One of the best parts of my teaching gig at SFAI was bringing in visiting artists. Along with valuing what they could add to the class, this provided me with an excuse to hang out with some cool Bay Area artists.
The first person I invited, Richard Barnes, recently left San Francisco for the East Coast but was in town for a group exhibition at the Yurba Buena Center for the Arts. The show, Dark Matters, has a lot of fantastic work. But for me the highlight was seeing Barnes’ pictures in person. These sumptuous images of starling migrations in Rome made a deep impression when I first saw them in the New York Times Magazine (pdf).
The Times has a nice interactive presentation of these pictures here.
Not long ago Richard Barnes also did a series on bird nests:
But these bird photos are just the tip of Barnes’ rich and eclectic career. One of the reasons I invited Richard to the class was because of his untraditional career path. After receiving a B.A from Berkeley, he has supported himself as a working photographer. This has principally been in the field of architectural photography, but along the way he has received numerous commissions. Much of this commissioned work deals with the architecture of preservation:
For all his great work with birds and museums, Barnes is best known for his pictures of a small house. Nearly ten years ago, the New York Times commissioned Barnes to photograph the cabin of Ted Kaczynski, aka the Unabomber. By mixing clinical minimalism with such loaded subject matter, Barnes created a frightening and iconic image that only gets more meaningful with time:
As regular readers know, I have a fascination with ‘the sentence’ – the shorthand summation everyone uses to describe a particular person. Some are easy (“He’s the guy that photographs Weimaraners). But Barnes is a tricky case. I doubt people would remember ‘He’s an architectural photographer who’s done fine art projects on birds, museums and the Unabomber.’ Whatever the phrase is, Barnes was able to sum up his achievements with a remarkably elegant sentence: “My work is all about containment.” He went on to say that he’d only made this connection in the last few years.
For me this was the ultimate lesson that Barnes brought to the class. While it may not always be great marketing, artists should be free to explore whatever quickens their pulse. Over the long haul they will inevitable find a thread that unifies their vision. Finding this revelatory thread (and not the stupid ‘sentence’) seems to be one of the most meaningful experiences to come from a life making art.
- An exhibition of Richard Barnes’ work will open on this Saturday, September 15th, at the Hosfelt Gallery in New York.