Posts from the ‘People’ Category

Mar 18

Catching Up with String Theorie

As a guitarist for more than a decade, I consider music to be one of my major passions, secretly (well, I guess not so much anymore) imagining what it’d be like to make it to the big leagues. Growing up, I frequented local shows around New Haven as often as my allowance would permit. As such, I grew up with a deep appreciation of Connecticut’s music scene, which my time at the Arts Council has only deepened—especially in this year’s United Arts Campaign.

Every year, we commission local musicians to release an exclusive EP or small album of songs for donors who contribute $100 or more to our Campaign. This year, String Theorie, an instrumental World Fusion trio composed of guitarist Joel Weik, bassist Karl Messerschmidt and percussionist Jordan Critchley from central CT, agreed to be our featured band. To learn more about the band’s inspirations, motivations and, well, music, I asked them a few questions. Here’s what they said:

You guys had quite the 2012! Winner of the Best Folk / Traditional Band at Connecticut’s Grand Band Slam, a new CD, Little Elephant, tons of gigs across the region… But let’s start at the beginning. How did String Theorie come about? How did you guys all meet and start making music together?

Well, String Theorie was formed in the summer of 2009 due to a happy accident! Fingerstyle Guitarist Joel Weik was casually invited to attend a friend’s-friend’s-birthday-party, which entailed an evening of open-mic jamming at a dive bar in New Britain. This friend’s-friend turned out to be Karl Messerschmidt, our virtuoso bass player! Joel approached Karl after being dazzled by his bass technique. A jam was arranged… Joel had a concept brewing in his mind for a while to put together a group based on the collaborations of Michael Hedges and Michael Manring, so Joel and Karl started working out some tunes over the summer of 2009 and in late August invited Southington native/DIY Drummer Jordan Critchley Jordan to join them on percussion at an open mic at Hartford’s La Paloma Sabanera. String Theorie played as a trio for the very first time that night and got a standing ovation with an offer to come back for a full show… and we’ve stayed together ever since.

Browsing your website, I noticed you characterize your music as embodying a “sound that can’t really be described in words.” Excuse the irony of my question, but how would you describe your style for people who are unfamiliar with your music?

Haha, what a tricky question! We find that words fall short because, no matter what, we can’t possible express with words the visual, audible and palpable effect of our music – especially during live shows, which is why we are particularly excited about our upcoming CD Release Party at Arch Street Tavern on Friday, April 12^th. We held a live recording concert at La Paloma back in December of 2012, which is the first time we’ve created a live recording; this soon to be released album definitely provides the closest thing to a genuine “String Theorie experience.” By the way, the exclusive GHAC download card features a song from that live recording session, “April Showers,” which will only be available to eligible Arts Council donors – Let’s GO Arts!

String Theorie at Lost Acres Vineyard in North Granby, CT

Tell us a little about the exclusive String Theorie EP you guys have created for those who donate $100 or more to our United Arts Campaign. What were your thoughts behind the EP’s songs, themes, etc. Let us into your musical minds!

We’ve picked out some of our favorite songs from our self-titled EP and from our album Little Elephant that are mostly staples of our live shows. ”The Middle” has become our new go-to opening tune; it helps us get warmed up quickly. ”Inchworm” is the first song we ever learned together and it may have been played at every String Theorie show thereafter, although we’re not really sure. ”E Minor” was the first song Joel ever wrote and it became the subject of a music video filmed and edited by Stone Gate Studios in 2011. “Lily Lake” and “Woe” both make regular appearances in our live sets. ”While You Were Upstairs” is a different story entirely; it’s a piece that Karl wrote that features Karl on electric guitar and Jordan on cello. We’ve performed it live a few times but the recording, as you’ll hear, is kind of impossible for us to ever pull off on stage without more musicians. Finally, the live version of “April Showers” is an outtake from our upcoming album “Live at La Paloma.” We held it back as an exclusive track JUST for this compilation – United Arts donors are the only ones who will have it!

Does each band member have a favorite song from the EP? If so, which ones and why?

Karl: You mean besides the one that I wrote? I would say “Inchworm,” which is kind of tragic in that it implies our music hasn’t gotten any better since our very first song, but that’s not the case of course. I just think the whole thing is very well put together. The bass line is inspired by a Block Party tune and I feel like it kind of serves as the lead at the same time, at least that’s how I hear it. We’ve made some changes to the piece over time, so it’s kind of grown along with us as a band, which is why we decided to re-record it as part of our Live at La Paloma album, to show how far the song and the band have come since it was the first track on our debut EP.

Joel: For me it’s a toss-up between Lily Lake and April Showers… I think they both have a similar vibe, and I guess it’s a vibe I particularly enjoy! I think this mix of songs on String Theorie’s Let’s GO Arts! download gives us a chance to share a broad spectrum of sounds and styles.

Besides the EP, how will String Theorie be a part of our 2013 United Arts Campaign? Are you guys excited to take pART?

Totally excited! We are already booking gigs at workplace campaigns, and we are looking forward to the Arts Council’s Annual Meeting in July. We hope that the 2013 United Arts Campaign brings us many opportunities to bring our music to new listeners!

String Theorie setting up for the Little Elephant CD Release Party at The Studio @ Billings Forge

Performing at The Mark Twain House & Museum, The Studio at Billings Forge and other cultural institutions in Greater Hartford, String Theorie seems very much tapped into our local arts scene. How has our local arts and heritage community helped to shape String Theorie into the band it is today?

You can’t separate us from Hartford like you can’t separate Nirvana from Seattle or the Chili Peppers from LA. It’s our home in every sense and we’re proud to be a part of its sound track. It was really Hartford’s cultural institutions that supported us most and gave us the opportunity to succeed, which is why it makes so much sense for us to partner up with the Arts Council. I mean, we do play bars and are a part of the regular music scene here in Hartford, but we’re kind of a novelty. We don’t get asked to headline anything because we’re unorthodox and we don’t have vocals. And we don’t get asked to play any of the big clubs near Union Place because we don’t have a loud radio sound. But the cultural centers like the Wadsworth, the Mark Twain House, etc. have always come looking for us, and that’s kind of what we’ve developed our sound for; places where you can really pay attention hear the music for everything it is. We work a lot of little musical Easter Eggs into our tunes that you can find if you’re paying attention in good listening environment.

Now to the future! What can we expect out of String Theorie in 2013?

We are very excited about our Live at La Paloma release party, which is taking place at Arch Street Tavern on April 12^th. We’ll be joined by two other local bands, Post-Modern Panic and a SECRET BAND…!

Many thanks to String Theorie for taking the time to answer my questions. To learn even more about String Theorie, check out http://www.stringtheorie.com, or http://www.facebook.com/stringtheorie.

Jan 22

100 Pearl Street Gallery: Q&A with Artist Daniel Bohman

From stunning snapshots of the universe and our world to iPhone photos of grumpy or cute cats, voyaging around the internet almost always includes sifting through a barrage of random, hilarious, or just plain weird images. Rather than just scroll past these pictures, local artist Daniel Bohman interrogates them through large oil paintings in “Collect & Transform,” the Arts Council’s newest exhibit in its 100 Pearl Street Gallery. Before the exhibit’s opening reception this Thursday, January 24 from 5-7pm, we asked Bohman to give us some insights into his artistic process, motivations and ambitions:

What’s your process for choosing images from Google? Do you have an image in mind when you start searching, or do you leave it up to chance?

My process usually starts with some sort of baseline idea. It could be as simple as two images that interact in an interesting way or speak to a theme I want to investigate. The chance usually occurs as the painting progresses and new ideas and paths emerge. It’s not uncommon for a painting to look nothing like I imagined it would.

The clashing patterns and images are the foundations of each piece. How do you strike a balance between your interest in the abstract and the representation of realistic spaces and figures?

I’ve always been drawn to opposites, and I would feel uncomfortable creating a purely realistic or abstract painting. I learned this a while back and have been trying to marry the two ever since. Even the pattern has dual dimensions. It not only creates tension, but has a wonderful ability to tie or weave disparate parts together.

When I look at some the pieces in the show, I immediately started crafting a soundtrack for each piece. For me, there were some hints of Sonic Youth, Arcade Fire, and some Tom Waits. I know Twin Peaks influenced part of one piece. Do you look to other music or film for inspiration? Any unexpected sources?

Well I certainly am influenced by music. I very much admire how music can drift between abstract (musical) and the more literal (lyrics). It’s something I try to accomplish in my paintings. It’s funny you mention it, but Tom Waits is someone I listen to a lot when I’m painting. There’s something about the theatrics and texture of his music that informs me as I work.

How has your experience with local arts schools (UCONN and MCC) informed the development of your work?

I think Connecticut is an interesting place to make art. It obviously suffers from being sandwiched in between Boston and New York but I think there’s a resiliency that keeps it intriguing. UCONN can sometimes feel a little far away, but I think my work has benefited from the lack of distraction.

What direction do you see your work taking this year? Are there any new areas you’re interested in exploring as you wrap up work on your MFA?

I think I’m going to keep pushing what I’ve been doing until I graduate in May. This semester I’ll be working on more printmaking though. Something I’ve always found difficult in the past.

Many thanks to Daniel for answering my questions. Check out “Collect & Transform” at the opening reception on Thursday, January 24 from 5-7pm in the 100 Pearl Street Gallery in Hartford, where you can snack on some apps and sip some wine with the artist himself. If you can’t make it then, the exhibition’s on display until March 23, 2013. Hope to see you this Thursday!

Jan 14

Letterpress 101

This week wraps up our 2013 Pick Your Print contest, and by next Wednesday we’ll have a winning concept ready to be turned into a piece of letterpress art. Letterpress has seen a resurgence in popularity over the last couple of years–from business cards to greeting cards and everything in between–but a few of us are still fuzzy on the details. What exactly is letterpress?

For the answer we went to the experts: the Gale sisters. Read their “Letterpress 101″ below:

WHAT IS LETTERPRESS? By Hartford Prints
Letterpress is a type of relief printing. Traditionally, it employs moveable type which is then inked and applied to paper with enough pressure to create an impression in the paper. A very simplistic version of this would be the rubber stamp.Western letterpress was invented by Johannes Gutenberg in the mid-1400′s. At one time, it was the method by which virtually all newspapers, books and other publications were printed. With advances in technology, letterpress has moved out of the commercial world and into the educational and fine craft worlds. Today, many colleges with a printmaking program offer letterpress courses and many of their graduates go on to open small business which offer fine printing on a small scale.

Artwork at the Hartford Prints! studio.

At Hartford Prints! we have a Vandercook 4-T proof press. This model was invented in 1948 specifically to print on acetate to create negatives for offset lithography printing. Our press likely dates from the 1960′s. We create our printed matter in one of three ways: traditional hand-set lead or wood type, hand-carved wood or linoleum blocks, or photopolymer plates created from digital files which we design on our computers.

For the Arts Council, the plan is to create a woodcut print based on whichever of the three design concepts wins the most votes. Once the design is selected, Addy will refine and finalize the drawing and begin planning for the carving stage. In relief printing, however many colors are in the design is how many blocks will be needed. So for a two-color print, Addy will have to carve two separate blocks. The blocks are carved in reverse, or backwards. Whatever is to be printed is left alone and all the negative space, or white of the paper, is carved away. When the blocks are done, they are placed on the bed of the press. The press has rollers to which the ink is applied and the rollers then distribute the ink onto the block. As the press is operated, the paper is carried across the block and pressure is applied to push the paper into the block just enough to take an impression and pick up the ink. This process is repeated until the desired number of prints is achieved and then repeated again for each following color.

Letterpress is a lovely and tactile medium. Soft, thick, 100% cotton papers are often used and the impression creates a wonderful texture that is a delight to touch. Hartford Prints! is so excited to have the opportunity to produce a unique letterpress print for the Arts Council and we are sure that everyone who receives a copy of the print will be thrilled with the final result.

There’s still a few days left to vote! Visit LetsGoArts.org/PickYourPrint to choose our winning design!

Jan 11

“Supposing is Good, But Finding Out is Better”

ARE YOU #TEAMTWAIN?

There’s only one week left to decide the design of our 2013 United Arts Print for our Pick Your Print campaign, but there’s still plenty of time to make sure your favorite print design gets chosen! This time around, see what the Gale sisters from Hartford Prints! think about one of America’s favorite authors as they turn the spotlight on (or close read for you literary types) the statue of Mark Twain in front of the Hartford Public Library.

Addy – Older Sister
Mark Twain is another Hartford favorite of mine and, like Calder’s Stegosaurus, I have very specific associations with him from when I was a little girl. I always thought that the brick work above the windows on The Mark Twain House made the house look as though it has eyelashes! The man himself is an equally impressive figure, with those eyebrows and that mustache. I love the sculpture of him placed in front of the main branch of the Hartford Public Library, particularly when seen in profile. What really makes the sculpture special and interesting is its location. Mark Twain stands under a spectacular sycamore tree and next to another sculpture which is very, very modern. Together, these three elements create interesting juxtapositions between the natural and the man-made, the representative and the abstract, and the classic and the modern. It would be fascinating to try translating all of this into a woodcut print.

Callie – Middle Sister
Mark Twain’s presence looms over Hartford. We are so lucky that such a prolific author, Samuel Clemens, was writing his most infamous works while living in our city. According to the Mark Twain House, “Clemens…spent his life observing and reporting on his surroundings,” and so he must have taken some inspiration from Hartford, its environment, as well as its people. Encountering Mark Twain outside of the Hartford Public Library on Main Street is fitting, since not only are most of his works found inside, but it also speaks to Twain’s sense of purposeful storytelling. Every one of his books has an underlying theme and moral driven by a deep sense of right and wrong, for as he once said, “Supposing is good, but finding out is better.” This print, to me, illustrates that beautiful harmony between writing, reading, and storytelling, in order to lift up the human spirit and better the world around us.

Rory – Younger Sister
I love the architecture of the Hartford Public Library and think that it’s fitting to have Mark Twain, standing tall, overseeing the books. Mark Twain fits perfectly on Main Street, leaning against his riverboat wheel. I love how his books transport you on outlandish adventures. Like a Twain novel, our adventure began by starting Hartford Prints! and with every turn of the riverboat wheel we encounter new opportunities and obstacles with the bravery of Huckleberry Finn and the gumption of Tom Sawyer. I think that like his books, our art has the ability to transport the viewer, and this print would do just that. We’ll take inspiration from the statue, history and stories of Mark Twain. Let’s jump off the page and take an adventure together.

Think one of America’s favorite authors should grace the pages of our prints? VOTE NOW to help one of America’s favorite authors grace the many pages of our prints this year! Next up: The Art in Hartford Map, which highlights important public art pieces from around the city!

Jan 9

Who Says a Dinosaur Can’t Live in a City?

ARE YOU #TEAMSTEGO?

Our Pick Your Print poll to decide the design for this year’s United Arts print is really heating up! To add some fire to the already difficult decision, the Gale Sisters at Hartford Prints! are going to share their opinions on each of the three designs they crafted. For their first selection, they turn the spotlight on Alexander Calder’s Stegosaurus, one of Hartford’s most defining public art pieces tucked between the Wadsworth and City Hall on Burr Mall.

Addy – Older Sister

Alexander Calder is probably my all-time favorite artist. Ever since I was a little girl, I have been enamored with his mobiles and charmed by Hartford’s own Stegosaurus. It is my single favorite piece of art in our city and I am thrilled to have the opportunity to possibly create a print based on this magnificent sculpture. The view from Main Street makes Stegosaurus seem as though he is standing in his own private forest, perhaps drinking from a stream or just lazying about in the sun. And if one stands at just the right angle, one can see the dome of the Colt Building peeking out from between his legs. These two elements, the grove of trees and the Colt dome, would definitely be included in my woodcut – implying that though Stegosaurus seems to be in the woods, he actually lives in the city. If it helps with the voting – this is my favorite of the three ideas and the one I would most enjoy creating!

Callie – Middle Sister

I love this print for several reasons! First, Calder’s Stegosaurus is probably one of the most defining pieces of public art for Hartford, as well as for my childhood. I have fond memories of playing in, under, and around this bright, beautiful, bolted dinosaur and love the way the geometric patterns and heavy materials create something that is industrial, yet totally alive. Second, I love how Addy is incorporating the trees into the print. Hartford has some of the most beautiful green open spaces, from Bushnell Park to Keney Park to our riverfront, which I think are more often overlooked than explored. This print reminds us that we should be urban adventurers in the living parts of our city, since they (like the dinosaurs) were here first! Finally, I think that the aesthetic of this print really reflects what Hartford Prints! is all about. We are working in an old (some might even say “extinct”) medium, striving to illustrate what Hartford, its vibrant cultural scene, and its inspiring people, are all about.

Rory – Younger Sister

There is something so magical about Calder’s Stegosaurus. I remember as a kid playing at the feet of this sculpture and feeling big and small at the same time. Hartford Prints! created a print using the Stegosaurus in 2010 with our student Danny Tobias. This print included the text, “Who says a dinosaur can’t live in a city?” This simple, yet provocative statement challenges the way you look at our city. That’s what we strive to do at Hartford Prints!; unveil Hartford’s beauty and limitless offerings. As an expression of public art, I believe this print will continue to connect idiosyncrasies that we sometimes find living in a city, both big and small.

Have a soft spot for dinosaurs in your heart? VOTE NOW to make sure this jurassic beauty dominates the competition! Next up: Mark Twain in front of the Hartford Public Library!

Dec 6

My Let’s GO Arts! Adventure

Tell us one of your Let’s GO Arts! experiences! In connection with our Let’s GO Arts! Holiday Promotion, we are hosting a story contest for our Let’s GO Arts members. Let us know how your Let’s GO Arts! card was a part of your evening, and you could win a one year extension on your current Let’s GO Arts! membership – OR – 2 Let’s GO Arts! cards to gift to your friends and loved ones.

250 words or less. Entries are due Friday, December 14 to ALaRosa@LetsGoArts.org. Feel free to get creative with your story. To help inspire your writing, here’s an example of a time I used my Let’s GO Arts! card recently:

GOODNIGHT AND NOT GOODBYE

Jittery fingers, restless legs—anxiousness exuded from me before my job interviews at the Arts Council. When I first walked into the offices, I met the fiery haired Welcome Center Coordinator Susan Williams. With simply a few quick conversations, Susan managed to calm some of my nervousness, which helped me focus before each phase of the interviewing process.

Upon being hired, I knew I would be working part-time in the Welcome Center. As I was trained to run the information hub, Susan, unbeknownst to her, also instructed me in much more subtle ways—like the importance of amiability in developing professional relationships and the ability to positively transform an entire place of employment with a sunny disposition and true care.

About a year after I started, Susan retired from the Welcome Center. To toast her time at the Arts Council, I planned a happy hour at Salute Restaurant in Hartford for our staff to honor Susan’s 5 years at the Arts Council. With a table covered with wine and delectable apps like sweet potato raviolis, we raised our glasses to celebrate Susan and to voice our envy over her retirement.

Placing my Let’s GO Arts! card in the bill at the evening’s end, I was struck by a phrase from my old summer camp: “It was goodnight and not goodbye.” Although we no longer would work together, I know Susan and I will keep in touch with emails, notes and lunches—most likely at Salute again!

Happy writing! For more information about the story contest or the Let’s GO Arts! holiday promotion, visit www.LetsGoArts.org/Holiday.

Oct 11

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100 Pearl Street Gallery: Q&A with Lori Robeau

As we brace ourselves for another transition from fall to winter, we’re often drawn outdoors to pick apples, gather pumpkins and enjoy the changing of the leaves. We often take for granted that in October, everything in nature will take on its orange hue and eventually give way to the grey-white days of winter. Lori Robeau’s work asks us to pause and consider the impermanence of the natural world around us. She was nice enough to answer a few of my questions about her life and work.

Much of your work deals with the use of shadows and negative space to represent the loss of natural materials and elements. What inspired you to tell this story?

I spent much of my childhood wandering off alone on walks, exploring different natural landscapes—open fields that led to a lake, trails in the woods or a path that wound along a small stream—these spaces were my own private sanctuary. Now, these natural spaces are disappearing before my eyes and what is left is a small void. There is emptiness, a longing that cannot be filled with all the shopping in the world.

In looking at your work, especially Nature of Reality, there’s almost an ominous character to some of your work. Is that intentional? What do you want the viewer to experience with this piece?

Yes. I hope to prompt conflicting feelings of apprehension and compulsion and to effect a change of perception—not only in how the viewer sees the work once the illusion is revealed, but more importantly how they then interpret the content.

You use materials like recycled paper circulars, pinewood, vinyl and tar. How do these materials come together to tell your story of consumption and depletion of natural resources?

These materials represent consumption and depletion in a broad circle. First, the great pinewoods are harvested and processed into lumber (even the word timber contains in itself the shadow of the fall of the forest) to build more homes for the rapidly growing population. That population is targeted by media and marketing specialists to buy more products through advertisements that are printed on a by-product of the wood that is harvested.

Tar is produced from the roots and wood of pine trees which is distilled until it’s a thick and black liquid. Tar can also be made from petroleum, which is another name for crude oil. Plastics such as vinyl are made from petroleum as well. Oil is another natural resource that is being depleted.

As the population grows the demand for these products grow and in the process nature; plants, animals and organisms are displaced or worse, disappear altogether.

Shifting gears, you’ve shown work all over New England. What about the Hartford region inspires you?

Hartford already has a name in the Performing Arts but has recently been growing a name and gaining momentum as a more diversified Cultural Arts Center. I am seeing more exhibits and happenings all around the city and I am inspired and motivated by that momentum!

What are you working on now? Are there any other issues you’d like to tackle through art?

Yes, along the same lines of a loss of nature, I am interested in taking on the issue and growing concerns of “food” and our detachment from the process of attaining it.

Although, right now, I think I’m just going to paint for a while.

I’d like to thank Lori for answering my questions and to encourage everyone to check out “Consumption” while its on display until January 4, 2013 in our 100 Pearl Street Gallery. There’s no better time to see it than with Lori herself at the opening reception of “Consumption” TONIGHT (October 11) from 5-7pm in the Gallery.

Here’s hoping to sharing (or pouring you) some wine later! Cheers!

Jul 23

Q&A with Robert Loebell

Since graduating from Temple University’s Tyler School of Art in 1976, Robert Loebell has worked consistently as an artist. Along the way, he worked as a handyman and house painter before settling into his career as an art teacher in the West Hartford Public School system for nearly three decades. Wood sculpture has allowed Loebell to capture his artistic voice deeply rooted in literature and photography. Some of his previous pieces have looked to Henry David Thoreau’s “Walden” and James Joyce’s “Ulysses” for inspiration.

In preparation for the opening reception of “Reminiscing,” a wood relief exhibit, this Thursday at 5pm in our 100 Pearl Street Gallery, Loebell answered a couple of questions about his work, his creative process, and what inspires him.

1. What inspired you to translate photography to sculpture on wood?

I started looking at photographs when I was thinking about what I wanted to do for my Weir Farm residence. I just went to look at the archives there and was totally fascinated by the old pictures.

2. Your work on display depicts images from Connecticut’s Weir Farm and New York’s Governors Island. What about those places’ made them rich for exploration? Are there any historic/significant sites in the Hartford region you would like to explore?

It was really luck. The Weir Farm archives got me started on the possibilities of using archival photographs, and the theme of the Governors Island show was ‘Encounters,’ so I just started looking at the history and found all these pictures on the Library of Congress web site. It starts as an art idea but the research is fun and gives another layer of meaning to the pieces. I’m sure there are places in Hartford I’d be interested in, but I haven’t researched anything specific. I’m open to suggestions.

3. Can you describe your process? How do you find your materials (wood, photographs) and then make your pieces?

They start with the photographs. I have a bunch of wood sitting around, although that may need replenishing soon. I try to figure out my idea (flat relief, 3-d), and then figure out what wood will work. Sometimes I buy a piece of a certain wood, but I like it better when the wood just jumps out at me. I do all the carving first, then the burning for the darks, and then white acrylic.

4. You work as an educator and some of your past work has drawn inspiration from literature. How do your students and your work as a teacher inform your work? What literary or cultural figures/works are you interested in lately?

Students ask the best questions, so when I show them my work, I better be ready to answer their honest and direct questions. Why? How much? How long does it take? What’s it about? I’ve been reading Hillary Mantel’s books about Oliver Cromwell, which are fun and bawdy. They probably won’t find their way into any works but who knows? I’m interested in seeing the show at the Guggenheim by Rineke Dijkstra the photographer. Her work strikes me as deceptively simple and intimate.

Many thanks to Loebell for answering my questions. “Reminiscing” will be on display until September 28^th in our 100 Pearl Street Gallery. Join us to celebrate Loebell’s work with the artist himself at the opening reception of “Reminiscing” this Thursday, Jul 26 from 5-7pm in our 100 Pearl Street Gallery—click here for more information.

Hope to see you there!

Jun 11

Q&A: Photographer Don Bell

Whether its Robert Frank’s images of blue-collar 1950s America or a Diane Arbus photo of a marginalized sideshow performer, photography can leave the subject’s out of the picture. The photographer often speaks for the subject (through framing, composition, lighting…) , which creates a host of unanswered questions for the viewer. We have all encountered a photograph that we wish could tell us more.

As a journalist and an artist, Don Bell knows a lot about asking questions. His series “Portraits of Wisdom” catalogues his encounters with people he meets on the street and their answers to the deceptively simple question: “What have you learned?” It’s a direct question that yields surprisingly honest answers.

Don’s photographs treat his subjects with the same sincerity. This photographic honesty is something that Susan Sontag notices in her 1977 essay collection “On Photography.” For her, it’s a trait that links back to Walt Whitman’s belief that each moment or condition ‘exhibits a beauty.’ As I spent time with the series, I realized that Don’s work engages all of these voices.

Don was kind enough to answer some of my questions about his work as a photographer and what inspires him.

Your technique depends largely on conversation and interaction with strangers. Is that journalism influencing the photography? How do you think your work as a journalist affects your photography?

My journalism background has a powerful influence on my photography – especially in this project. I’ve been interviewing people professionally for ten years, so talking to strangers on the street actually comes naturally. A smooth interview leads to a comfortable subject and therefore a natural looking portrait.

You mentioned running into your 1^stHartford subject a week or so ago; any other memorable stories from being out in the field meeting people and taking photos?

I was on the corner of Pratt and Main Street downtown when I ran into a writer named Brian. He was one of the very first subjects for this project. It’s amazing how eight months later we bump into each other while I was literally holding a flyer for the exhibition. I’m not good with names but I always remember faces and his is tough to ignore – strong, dark features with penetrating eyes. We had a quick chat and I walked away knowing why he made the final cut – powerful presence.

Most of the subjects I interviewed made an impact in someway. Peel back each layer, of each person and you’ll discover that we’re all unique in some way.

I think of Gordon Parks when I look at your work. What other photographers, artists do you look to for inspiration? Any other sources of inspiration?

I wish I had some brilliant answer for this question. The truth is that I’m inspired by ALL photography. There are a million different ways to capture life. Most pictures that I see cause some type of creative friction in my head: Why that light? Why that composition? Why that depth of field? Flushing out the answers to those questions spark creative inspiration. And way before that process ever starts, it’s the hunger to create and give birth to an image that is entirely your own. You can’t teach give-a-damn. Either you do or you don’t.

You’ve lived all over (Boston, Philly, St. Louis), what about Hartford do you enjoy?

I have a love affair with every place I’ve lived. I had a crush on Boston like a 10-year-old boy who had just discovered girls. St. Louis was love at first sight. Philly’s courage and heartbeat energizes my soul. Hartford embraced me and gave me fuel to blaze a new path. I enjoy the tight nit community of the Heartbeat. It’s like living with extended family.

What projects are you working on now?

I just launched my new website www.donbellphotography.com. Even though I had help with the design, it was a monster undertaking. At least a half dozen decisions went into every single click of the mouse. Now that it has been completed, I’m turning my attention toward commissioned work and travel related images.

And what direction do you see your work taking?

My parents once told me that I could accomplish anything I set my mind to. In general, I’m not sure if parents really believe that when they speak to their children. It doesn’t matter. When they said it, I believed it. And I still do. So, I’ll keep creating art and I’ll happily go where it takes me. What direction is that? I’ll let you know after the shutter snaps.

Many thanks to Don for his answers. If you’d like to see the work yourself and meet Don, join us at the opening reception of “Portraits of Wisdom” this Thursday in the 100 Pearl Street Gallery from 5-7pm.

May 25

A Message from Mayor Segarra

Watch this video message from Mayor Segarra, the 2012 United Arts Campaign Chair.

Join Mayor Segarra and support the arts: donate today! Remember, gifts of any size make a HUGE difference. Check out this behind-the-scenes story about filming this video message. Thank again to Northeast Utilities and the Mayor’s Office for making this happen!