A Delicate Balance, 2013
Photograph, Dimensions Variable, Duration Variable
ABOUT THE ARTIST: JERRY SHEVICK
In 2013, Shevick's photographic work took off in a new direction, away from his black and white work of recent years. He began re-shooting and re-imagining vintage slides to explore how the perfection and precision of the digital age has sucked out the mystery and wonder of our memories. As the digital revolution rolls on, we won't remember in the same ways. There is no fading of the image, no lens flares, no developing errors. Our past is as crystal clear as the day we shot it. But, that clarity comes with a cost: the medium itself immersed us in the stories, whether the family slide show or photo album. Our minds were challenged with recreating the colors and context of deteriorating or poor images. Jerry's photos often accent the degradations, making them a part of the overall aesthetic. Mildew, dust, fading - it all creates a sense of time, mystery and beauty. And, most of all, they create shared experiences that viewers bring their own stories to.
The work was introduced in a solo show at the Malibu Racquet Club. Since then it has been selected for the 2013 Topanga Fine Art Gallery's Juried Exhibition, was part of the Jane Deering Gallery's Flat File Project (and has been invited again for Spring, 2014), gained Jerry juried entry into the Los Angeles Arts Association, an exhibition in Santa Monica's haleARTSPACE Gallery and a show at The Artist's Corner Gallery in Hollywood. In April, 2013, Jerry won a juried round in ArtSlant Magazine's annual competition, resulting in a month-long exhibit of his work on Chicago's famous Loop. The work has also been used in magazine layouts and was hung in the retail space, Loft 13 in Silver Lake. In 2014 his work will be featured on ArtCapitol, a curated marketplace for contemporary art. Jerry's work can be viewed at jerryshevick.com.
For most of his career, Jerry was an entertainment executive, running a division of Hearst Entertainment and then founding his own company. He created or produced over 1,500 episodes of non-fiction programming, winning a number of awards along the way. He was also an executive on over 50 made-for-television movies and taught film and TV production at the Academy of Art in San Francisco.
In addtion to his photography, Jerry has built a botanical press for large-scale leaf pressings. Mounted on fine Japanese paper, these pieces look at nature as design and architecture.
Jerry's two children's books, Maxfield & The Mixed Animals and I Was A Boy Zombie are currently with the Paul S. Levine Literary Agency.
FABRIK Magazine's review of Shevick's recent show:
Objet Trouve: Jerry Shevick's Amazing Nudie Pin Up Show
"At the nexus where vintage photography meets pictorialism, photo artist Jerry Shevick has staked out a new territory that somehow seems sweetly nostalgic and oddly familiar. A remembered color palette from a time we think we know, seeds this artist's body of work. On the hunt in thrift shops and garage sales for 40's, 50's and 60's amateur pin up shots, Shevick has put together a coy vision of a time gone by when your grandfather would fumble with his Brownie and your grandmother would don a six-shooter and strike a pose in the backyard."
"Fifty years ago or so, these twelve women, who were wives, girlfriends, or hopeful starlets took their clothes off and posed naked, maybe for the very first time. These old nudie shots hint of a life of love and lust."
"What looks like the faded slides of one prolific, if amateur photographer, is really Shevick's heavily curated pickings of found objects in the photo sections of flea markets and estate sales that he's culled and rephotographed in a fresh and innovative way. The result is a re-framing of the whole experience in a campy, post modern, tongue and cheek show. Printed on Kodak Metallic photographic paper, and finished in plexiglass, Shevick's photographs firmly plant theses images in a highly contemporary re-imagining of that time, long gone by."
"These photographs are old conversations; sweet, sexual whispers in an anachronistic language we don't speak anymore - they evoke photography in its simplest, most utilitariam form - a private communication, one the artist is allowing us to share."-- Phil Tarley