Alan Berkson




After being told my some of my recent architectural images were banal and workmanlike, I stared at one on my monitor and in frustration pressed my palms into my eyes.  Amazingly, a host of colored images appeared in my dark vision, and I became enamored of this sudden, vibrant, and fleeting revelation. This event was followed by questions; could I repeat this visualization in a manipulated image?  And, should I keep the true nature of the image intact while manipulating the reality of that image, or completely obscure it to make it more like the visual abstraction I perceived?  So I experimented, as I had done other times with various images, as creative play and to conjoin the photography with the spirit of impressionism and modern art.  As my avocation as a photographer/artist has become an integral part of my daily life, so has my quest for knowledge, inspiration and historical perspective.  Some of these influences involved artists who utilized variations on a particular theme or image – most notably for me are Claude Monet, Jackson Pollock, Mark Rothko, Andy Warhol, Chuck Close. 

Some of subject matter of the images presented in this portfolio is Philip Johnson’s Glass House and environs in New Canaan, Connecticut.  Others are Frank Gehry buildings, rendered with colored filters.  And yet another group include mostly stand alone flat roofed or small peaked roof businesses in my area of Connecticut an idea possibly recognized as iconic by those who have been integral in the history of vernacular photography, notably such luminaries as William Christenberry, Stephen Shore, Joel Myerowitz, Walker Evans, and their ilk, but colorfully twisted in my vision



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