Trinity College School - Record Yearbook (Port Hope, Ontario Canada)

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' ■ 1 OIVIETO CACC m wun - Si .

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Photography The Emergence of a New Art Nearly everyone has been, to say the very least, considerably sur- prised by the standard of photography at T. C. S. so far this year. It seems that provocative, sensitive subjects are being treated in a creative manner. This, however, is not the only surprise. The quality of prints - and by this I mean the degree of technical perfection - has improved immeasurably. The recent convocation weekend photography contest was certain evidence of this. More than forty photographs were exhibited; all technically good, and nearly everyone dealt with an original subject in a creative manner. The reason for this sudden improvement? Possibly a more organized attitude on the part of the photographers at T. C. S. - this certainly a contributing factor. But the main reason, in my opinion, is the more tolerant attitude on the part of everyone towards not only photography, but towards art and creativity in general. People seem to be a great deal more appreciative of photography - and particularly good photography. However, this high standard of photography poses a serious problem; that of maintaining the high standard. The solution - that is, the maintenance of a high standard - is the responsibility of both the photographers and the artists. The photographer must endeavor to be as creative, original, and selective as possible; he must learn what Edward Weston called the photographer ' s most important and like- wise most difficult task. . . learning to see photographically. . . to see his subject matter in terms of the capacities of his tools and pro- cesses, so that he can instantaneously translate tire elements and values of a scene before him into the photograph he wants to make. As critics - and as a community - we must continue to maintain an open, sensitive attitude towards genuine creativity. It is our responsi- bility to be tolerant and open-minded, but also selective. If we can meet these responsibilities, then the perpetuity of the high standard of photography at T. C. S. is insured. Ian Brown

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Somewhere in Pennsylvania ' s rolling countryside, along the Brandywine Creek waits Chadds Ford. While the plastic arts rage in New York City so far away, this tiny town, almost an anachronism, holds a man whose kind is rarely found. Born, raised, and planning to die in Chadds Ford, Andrew Wyeth paints the spirit of the land. Most of his work is done within walking distance of his simple home. Through the woods, and over some fields is Karl Kuerner ' s farm. Upstream, with its wheels rusted, sits Brintcn ' s Mill that the Quakers built. The land in between is Wyeth ' s world. His work shows a deep and experienced love for nature; but his scenes are not completely natural. Beneath the surface of the Tempera or water colours flow abstract undercurrents through the truth of his subjects. A man is older after he knows Wyeth ' s work. He is closer to the earth, and sees the rich- ness and dignity that might have passed unnoticed. Stumps, stalks of grass, and the piping of a bird against the dawn are faultlessly recorded in his praise of the menial and strange. RURAL AMERICA ' S ANDREW WYETH I think one ' s art goes as far and as deep as one ' s love goes. I see no reason for painting but that. If I have anything to offer, it is my emotional contact with the place where I live and the people I do. i 18