 Two Harbors, Minnesota Black and White Polaroid Format: 8.5 x 10.8 cm Image Area: 7.3 x 9.5 cm Collection of the artist Photo p. 35
MT. Desert Isle, Maine Black and White Polaroid Format: 8.5 x 10.8 cm Image Area: 7.3 x 9.5 cm Collection of the artist Photo p. 37
29 King’s Highway No.1, 1995 Minneapolis, Minnesota Black and White Polaroid Format: 8.5 x 10.8 cm Image Area: 7.3 x 9.5 cm Collection of the artist Photo p. 39
30 King’s Highway No.2, 1995 Minneapolis, Minnesota Black and White Polaroid Format: 8.5 x 10.8 cm Image Area: 7.3 x 9.5 cm Collection of the artist Photo p. 40
31 King’s Highway No.3, 1995 Minneapolis, Minnesota Black and White Polaroid Format: 8.5 x 10.8 cm Image Area: 7.3 x 9.5 cm Collection of the artist Photo p. 41
32 MR. Hayes, 1996 Minneapolis, Minnesota Black and White Polaroid Format: 8.5 x 10.8 cm Image Area: 7.3 x 9.5 cm Collection of the artist Photo p. 42
33 Lake Wood, 1996 Minneapolis, Minnesota Black and White Polaroid Format: 8.5 x 10.8 cm Image Area: 7.3 x 9.5 cm Collection of the artist Photo p. 43
34 Exposed, 1993 Coon Rapids, Minnesota Black and White Polaroid Format: 8.5 x 10.8 cm Image Area: 7.3 x 9.5 cm Collection of the artist Photo p. 45
35 Relic, 1995 Sandstone, Minnesota Black and White Polaroid Format: 8.5 x 10.8 cm Image Area: 7.3 x 9.5 cm Collection of the artist Photo p. 46
36 Quarry Anchor, 1995 Sandstone, Minnesota Black and White Polaroid Format: 8.5 x 10.8 cm Image Area: 7.3 x 9.5 cm Collection of the artist Photo p. 46
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44 Bolt On Hill, 1997 Baltimore, Maryland Black and White Polaroid Format: 8.5 x 10.8 cm Image Area: 7.3 x 9.5 cm Collection of the artist Photo p. 57
45 Brick x Brick, 1994
37 Stick Cairn, 1994
40 Mine, 1993
Colorado Springs, Colorado Black and White Polaroid Format: 8.5 x 10.8 cm Image Area: 7.3 x 9.5 cm Collection of the artist Photo p. 48
Hibbing, Minnesota Black and White Polaroid Format: 8.5 x 10.8 cm Image Area: 7.3 x 9.5 cm Collection of the artist Photo p. 52
38 Watch Tower, 1996
41 Lyndale Coin-op, 1996
Minneapolis, Minnesota Black and White Polaroid Format: 8.5 x 10.8 cm Image Area: 7.3 x 9.5 cm Collection of the artist Photo p. 50
Minneapolis, Minnesota Black and White Polaroid Format: 8.5 x 10.8 cm Image Area: 7.3 x 9.5 cm Collection of the artist Photo p. 53
39 Tangle Town,1996
42 Salvage, 1997
Minneapolis, Minnesota Black and White Polaroid Format: 8.5 x 10.8 cm Image Area: 7.3 x 9.5 cm Collection of the artist Photo p. 51
New York, New York Black and White Polaroid Format: 8.5 x 10.8 cm Image Area: 7.3 x 9.5 cm Collection of the artist Photo p. 55
43 Puhl House, 1995 Minneapolis, Minnesota Black and White Polaroid Format: 8.5 x 10.8 cm Image Area: 7.3 x 9.5 cm Collection of the artist Photo p. 56
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Minneapolis, Minnesota Black and White Polaroid Format: 8.5 x 10.8 cm Image Area: 7.3 x 9.5 cm Collection of the artist Photo p. 59
46 Taylor, 1994 Bolder, Colorado Black and White Polaroid Format: 8.5 x 10.8 cm Image Area: 7.3 x 9.5 cm Collection of the artist Exhibition
47 Snip Times Twice, 1994 Minneapolis, Minnesota Black and White Polaroid Format: 8.5 x 10.8 cm Image Area: 7.3 x 9.5 cm Collection of the artist Photo p.60
48 Knee Deep, 1998 Assateague S.P., Maryland Black and White Polaroid Format: 8.5 x 10.8 cm Image Area: 7.3 x 9.5 cm Collection of the artist Back Cover Artwork
CENTRAL AIR NOMADIC ART SPACE MISSION STATEMENT
As curator and observer, my intentions are to bring together seemingly disseperate artists interpretations under the confines of what makes a GREAT collection of ideas vs. a good show. I look at artist’s objectives, render a visual connect between the artist and the eyewitness and postulate what the two may create together. The idea of Central Air is a preset, a control, a distinctive set of variables enabled to create a level of comfort. The energy it takes to cool is that much greater than to actively heat a space. Set the temperature to an easy comfort level. Relax—let the air blow.
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Film Specifications: Polaroid 667 (Black + White) Film Speed: ISO 3000/DIN 36 Format: 3.25 x 4 .25 in. (8.5 x 10.8 cm) pack film Image Area: 2.88 x 3.75 in. (7.3 x 9.5 cm) Finish: Glossy Exposures: 10 exposures per pack Development Time and Temperature: 30 secs. at 75째F (24째C) BACK COVER ARTWORK
Photographs Scanned Using: EPSON Perfection 3170 Photo
KNEE DEEP Assateague S.P. Maryland 1998
Text edited by alee Designed and Typeset by
NovaClutch Typographic Annex Typeface: Stymie Printed and Distributed by Lulu.com
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NO NEGATIVE (-)
YES POSITIVE (+)
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