Roger
Bruhn’s
color photographs of metropolitan life contain social commentary
and observances that investigate the sometimes
jarring relationship between the media, consumerism, and our
daily lives. With the use of a digital camera, the images are
sometimes direct, sometimes ambiguous, but always reveal an
aspect of the culture that we live in and have created. They
are therefore
relevant not only to the urban landscape, but to the American
one too.
Taken over a four-year period, the large color photographs were
made by a very small high resolution digital camera. The camera
is of a size that fits neatly in the artist’s pocket,
ready on demand to capture imagery, heavy with content, taken
directly from the streets of New York City. In most of the
photographs, emphasis is placed on the prevalence of sexuality
in the media as well as violence and sometimes humor. The images
in the exhibition are drawn directly from and are akin to the
work of some of the most important 20th century photographers,
including Lee Friedlander and Henri Cartier-Bresson, the latter
who is known for “the decisive moment” that Bruhn
directly comments on in his work. As Bruhn states, “These
images can be thought of as a subspecies of the genre of ‘street
photography,’ with its emphasis on the discovery of hidden
meaning in the often serendipitous and accidental conjunction
of people and objects which one encounters on the street.” Although
Bruhn does not use film to photograph, he is quick to state
that none of the images taken were digitally remastered in
anyway….what you see is what is there.
In
1965, Roger Bruhn received his Bachelor of Arts degree in Philosophy
from the University of Nebraska-Lincoln where he continued
to study philosophy and philosophy of art from 1968 – 1970.
He has been a dedicated photographer for over 40 years and in
1990, produced the book Dreams in Dry Places, a collection of
118 black and white photographs of Nebraska structures, both
famous and those not. In 1991, he received the Chicago Book Clinic
Award and the Spur Award for Best Cover Art from the Western
Writers of America, Inc. both for Dreams in Dry Places.