exhibitions & galleries

PREVIOUS EXHIBITIONS

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FAHEY KLEIN GALLERY   Los Angeles, CA

INFO: FAHEY KLEIN GALLERY

EXHIBITION REVIEWS:   THE NINE BEST ART SHOWS IN L.A 

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THE WITTLIFF COLLECTIONS   San Marcos, Texas

INFO: EXHIBITION

EXHIBITION REVIEWS:    SUBCONSCIOUS LANDSCAPES

 

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FOR INFORMATION ON THIS EXHIBITION, CLICK HERE:

TUCSON MUSEUM OF ART

 

SELECTED SOLO PHOTOGRAPHY EXHIBITIONS

2016 WITTLIFF COLLECTIONS, San Marcos, TX

2013 DOOIN GALLERY, Seoul, Korea

2013 KATALYSATOR A/S, Oslo

2012 TM51, Oslo

2008 M + B, Los Angeles

2005 PAUL KOPEIKIN GALLERY, Los Angeles

2004 JACKSON FINE ART, Atlanta

2003 PAUL KOPEIKIN GALLERY, Los Angeles

2003 SHAPIRO GALLERY, San Francisco

2003 JUNE BATEMAN GALLERY, New York

2003 STEPHEN CLARK GALLERY, Austin, TX

2003  WHITLIFF GALLERY, San Marcos, TX

2002 PAUL KOPEIKIN GALLERY, Los Angeles

2002 JACKSON FINE ART, Atlanta

2002 ETHERTON GALLERY, Tuscon

2001 SHAPIRO GALLERY, San Francisco

2000 BONNI BENRUBI GALLERY, New York

2000 G. GIBSON GALLERY, Seattle

2000 PAUL KOPEIKIN GALLERY, Los Angeles

1999 VERSO GALLERY, Tokyo

1999 WHITLIFF GALLERY, San Marcos, TX

1998  PAUL KOPEIKIN GALLERY, Los Angeles

1997 CATHERINE EDELMAN GALLERY,  Chicago

1995 G. RAY HAWKINS GALLERY, Los Angeles

1994 SHAPIRO GALLERY, San Francisco

1990 TOM CUGLIANI GALLERY, New York

1988 TOM CUGLIANI GALLERY, New York
 

SELECTED GROUP PHOTOGRAPHY EXHIBITIONS

2016 BAS KUNST AS, Larvick, Norway

2016 TUCSON MUSEUM of ART, Arizona

2016 GALLERY STAVERN, Norway

2012 CATHERINE EDELMAN GALLERY, Chicago

2010 CATHERINE EDELMAN GALLERY, Chicago

2009 M + B, Los Angeles

2006 CATHERINE EDELMAN GALLERY, Chicago

2003 SORLANDETS KUNSTMUSEUM, Norway

2001 BROADBENT GALLERY, London

2001 CUMBERLAND GALLERY, Nashville

2001 ETHERTON GALLERY, Tuscon

2001 FRIENDS OF PHOTOGRAPHY, San Francisco

2000 JACKSON FINE ART, Atlanta

1999 CATHERINE EDELEMAN GALLERY, Chicago

1998 STEPHEN CLARK GALLERY, Austin

1998 WHITTLIFF GALLERY, San Marcos

1996 BONNI BENRUBI GALLERY, New York

1994 G. RAY HAWKINS GALLERY, Los Angeles

1993 G. RAY HAWKINS GALLERY, Los Angeles

 

QUOTES & REVIEWS

ARTWEEK:

“Like a modern-day Heathcliff still haunted by the philosophical and aesthetic passions of Catherine’s Wuthering Heights, Schenck revels in both the emotional swirl of Romanticism and the shadowy netherworld of Gothic nightmares.  Schenck’s stunning, heavily toned photographic prints harken back to the nineteenth century in their technical finesse and reverent treatment of the landscape as ennobled subject matter.

BLACK AND WHITE:

“At the threshold between perception and imagination is where Rocky Schenck finds artistic inspiration for mysterious, otherworldly pictures of landscapes and human environments.”

JOHN BERENDT:

“”Each photograph is like a still taken from a movie that exists not on film but rather in one’s memory, with all the fuzziness typical of remembered impressions. The viewer, willing or not, fills in the frames that precede and follow it… When confronted by such compelling and seductive images, the viewer can hardly help but respond reflexively, amplifying, expanding, and otherwise making the photograph his own. This compulsion to respond, together with the lovely elegiac mood in all his work, is the real power of Schenck’s photographs.”

 WILLIAM FRIEDKIN:

“His photographs are haunting, mysterious, evocative and unforgettable.”

ART IN AMERICA:

“The power of darkness is a romantic idea, Coleridgean in its emphasis on the creative power of the imagination and hostile to the classical values of clarity and precision.  The viewer is meant to populate the blackness with the horrors of the unconscious…this is the case with Schenck’s photographs.”

PDN:

“It is a measure of the curious strength and unity of vision of the photographs that after you’ve examined all of them, you feel that there is no other way of seeing the world than his, that there is no other photography you’d rather be looking at.”

CAMERA ARTS:

“The images seem like lost scenes from a silent movie, articulating a landscape that is at once threatening, yet comforting in its solitude, a place where loneliness and alienation are offset by moments of intense beauty.”

 ZOOM MAGAZINE:

“Schenck’s photographs are the fruit of a solitary and vagabond imagination, they are scenes of life stolen from anonymity to become part of a tale for which each viewer can make up his own plot.”

 FLAVORPILL:

“Schenck’s work is painfully romantic, elusive, and poignant, demonstrating a convincing 19th –century attitude toward his medium.  Landscapes and figures have not looked so absolutely saturated in fantasy for generations, yet a lingering sinister character and dark humor keep them firmly modern. “

ANN MAGNUSON:

“Schenk’s photographs seem like buried memories you can’t quite recall but continue to obsess over with the hope that by doing so, you will achieve that ever-elusive breakthrough, just like in therapy.  The results are phantasmagoric.”

ARTSCENE:

“These images are adept at the game of open-ended narrative. Schenck’s psyche is personally embedded in each of these reverie’s, transformed in the darkroom from a “significant moment” into a robust narrative.”

ROBERT PLANT:

“Next shoot – let me carry your gear?  Magnificent!”

RANGEFINDER:

“Rocky Schenck – a true artistic visionary.”

ART NEWS:

“Schenck’s scenes appear as if viewed through the filter of a dream…infused with a fantastic light.  Mysteriously foreboding, as though Edgar Allan Poe might have conceived it.”

 VILLAGE VOICE:

“His dark, nearly impenetrable landscapes have a mock-romantic, quasi-Pictorialist feel that has an odd leveling effect; everything looks at once dismal and wondrous.”

AMERICAN PHOTO:

“It comes as no surprise that Rocky Schenck’s photographs look like paintings.  Schenck fashions his shadowy world by old-school pictorialist means, heavily manipulating the surface of his negatives and the prints themselves. “

THE ATLANTA JOURNAL-CONSTITUTION:

“Relentlessly contemporary and composed with emotionally charged complexity, Schenck’s genius is his ability to make whatever catches his eye take on the dimensions of a dream.”

 SOUTHWEST ART:

“Rocky Schenck is on the forward edge of contemporary fine-art photography – an edge that in some ways circles back to an earlier moment in the history of fine-art photography, when 19th-century Pictorialists intentionally blurred the aesthetic boundaries between photography and painting”.

ZOOM:

“Schenck’s works are mysterious and phantasmagoric, just as the pages of Edgar Allan Poe are and have the power to evoke the verses written by this visionary poet.”

ARTSLANT:

“Rocky Schenck’s work lies somewhere between our greatest fantasies and our worst fears. His pieces are consumed by a darkness that is as romantic as it is dangerous.”

CREATIVE LOAFING:

“Using his camera like a decoder that makes the world clearer by first filtering it through his hazy subjectivity, Schenck creates luminous, haunted photographs that appear as a testament to a truth once removed, like travel photos of Earth taken by an alien.

“I take my camera everywhere and I shoot whatever I come across. It’s like I’m taking stills for a movie,” Schenck explains. That movie is undoubtedly Schenck’s own life, which he attempts to comprehend through these production stills of his own psyche.”

ROCKY SCHENCK:

“I consider my images to be illustrations of my conscious and unconscious dreams, emotions, and longings.  If I’m sad or depressed or melancholy, I can wander somewhere with my camera and usually turn my mood around by stumbling upon something unexpected and wonderful.”

FOR A LIST OF GALLERIES IN THE USA, EUROPE, AND ASIA, AND QUESTIONS REGARDING IMAGES, PRICING, EDITIONS, AND PRIVATE VIEWINGS,  PLEASE CONTACT ALEXANDRA COPELAND, STUDIO MANAGER AT: ROCKYSCHENCKSTUDIO@GMAIL.COM

TO VIEW THE LARGEST COLLECTION OF ROCKY SCHENCK PHOTOGRAPHS IN PERSON, OR TO ARRANGE A TOURING EXHIBITION, PLEASE CONTACT THE WITTLIFF COLLECTIONS AT THIS LINK:
THE WITTLIFF COLLECTIONS, TEXAS STATE UNIVERSITY