Why pinhole? I am often asked that question. Why would I choose a photographic method that only adds time, difficulty, and complication to my art practice?
'Why' indeed. It is exactly this forced slowing down that I embrace. It is the purposeful placement of these technological hurdles that allows me to focus in on the craft itself, the image created is secondary to the process. The experimental nature of the method negates any control over the resultant image. The pinhole is the perfect analogy of my chosen path, one which is narrow, and not easily traversed. A rare experience captured in print that deserves longer contemplation.
Calling my self a photographer, or more specifically, a pinhole photographer is too limiting. I may better describe myself as a conceptual artist.
As I am updating the resume, I realize I am having trouble living up to the self appointed label of Pinhole Photographer. Yes, I make pinhole photographs, but I also have an interest in conceptual works. Sometime this involves performance art, certain documented actions, or elaborate installations in which the viewer experiences the photographs and/or videos. I am always experimenting, trying to discover new ways to utilize the camera, exploring alternatives to normal shooting and showing.
Monday, December 11, 2017
Wednesday, October 7, 2015
Portraits 101
aka Never Stop Learning and Challenging Yourself
Once again, I am a student at my local community college - learning can not be stopped.
I'm incredibly lucky to have so many high quality teachers right in my home town. This is a departure from my regular routine of working by myself, in the darkroom or the high country of Colorado. Portraits, while challenging, can be some of the most rewarding images a photographer can make. And I'm only getting started!
Here are a few of my images from the first assignments. (Environmental, Studio, Group, Self and Experimental Portraits)
All photographs copyright Laura Cofrin and Valhall Arts.
Once again, I am a student at my local community college - learning can not be stopped.
I'm incredibly lucky to have so many high quality teachers right in my home town. This is a departure from my regular routine of working by myself, in the darkroom or the high country of Colorado. Portraits, while challenging, can be some of the most rewarding images a photographer can make. And I'm only getting started!
Here are a few of my images from the first assignments. (Environmental, Studio, Group, Self and Experimental Portraits)
All photographs copyright Laura Cofrin and Valhall Arts.
Wednesday, June 3, 2015
Saturday, February 28, 2015
State of the Arts: Fort Collins
Alternate title: Still Nothing There. (Part Two)
Naming no names.
My lack of interest in this blog is a good indicator of my opinions of the current state of the arts in ole Fort Collins. All too often, the community's lack luster reception of contemporary art makes it a frustrating and unrewarding experience for the artist. (At least for this artist - I speak for myself only.) The avant-garde is shunned, any artwork that is too unusual, too challenging, or different, is scoffed at, or worse, ignored. There is a serious lack of critical thinking on art, and a total lack of good dialogue going on in this town. Luckily, there IS some great work coming out of the region, there are many great artists in this town, and a few fabulous galleries. It's the reception of the art works, the faked interest, that undermines my efforts to expand my communications with my local audience. Why bother? There is nothing, or rather, no one there.
Further proving my point was the hype around the hiring of a new 'arts and entertainment' writer at our local paper. This has again proven to be a disappointment. This writer's youth, (evidenced by her twitter TL) and her lack of knowledge in the arts, (probably due to a lack of education in the area) is obvious in her writing. It is a lack of respect for the discipline, knowing what it is to be an artist, how art is made and what makes a good gallery/museum/exhibition. The in-ability to articulate well to the reading public, to contribute meaningful dialogue to the discourse of contemporary art, is a dis-service to the reading public, and has only managed to maintain the "blah", status quo of Fort Collins' art scene.
I have not completely lost hope, however. Nothing motivates me more than a challenge. I do have high hopes for the Fort Collins Museum of Art with the hiring of a new executive director. Patience will be needed however, as it will take several years to see the changes in the exhibitions. Other bright spots in our local art scene include the growing group of artists active in promoting a vibrant art scene. It is not an over intellectualized state of mind that I am craving, rather a curious disposition, a mind full of wonder and a spirit engaged in raising the bar, expanding ideas, and through these interactions gaining a greater understanding of one's self, one's community and the world.
To see the previous post regarding my ongoing struggle with the local art scene,
please click here.
Naming no names.
![]() |
Flying over a flyover state. |
Further proving my point was the hype around the hiring of a new 'arts and entertainment' writer at our local paper. This has again proven to be a disappointment. This writer's youth, (evidenced by her twitter TL) and her lack of knowledge in the arts, (probably due to a lack of education in the area) is obvious in her writing. It is a lack of respect for the discipline, knowing what it is to be an artist, how art is made and what makes a good gallery/museum/exhibition. The in-ability to articulate well to the reading public, to contribute meaningful dialogue to the discourse of contemporary art, is a dis-service to the reading public, and has only managed to maintain the "blah", status quo of Fort Collins' art scene.
![]() |
Photo by Alex Kuznetsov, http://www.calgarygemshow.com/2012/02/nothing-rock-shop/ |
I have not completely lost hope, however. Nothing motivates me more than a challenge. I do have high hopes for the Fort Collins Museum of Art with the hiring of a new executive director. Patience will be needed however, as it will take several years to see the changes in the exhibitions. Other bright spots in our local art scene include the growing group of artists active in promoting a vibrant art scene. It is not an over intellectualized state of mind that I am craving, rather a curious disposition, a mind full of wonder and a spirit engaged in raising the bar, expanding ideas, and through these interactions gaining a greater understanding of one's self, one's community and the world.
![]() |
"Somewhere over the Rainbow" photo by Laura Cofrin, 2014 |
please click here.
Wednesday, August 6, 2014
Unsettled Landscapes, a new take on the biennial at SITE Santa Fe
I had the great experience of attending the opening festivities of the new biennial at SITE Santa Fe. This was a "radical rethinking" of the biennial model, and a rebirth for the show after a 4 year hiatus. The process of re-evaluating the biennial model was instigated with Irene Hoffman's arrival in 2010 as the new director and chief curator at SITE. With this change in leadership, there was a critical re-evaluation of the institution, and the concenus was that a change was needed in the biennial exhibition. There have been umpteen other biennials that have sprung up around the globe since the first Biennial show at SITE in 1995, and these shows have become just another venue for the commoditification of the arts. SITE's leaders wanted to find a way to create a more sustained engagement, a more art (and artist) centric, engaged platform, a furthering of research in the creative arts of our times. It was a collaborative curation, with the involvement of Janet Dees (SITE Curator of Special Projects), and two other guest curators, Candice Hopkins (from Canada) and Lucia Sanroman (from Mexico). The idea of focusing on the Western Hemisphere was hatched and the ideas for the show percolated from the artworks. The structure of the biennial was changed into a six year process, a tri-biennial, if you will, with the next three exhibits over six years exploring the ideas behind the new title, "SITELINES; New Perspectives on Art in the Americas".
This year's theme, "Unsettled Landscapes" came from the artists' ideas, and the works, and it became apparent after much discussion and dialogue with experts and other consultants that there was a a changing idea about landscape. "Landscape is not neutral", Hopkins says, and the idea of "landscape as a form of alibi" was raised by Sanroman. There are many political and social ideas in our perceptions of landscape, including occluded histories, native issues and ongoing imperialist and colonialist issues. The curators did not want the show to be yet another colonialist gesture, and much "deep time" was spent with the works, the show and the place. This slow contemplation is balanced with the current state of urgency that is needed in the arts in all parts of the Americas. There currently may be inclusion in the art world for many artists coming from non-traditional locations, but there still needs to be an equalization across the board, an up-ending to conventions and an unsettling of ideas. This will bring the arts into the future. It's an Unsettled Landscape for sure.
This year's theme, "Unsettled Landscapes" came from the artists' ideas, and the works, and it became apparent after much discussion and dialogue with experts and other consultants that there was a a changing idea about landscape. "Landscape is not neutral", Hopkins says, and the idea of "landscape as a form of alibi" was raised by Sanroman. There are many political and social ideas in our perceptions of landscape, including occluded histories, native issues and ongoing imperialist and colonialist issues. The curators did not want the show to be yet another colonialist gesture, and much "deep time" was spent with the works, the show and the place. This slow contemplation is balanced with the current state of urgency that is needed in the arts in all parts of the Americas. There currently may be inclusion in the art world for many artists coming from non-traditional locations, but there still needs to be an equalization across the board, an up-ending to conventions and an unsettling of ideas. This will bring the arts into the future. It's an Unsettled Landscape for sure.
Labels:
America,
Americas,
art,
art exhibit,
biennial,
Candice Hopkins,
contemporary art,
culture,
Janet Dees,
Landscape,
Lucia Sanroman,
Santa Fe,
SITE,
Unsettled Landscapes,
Western Hemisphere
Location:
Santa Fe, NM, USA
Tuesday, June 17, 2014
Fort Collins Studio Tour - Part II
Non-Object Art
I am so happy to be sharing a studio space with Loretta Cummings. She is an artist who works conceptually. "Use attention, perception and time as your art materials and the world becomes your studio," she has said. Her gallery is often found on Twitter, or nowhere, or in her own presence during the action, a moment made art, through its ritualized recognition of the action.
I remember when I met Loretta. She and I both were students of Jennie Kiessling, an amazing Front Range Community College teacher. We were enrolled in a summer session of an art appreciation class exploring contemporary art. It was a fun learning experience, with an energized group of folks, and involved much traveling around our regional area on field trips seeing lots of great art. There was much discussion about the works of contemporary artists, including Piplotti Rist, Bill Viola, Marina Abramovic, Cindy Sherman, among others. This was my first time experiencing many of these artists, and what I learned in this class still impacts my work today.
After the class was over, there was a group of us that continued to meet. Our discussions, and museum and gallery field trips were just too enjoyable to discontinue. To this day, they are my biggest resource for support and inspiration in my art practice. They are my critique group, my educational resource, and my back up. I can count on this small group of fellow artists to keep me on the right path.
I remember very clearly the first group critque session we had after the class. This is something that can be difficult to find once an artist leaves the educational institution. A good critical discussion about the work is needed if an artist is to grow and expand in their work. Needless to say, seeing Loretta's work for the first time blew my mind. (See her piece she shared with us, "Post Cleaning Me - 7 hours of not cleaning" below.)She was working in such a way that I had rarely experienced in the past. Her ideas are the work, her actions its manifestation. The objects created, or documents of the project are secondary bi-products of the work - NOT the work. This was totally new to me, but I was intrigued. I too, have my reservatons about making objects to sell. Art as commodity is not really what I am interested in. To create work and sell the work for large dollars is not why I am an artist. The art market is daft, as I have said before, and I am not very interested in it as a creator. It is the creative gesture, the expresive actions that motivate me to return to the studio.
For the Studio Tour, Loretta will be performing a new work that involves the audience, a decision and a documentation. Intrigued? This will be an opportunity to actively participate in an art work's creation, to become the medium, and express your ideas in the action. Where do your values lie? What do you value more, experiences or acquisitions? It is sure to be a sweet or rewarding experience, so stop in to our studio to experience her art for yourself. Don't delay, supplies are limited. (Download the map from the Lincoln Center website.)
I am so happy to be sharing a studio space with Loretta Cummings. She is an artist who works conceptually. "Use attention, perception and time as your art materials and the world becomes your studio," she has said. Her gallery is often found on Twitter, or nowhere, or in her own presence during the action, a moment made art, through its ritualized recognition of the action.
I remember when I met Loretta. She and I both were students of Jennie Kiessling, an amazing Front Range Community College teacher. We were enrolled in a summer session of an art appreciation class exploring contemporary art. It was a fun learning experience, with an energized group of folks, and involved much traveling around our regional area on field trips seeing lots of great art. There was much discussion about the works of contemporary artists, including Piplotti Rist, Bill Viola, Marina Abramovic, Cindy Sherman, among others. This was my first time experiencing many of these artists, and what I learned in this class still impacts my work today.
After the class was over, there was a group of us that continued to meet. Our discussions, and museum and gallery field trips were just too enjoyable to discontinue. To this day, they are my biggest resource for support and inspiration in my art practice. They are my critique group, my educational resource, and my back up. I can count on this small group of fellow artists to keep me on the right path.
I remember very clearly the first group critque session we had after the class. This is something that can be difficult to find once an artist leaves the educational institution. A good critical discussion about the work is needed if an artist is to grow and expand in their work. Needless to say, seeing Loretta's work for the first time blew my mind. (See her piece she shared with us, "Post Cleaning Me - 7 hours of not cleaning" below.)She was working in such a way that I had rarely experienced in the past. Her ideas are the work, her actions its manifestation. The objects created, or documents of the project are secondary bi-products of the work - NOT the work. This was totally new to me, but I was intrigued. I too, have my reservatons about making objects to sell. Art as commodity is not really what I am interested in. To create work and sell the work for large dollars is not why I am an artist. The art market is daft, as I have said before, and I am not very interested in it as a creator. It is the creative gesture, the expresive actions that motivate me to return to the studio.
For the Studio Tour, Loretta will be performing a new work that involves the audience, a decision and a documentation. Intrigued? This will be an opportunity to actively participate in an art work's creation, to become the medium, and express your ideas in the action. Where do your values lie? What do you value more, experiences or acquisitions? It is sure to be a sweet or rewarding experience, so stop in to our studio to experience her art for yourself. Don't delay, supplies are limited. (Download the map from the Lincoln Center website.)
Post-cleaning me – 7 hours of not cleaning
Loretta Cummings
In this artwork I spent consecutive 7 hours not cleaning anything. From
10am to 5pm I did not pick up after anyone, even myself. I did no scrubbing,
sweeping, vacuuming, ironing, washing, bill paying, or financial organizing. I
did not play support services to any family member. If the phone rang and I thought that my help
would be requested I did not answer it.
I wanted to induce helper mentality deprivation in myself. What would happen if I allowed myself the
sheer luxury of not feeling compelled to help anyone for a short period of
time? How would I feel if I forced myself to drop that sense of “obligation to
help” that defines how I unconsciously think of myself, what I regard as my
reason for being here on the planet. This sense of obligation has been part of
my life forever. Every moment of every
day I scan to see what I can do to make life run more smoothly for those around
me. Not doing this requires minute by minute resistances to my habitual reactions
to what I observe.
How would I really feel if this obligation suddenly disappeared? Empty?
Worthless? Purposeless? Would I begin to scan for something different instead?
How would I use my time? Was 7 hours enough to even get a sense of this? What
if I could really live a life in which I felt more empowered to act on my own ideas
and less obligated to take care of the needs of those around me? In my life (my
perception of it anyway) everyone needs my help all the time and it is simply
easier to take care of all those needs rather than doing my work. What if I
gave myself the gift of all the time I wanted to pursue the ideas I have?
This is an on-going artwork that I intend to remake often.
Resistances
·
I noted that the toilet was developing a pink
ring. I did not clean it.
·
After I ate a slice of toast I placed my plate
in the sink. I did not load it into the dishwasher.
·
I noted that the bathroom sink was dirty with
drying toothpaste caked on it. I did not clean it.
·
I noted that the bird feeder was empty. I did
not fill it.
·
I noted that the cat was begging for a treat. I
did not give him one.
·
When it crossed my mind, I did not go online to
look at Christmas presents for anyone.
·
I made a pot of tea but I did not offer any to
anyone else.
·
I saw that the plants in the kitchen needed
watering and trimming. I did not do this.
·
I noted the kitchen floor was full of cat hair.
I did not sweep it.
·
I noted the kitchen counter was covered with
crumbs of toast. I did not wipe it.
·
I noted there were tea bags in the sink. I did
not put them in the compost bucket.
·
There were two phone calls I needed to make to
arrange appointments for others. I did not make them.
·
I noted the frames on the pictures in the front
room very dusty. I did not clean them.
·
I noted that Mick’s gloves and keys were
misplaced. I did not move them.
·
I remembered I needed to make a grocery shopping
list but I did not do this.
·
I wanted to make crackers because we didn’t have
any but I did not.
·
I noted that our bed was not made. I did not
make it.
·
I noted the cheeseboard was left on the kitchen
counter. I did not put it away.
·
Our dog was whining. I did not feed him.
·
I noted that the toilet seat on the downstairs
toilet was loose. I did not fix it.
·
I heard the doorbell ring. I did not go to see
who had arrived.
·
I was worried about my children but I did not
call them.
·
I noted that the bathtub was dirty and the
shower stall was covered with soap scum. I did not clean it.
·
I heard people downstairs. I did not check to
see who it was.
·
I noted that drawers and cupboards were open in
the kitchen. I did not close them.
·
The phone rang and Mick answered it. I did not
check to see who it was.
Monday, June 9, 2014
Fort Collins Lincoln Center Studio Tour
It's that time again, for the Fort Collins Studio Tour. It looks like it will be another full weekend with lots of great local artists opening their studios, and allowing you the visitor to see all the fine details that go into making works of art.
Valhall Arts is pleased to be sponsoring three artists on this year's tour, Jennifer Davey, Loretta Cummings, and myself, Laura Cofrin.
Last year I was sharing my studio with my friend, teacher, and fellow artist Jennifer Davey. Since that time she has quit her 'Day Job' to commit her energies full time to her art practice. She is now in her own studio full time, and already, the commitment has paid off. She has a new exhibition at a new gallery in Denver, the Pointe Gallery, in the Santa Fe district. If you are unfamiliar with Jennifer's work, they are large abstract oil paintings, with many layers, added over time, some works with collage, others changing dramatically through their creation. Her website is a window into the mind of this artist, as she fearlessly shares her deepest thoughts, and ideas about her work with her audience. Visit her site to learn more.
Be sure to stop into Pointe Gallery if you are in Denver, and see the exhibition. It runs through June 17th and the gallery is open Tues-Sat 11-4.
The Studio Tour Exhibition is at the Lincoln Center and opens Friday June 13th, with a reception from 5-7pm giving you the perfect opportunity to decide which studios you will want to visit. The Studio Tour is June 27-29th, with a few studios open on that Friday night. Our studios will be open Saturday June 28, 10-5 or Sunday June 29th 11-4. Please stop in and say hello!
Valhall Arts is pleased to be sponsoring three artists on this year's tour, Jennifer Davey, Loretta Cummings, and myself, Laura Cofrin.
Last year I was sharing my studio with my friend, teacher, and fellow artist Jennifer Davey. Since that time she has quit her 'Day Job' to commit her energies full time to her art practice. She is now in her own studio full time, and already, the commitment has paid off. She has a new exhibition at a new gallery in Denver, the Pointe Gallery, in the Santa Fe district. If you are unfamiliar with Jennifer's work, they are large abstract oil paintings, with many layers, added over time, some works with collage, others changing dramatically through their creation. Her website is a window into the mind of this artist, as she fearlessly shares her deepest thoughts, and ideas about her work with her audience. Visit her site to learn more.
![]() |
Order, Oil and collage on canvas, 48"x48" |
The Studio Tour Exhibition is at the Lincoln Center and opens Friday June 13th, with a reception from 5-7pm giving you the perfect opportunity to decide which studios you will want to visit. The Studio Tour is June 27-29th, with a few studios open on that Friday night. Our studios will be open Saturday June 28, 10-5 or Sunday June 29th 11-4. Please stop in and say hello!
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