Credit for the Banner of the Moment

Abstract surrealist painter William A. Roberts, whom I will persist in calling “Bill Roberts”, can paint pretty much any way he wants. The engagement with “abstract surrealism” has come about by choice, but a glance at his works tells that he could just as well gear down into photo-realism, impressionism, classical painting, etc.

Portrait of Lady with Ruffled Collar, Graphite, 1980.

As I made the photograph of the drawing, I couldn’t resist going in close (Nikon D2x, 60mm Nikkor f/2.8 macro) for the eyes.

Hagerstown, Maryland has its own stretchy art scene with the Maryland Symphony anchored in town and a nationally recognized annual blues festival and other regional to national events scheduled through the year. It’s natural that some ready to transition away from the mess “over the mountain” to the east and south down the “technology corridor” to the nation’s capital should find the fringe beyond the fringe of the Capital Beltway (90 minutes northwest of D.C. here, about 70 minutes west of Baltimore).

As noted on the new blah business blog — I’ll pick up a premium theme when I can next afford it — and on Communicating Arts–The Journal, I’m methodically photographing a large body of spectacular modern art by “William A. Roberts” (whom, I repeat, I will continue to call “Bill”). Basically, Bill has now to suffer with a low-key shooting alley in his living room. Using black fabric — also black pants, black shirts, and a black hood: I look like an executioner) to block light and swallow reflections (quite a few of the works are under glass and we’re not taking apart the frames), I’ve managed to avoid reaching for a Polarizing filter.

Example of a Work Beneath Glass

Near Randolph Vermond, Watercolor, March 19, 1991

The out-of-town bohemian jazz atmosphere in which we’re working may provide for forgiveness when necessary, but I’m actually quite meticulous in searching for faults, especially unwanted reflections.

So far, so good on the William A. Roberts project.

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