Points West and Weston

Susan Goldstein's Western photos at Edge, and Edward Weston's at Camera Obscura.

At the end of the nineteenth century and the beginning of the twentieth, artists were attracted to the West by its majestic scenery. Then, in the late twentieth and early 21st centuries, artists began to notice how people were wrecking those formerly perfect views. A typical approach for many of these artists was to juxtapose disparate images that could be crudely explained by using the cliched mankind-versus-nature idea. Boulder and Denver have become regional centers for this kind of thing.

Though Colorado artist Susan Goldstein has taken up a wide variety of subjects in her photos and photo-based pieces, ranging from 2000's questionable election results to an abandoned factory that made religious artifacts, she's also explored the fertile subject of civilization's affront to the Western landscape. That's the very thing happening in her latest show, NEW AMERICAN WEST II, now on display at Edge Gallery.

Goldstein was born in Indianapolis in 1950 and moved to Colorado in the late '60s to attend the University of Colorado at Boulder, from which she graduated in 1972. Though she studied art at CU, she was a hobbyist when it came to photography. Eventually, though, she became more serious and attended the Woodland School of Photography in West Virginia. Her training led her to become a freelance commercial photographer, with her work appearing in various publications, including Westword, and to eventually turn to fine-art photography. Nearly ten years ago, she became a member of the Edge co-op and has had an annual show there ever since.

"New American West II: Arizona," by Susan 
Goldstein, archival digital inkjet print.
"New American West II: Arizona," by Susan Goldstein, archival digital inkjet print.
"Nude 23," by Edward Weston, silver print.
"Nude 23," by Edward Weston, silver print.


Through May 21, Edge Gallery, 3658 Navajo Street, 303-477-7173

Photographs by EDWARD WESTON
Through June 4, Camera Obscura Gallery, 1309 Bannock Street, 303-623- 4059

I've seen most of these Edge shows, and as a result, I've learned something about Goldstein: She's never a disappointment. You can always count on her works to be well conceived and beautifully executed, and her latest showcase is no exception.

NEW AMERICAN WEST II is installed in the center space at Edge. On the wall to the left, the wall straight ahead and the wall to the right, Goldstein hung rows of photos from the series. On the last wall, the one along the front of the room, she put a selection of photos from NEW AMERICAN WEST I, the original series. These photos, most of which are only half the size of the newer ones, were done five years ago.

I think it makes sense to take in shows in some logical way, so I began with the older photos, because they lay out Goldstein's concepts, then moved on to the more recent pieces. All of the photos in the older group have essentially the same title, "New American West I," with the only variation being a subtitle that indicates the state where the photos were taken, either Colorado, California, Arizona, Utah or New Mexico. I loved these photos, including the one depicting a sign indicating the direction of Focus on the Family's headquarters, and one of a stallion made of chrome bumpers "running" through a meadow by a farmhouse.

The pieces in NEW AMERICAN WEST II have a lot in common with the earlier ones, like being titled in the same way, but there are some perceivable differences. The newer photos are more architectonic and feature the lavish use of strong linear elements. Though long a pro at creating balanced formal arrangements, Goldstein's gotten even better in NEW AMERICAN WEST II, coming up with one great composition after another. In several, she employs strong vertical elements placed off to one side, interrupting the overall horizontality inherent in the landscape. And she finds a lot of straight lines in such mundane things as fences and roads.

Every one of Goldstein's images is worthwhile, but I really liked the American flag flying upside down over a wet country highway in Colorado, the village of concrete tepees in Arizona, and the sign in California depicting an old farmer holding a head of lettuce.

Goldstein used an old-fashioned medium-format camera and standard black-and-white film for the photos in both series, then had them printed with an inkjet printer using carbon pigment inks. Master printer Ron Landucci "developed" the photos for Goldstein, and they are remarkably fine in quality. At first glance, they look for all the world like silver prints -- they're that good.

Susan Goldstein's wonderful NEW AMERICAN WEST II is rapidly approaching the end of its run. It closes on May 21, so if you haven't checked it out yet, you'll need to step on it.

In the field of photography in the West, California artists from the early- to mid-twentieth century are the tops. They were not interested in looking for views with ironic narratives, like so many contemporary artists, but instead searched for the inherent beauty in natural forms. You don't need to know much about photography to have heard of the greatest of the black-and-white knights from the West Coast, the late Edward Weston. His totemic position in history no doubt explains why Camera Obscura Gallery has had a steady flow of visitors since Photographs by EDWARD WESTON opened a few weeks ago. There are a bunch of red dots in sight, meaning that sales have been healthy, too. When I was there on a recent morning, the place was actually crowded. In truth, though, that's not so hard, because the gallery is intimate in scale. An old townhouse, it comprises a series of small rooms on two floors, nearly all of which are hung to the max with compelling photos.

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