L A U R I E    T Ü M E R       A R T I C L E S        






 

Selected Recent Articles

Laurie Tümer: An Environmental Artist Among Green Farmers
Treehugger | July 2007
By Karin Kloosterman

We first met environmental artist Laurie Tümer while writing an article for Grist; plus we posted about her here [in 2005 on Treehugger]. Not long ago, we dropped her a line, asking what's new and she returned with this brilliant update on her experience at the last Ecological Farming Conference. Here is her guest post… [and new photographs from her series Glowing Evidence].

The Ecological Farming Conference, now in its 27th year, is organized for the organic farming industry. I had the honor of being invited to be a presenter at this year's conference, held at the Asilomar Conference Center near Monterey, California. Thomas Wittman, board member of the Ecological Farming Association, had seen an article about my photographic project Glowing Evidence, and asked me to show and speak about my still and holographic-like photographs that chart the invisible movement and settling of ubiquitous pesticides - those used on conventional farms and those that have found their way unwittingly into our homes and our bodies.

As the only artist among more than 150 speakers, I had a heightened sense of art's history and ability to assist in our very survival: by dazzling, revealing, alerting, and enlightening.

The conference was attended by over 2,000 people who came to hear noted scientists, environmentalists, organic farmers and promoters speak on a range of subjects from biofuel, the US Farm Bill, efforts to reduce children's exposures to pesticides, immigration issues, and regulations regarding the term "organic." It became clear from those I met during meals and on the meandering forest paths at Asilomar that all were experts - there to exchange new information and grasp how their effort fit the larger picture. There was optimism in the air tempered by soberness in the face of the overwhelming challenges and work that lies ahead for those who understand organic sustainable agriculture as our best hope for a healthier planet and its inhabitants.

My education about pesticides and their health and environmental consequences began in 1998 when I experienced a pesticide poisoning at home after a company that advertised "organic pest control" sprayed synthetic pesticides instead. I had thought of myself as environmentally aware, but this crisis (which continues to impact my health) motivated me to deepen my understanding. When I learned more about pesticides, I needed visualizations where none exist so I could picture what was difficult to imagine. As an art photographer, I began to explore ways to make visible the invisible.

I found inspiration in the research of the environmental scientist Richard Fenske, who developed a safety-training demonstration using fluorescent dyes and UV light to show farmworkers who work with pesticides, pictures of their exposures despite protective gear. The theatrical demonstration and images surprise, amuse, and correct misconceptions. These reasonable approximations of reality motivate workers to adhere to painstaking cleaning procedures when they return home. With support from Dr. Fenske's colleagues, I learned this technique.

My visual curiosity led to illustrating information I learn that is generally under the radar, e.g., how the same pesticides used in agriculture are used for residential and commercial pest control, how they drift into our homes, reside in the blood and fat cells of our bodies, persist in conventionally grown food and fabrics, and occur in fetuses' amniotic fluid.

Moderating my session was Monica Moore, director of PANNA (Pesticide Action Network North America) with co-presenter Dr. Charles Benbrook, The Organic Center's chief scientist, summarizing new findings related to children's dietary exposures to pesticides.

For more information about next year's conference visit http://www.eco-farm.org/. Tapes and CDs from previous years' sessions are available.

Karin Kloosterman is a journalist and artist living in Jerusalem, Israel.





Image in article:

Laurie Tümer, Glowing Evidence:
Fashion Statement, Nightgown
,
23X17”, 2007



Image in article:

Laurie Tümer, Glowing Evidence:
Fashion Statement, Evening Gown
,
23X17”, 2007



Image in article:

Laurie Tümer, Glowing Evidence:
Fashion Statement, Motorcycle Jacket
,
23X17”, 2007



Image in article:

Laurie Tümer, Glowing Evidence:
Venus
, 23X17”, 2007



Laurie Tümer: Glowing Evidence
THE MAGAZINE | Dec 2003
By Zane Fischer

Photo-Eye Gallery
370 Garcia Street | Santa Fe, New Mexico
Oct 17- Dec 3, 2003


Straddling the remarkably fine line between daring innovation and pure corniness, Laurie Tümer's lenticular and pigment prints put the technology of the novelty postcard onto the gallery wall. The exhibit is half adapted from the work of Dr. Richard Fenske, who photographed the migrations of a fluorescent tracer sprayed in lieu of pesticide in order to reveal how much of the body of a farmer work is routinely covered in toxic, industrial nastiness. Tümer has taken these portraits and created lenticular prints, so that the before and after effects can be viewed as the angle from which the work is seen changes. At one point in the room, we see a man wearing a respirator and holding the spray gun that he might use to coat crops with a pesticide; and taking a step to the left, the fluorescent dye is revealed all over the body of the man after the spraying has been done.

With these pieces, Tümer has succeeded in that most difficult of tasks, coupling an object of compelling beauty with a statement of social relevance. Lightly side-stepping both an oafish politicism and a message diluted with design, Tümer matter-of-factly solicits engagement with an image, whose power is then redoubled when the details of the subject are revealed.

The second and parallel body of work that makes up the remainder of Tumer's exhibit relies on a similar earnestness to maintain distance from the aforementioned corniness. Tümer explores, with the inspiration of Dr. Fenske's fluorescent traces, objects that drive her dog-mad with desire as well as potentially mundane items. This kind of photography has the potential to be unbearably dorky, yet somehow the simple desire of the dog comes through and we can relate via our own material greed, not so much with guilt, but with a chuckling, Pavlovian sympathy.

Likewise when Tümer takes us on a backyard archeological dig in Kneeling, we share her lantern-lit, childish wonder at the discovery of a glowing orb, without ever feeling emotionally manipulated. When the artist documents a farm in Dixon, NM, with a plain photograph of bare furrows overlapped by images of fruit and vegetables that were embroidered onto tea towels by the farm's owner, the pure hokeyness of such a concept crumbles as the embroidery becomes an orrery, an elemental chronology detailing the evolution of the earth's dirty, sun-drenched slang.

Zane Fischer is an artist and art critic. He is former director of Plan B / Center for Contemporary Art in Santa Fe.

Link to: THE MAGAZINE







Image in article:

Laurie Tümer, Kneeling, pigment print, 14X19", 2002
Under the Radar
Santa Fe New Mexican Pasatiempo | Oct 17, 2003
By Teri Thomson Randall

Photo-Eye Gallery
370 Garcia Street | Santa Fe, New Mexico
Oct 17- Dec 3, 2003


Three years ago - on the eve of Earth Day - the Chemical Manufacturers promised that its member companies would begin to voluntarily test one hundred chemicals a year at an estimated cost of 26 million dollars. Today [2001] we are still waiting for the results of even one of these tests. During those three years, the industry poured more than 22 million dollars into the election campaigns of friendly politicians.
         ­ from Bill Moyers' PBS documentary Trade Secrets*

Artists often choose their projects. But sometimes the work chooses to them. An idea can come out of nowhere and refuse to let go until the artist makes it real. Such was the case with Glowing Evidence, a series of photographs by Laurie Tümer. Fives years ago, Tümer said, she was poisoned by pesticides during a spraying around her home, and to this day she suffers serious health effects from that episode. Lying in bed as she convalesced, Tümer became compelled to make photographs that would represent the ubiquituos presence of pesticides in our environment and "warn others so they wouldn't have to go through what I did," she said.

The resulting photographs are both eerie and beautiful - a look at the familiar world through different eyes. Tümer's images are an attempt to simulate what it would look like if we could actually see the pesticides on our bodies, in our homes and in the scores of other places that are routinely sprayed.

In 2002, the New Mexico Council on Photography awarded Tümer the 16th annual Willard Van Dyke Memorial Grant in Photography for her Glowing Evidence body of work. Van Dyke, who died in 1986, was a photographer, filmmaker and teacher; he directed the film department at the Museum of Modern Art from 1965 to1974.

Beginning today, Oct. 17, Photo-Eye Gallery hosts an exhibit of Tümer's Glowing Evidence photographs with an opening reception from 5 to 7 p.m. The show runs through Nov. 22.

Tümer's photographs are a wonderful example of science supporting art and art supporting science. Initially Tümer faced a huge challenge in how to make visible an invisible substance. Her breakthrough came when she heard about the research of Richard Fenske, director of the Pacific Northwest Agricultural Safety and Health Center at the University of Washington.**

Fenske had developed a fluorescent marker technique that he uses to help farmworkers who work with pesticides have a better understanding of their exposure and the protection they need to use. Fenske adds these fluorescent markers, or tracers, to an inert substance, asks farmworkers to spray the substance as they normally would a pesticide, and then photographs the worker under ultraviolet light. The farmworker's body and clothing exposed to the sprayed substance glow under the lights. It is not unusual for the parts of the face not covered by the mask and goggles to show exposure, as well as areas supposedly protected by the gear.

Fenske's office has shared the fluorescent markers with Tümer to use in her artwork. She learned to apply the tracers to everyday objects and photograph them under portable ultraviolet lights. The image Irresistibles, for example, shows all the objects her dog loves ­ bones, apples, bugs ­ glowing with strange colors against a black background.

Tümer created several of her pictures by making composites of photos Fenske took in his training programs. Farmworker shows the full body of a farmworker with his head, hands and feet glowing bluish white. Trade Secrets depicts a farmworker's hands close up, over which Tümer superimposed the chemical diagram for the pesticide diazinon.

Two photographs in the exhibit show the Rio Grande and Tümer's garden also glowing bluish white. Here, Tümer didn't use Fenske's tracers ­ the area is simply too big. To simulate the presence of pesticides in these scenes, the artist photographed them using color infrared film, which gave the images a foreboding bluish cast.

In New Mexico, Tümer said, pest-control companies make 1,500 applications of pesticides each day. Five years ago, one of these applications was made around Tümer's home by a company that advertised the use of an organic, nontoxic product such as crushed chrysanthemums. Tümer hired the company to spray the periphery of her property. By the time the workers left, Tümer was ill. It turns out that the company used a synthetic form of the flower, she said. Now Tümer is extremely sensitive to pesticides and other chemicals that formerly didn't bother her.

Tümer's illness not only focused her artistic energies on the subject of pesticides but also made her an activist. Citing statistics given in Al Gore's introduction to the 1994 edition of Rachel Carson's Silent Spring (the seminal work first published in 1962 that led to the banning of DDT and the establishment of the Environmental Protection Agency), Tümer said that this country used 2.2 billion pounds of pesticides in 1992. That's eight pounds for every man, woman and child. A study published in veterinary and Human Toxicology in 2002 said that pesticide exposures contributed to 4,200 hospitalizations, 15,000 health-care visits and more than 56,000 calls to poison-control centers annually.

Tümer has found that her photographs have been her most effective communication tool. "I feel frustrated a lot of times when I talk to people about the issue," she said. "It is something people don't want to discuss. But the images are somehow more accessible."

So far Fenske hasn't seen Tümer's photographs, though he is aware of them. "He and his assistants are surprised that this has been of interest to people outside the science community," Tümer said. "I am so amazed as how generous he is at sharing the images and not expecting anything. He insists we are not doing a collaboration. He said that I am using his research, but this is my artwork."

Looking at Tümer's work, one can't help but wonder what would happen if we woke up one morning and could suddenly see the pesticides in our environment. Would we tolerate their widespread use as we do now? Would the issue suddenly move up on our list of concerns?

It is difficult to start a revolution when the substance that harms is invisible. But perhaps Tümer's photographs will change that.

Randall is an art critic and filmmaker. She is currently Executive Director of Santa Fe Center for Photography.

Teri Thomson

*Links to transcript and etc. from Trade Secrets: A Moyers' Report
http://www.pbs.org/tradesecrets/transcript.html
http://www.pbs.org/tradesecrets/problem/bodyburden.html
http://www.pbs.org/tradesecrets/evidence/evidence.html
http://www.pbs.org/tradesecrets/program/overview.html

**Links to Pacific Northwest Agricultural Safety and Health Center and articles about Fenske's tracer technique including his recent research on childrens' pesticide exposures and organic food and children:
http://depts.washington.edu/pnash/home.htm
http://www.ewg.org/policyenvironment/index.php#25MAY_pesticides
http://ehpnet1.niehs.nih.gov/docs/2003/5754/abstract.html
http://www.ourstolenfuture.org/NewScience/oncompounds/OPs/2002/2002-1031curletal.htm










Image in article:

Laurie Tümer, Garden, pigment print, 14X19”, 2002
Style Becomes Substance in Photography
Albuquerque Journal North | Nov 28, 2003
By Tom Collins

...A recent afternoon's survey of a few local photography exhibitions prompted some loose-jointed ruminations.

First, I am going out on a very secure limb, I think, when I propose that photography is the most democratic and popular of all art forms— popular as in widely appreciated, and widely done. (Who doesn't have a camera and take photographs?)

This popularity probably began, say, in the late '30s or early '40s, about the time that Paris Match and Life magazines started. But photographs are popular because we are primarily visual creatures, and there's nothing easier for us monkeys than "just looking." (Far easier than just seeing, for instance.) Also, photographs are so overwhelmingly ubiquitous. We see many more pictures during a day than we do drawings or paintings. (The only thing better than pictures, of course, are pictures that move, hence the even greater popularity of television and the movies.) Indeed, we have seen so many pictures that it is the rare image that can actually penetrate the calluses that have grown upon our retinas. We have been shown so much beauty and brutality that we can hardly see anything at all anymore.

Photography is so popular too because it is cheap, easy, and, with digital images, instantaneously gratifying. Photography is the one art form that requires no previous training or experience. All you do is: show up, point camera and push button. You might need an opposable thumb for the last. I've always said, give a monkey a Nikon, enough film and an agent, and he'll have a coffee-table book in no time. (And with an introductory essay by an intellectual.)

As a famous physicist once observed, the act of observation changes the object of observation. That includes animals observed and photographed, for example by Keith Carter, whose pictures are currently showing at Photo-Eye Gallery. W.C. Fields would never get onstage with children or animals but a photographer couldn't find more companionable, picturesque subjects unless, of course it's the landscape. Carter's shots, particularly combined with some of the titles ("Ancestor," of a monkey, and "Rubenesque," of a horse's derriere) are just too cute by half. I bet he does commissions for people who have pets instead of kids.

Now why are Thomas Joshua Cooper's darker-than-dark landscapes, now on display at the Marion Center, interesting? Because the land, too, is changed by observation? These photographs seem not so much "writing with light" (photo-graphy) as writing with darkness— "darkness visible," to borrow a phrase. Because of the manner of Cooper's observation— long exposures at slow shutter speeds, his pictures are full of deep, velvety blacks of rock and sea, cut by wispy whites of wave and foam. Or are they interesting because the places are significant, as his captions show? "An Indication Place. The Atlantic Ocean (looking towards the Old World) Signal Hill, near St. John's, The Isle of Newfoundland, c. 1998-99 (from the Site of Marconi's first transatlantic wireless cable message to Europe) in the week of Spring Equinox." Who knew? It's a mouthful but not an eyeful: A title much more interesting, frankly, than that silver gray sea interlaced with ... are those buoys and fishing nets?

What with all the unbridled observing and being observed going on today, we now live in an age of voyeurism and posing. Just look around. Image has vanquished substance comprehensively, and photographic and television images, far from countering this triumph of style over content, has actually hastened the conquest. Today, style is substance, and the image isn't everything, it's often the only thing.

For this victory of the shadow over the thing itself, the photograph and photographer has relied chiefly on a strategy of stealth. Since the invention of the photo-taking machine, the unsuspecting viewer and unreflective photographer have labored under the misapprehension that "the camera doesn't lie." Who can blame them for thinking thus? But as we know now, not only can the camera lie, it does so. You could almost argue that it was invented for that very purpose— just flip through a newspaper or magazine and I don't even mean the advertisements, that omit and mislead more than it reveals.

For 50 years, Glasgwegian Harry Benson has been doing photojournalism and illustration work, first for Life from 1967-2002 and now for Vanity Fair and The New Yorker. One of his most famous shots— the Beatles having a pillow fight in their Paris hotel room after hearing that "I Want to Hold Your Hand" had topped U.S. pop charts— has the great quality of looking both candid and staged at the same time. Just like the Beatles themselves, you might say. (Would they have done that had Benson not been there?) They're acting "naturally," "spontaneously," but what does the photo "reveal"? It reveals the Beatles being tres, tres Beatles— cutely charming, a bit zany, and calculating in every gesture.

By far the most interesting photographs currently on display in Santa Fe are Laurie Tümer's eerie, politically charged, color-pigment and lenticular prints, also on display at Photo-Eye Gallery. Tümer was awarded the 16th annual Willard Van Dyke Memorial Grant in 2002 by the New Mexico Council on Photography, and her work depicting environmental degradation by pesticide poisoning is both technically ingenious and visually haunting.

It wasn't long ago, by the way, when the Museum of Fine Arts used to present the winner of the Willard Van Dyke award in a solo exhibition. Why no longer? It's exactly the sort of thing that the museum should be doing— supporting worthy artists. And, come to think of it, what about SITE Santa Fe attempting to be locally relevant? Tümer's politically challenging, visually exciting works are just the sort of thing that SITE might want to honor. Meanwhile, kudos to Photo-Eye for presenting her work.


Tom Collins is a writer and teaches art criticism at Santa Fe Community College.




Photograms Give Complex Visual Experience
Albuquerque Journal | June 6, 2003
By Michael More

The Cameraless Image
Photo-Eye Gallery

370 Garcia Street | Santa Fe. New Mexico
June 6- July 26, 2003

Rip out a page from this newspaper. Take it outside. Put something down on it (a hammer, say), then go away for a few hours. You'll return to find that your hammer has had its picture taken.

That's the idea behind photograms — pictures made without cameras or lenses, pictures of shadows. To see the concept taken to startling, iridescent heights, drop by Photo-Eye Gallery and spend a half-hour with The Cameraless Image — an exhibit of 40 some pictures with a surprise in nearly every frame.

Gallery director Wendy Lewis spent a year putting the show together. She has gathered her examples from photographers around the world.

"I did not want a show based on process," she says. "The best cameraless images can transport a viewer toward a larger, almost cosmic, point-of-view. Photograms are made with the simplest process imaginable and are a result of light and shadow, but they can result in complex visual and emotional experiences."

Lewis has succeeded. These pictures have a lot to say to one another.

Adam Fuss's nebulous image made from smoke, for example, seems somehow a cousin of the milky photograms Susannah Hays achieved by refracting light through empty canning jars. Leigh Anne Langwell once studied biology, and her photogram is constructed from inorganic materials made to appear organic. Its has a rhythmic centrifugal and belongs with Wendy Small's precise, kaleidoscopic mandala, painstakingly assembled from the plastic swizzle-sticks and other flotsam of American culture.

Varvara Rodchenko, daughter of the great Russian photographer Alexander Rodchenko, has made penlight sketches with the charm of whimsical New Yorker covers. By contrast, there's nothing whimsical about Keith Carter's startling sepia image of a dead white heron. British photographer Susan Derges makes many of her huge photograms in a river, exposing the paper a few inches underwater. Her 50-by-90-inch "Shoreline" is among the most beautiful pieces in the show.

The first photograms were made in 1799 when the Englishman Thomas Wedgwood found he could make pictures of insects and leaves by placing them on silver-chloride paper and exposing them to the sun. The fugitive images quickly turned black, but photography's first inventors took it from there. William Henry Fox-Talbot's photograms of leaves and lace (made in the 1840s) define the state of the early art.

At Photo-Eye, Laurie Tümer is displaying a dozen or so photograms she made by coating four-inch-square granite blocks with emulsion to create images of flowers, leaves and insects — "an homage to Fox-Talbot," says Tümer.

Interest in cameraless photography fell off as cameras came in. But in the experimental years following World War I, Christian Schad, Man Ray, Max Ernst, and other avant-garde artists were drawn to photograms, regarding them as purely intellectual creations, requiring light and form only, free from emotional distractions. Laszlo Moholy-Nagy called the photogram "the most completely dematerialized medium which the new vision commands."

Strictly speaking, not all the pieces on exhibit at Photo-Eye are photograms, or pictures made by placing an opaque or translucent object on a sheet of film or other photosensitive material and using a bare bulb, flash or other light source to expose it. (Your exposure of hammer on newsprint isn't strictly speaking a photogram either, since newsprint has no photosensitive coating. But it does bleach quickly in the sun.)

In the exhibit, one glorious image by the late Walter Chappell was made by exposing a flower to an electric charge. Then there are Bin Danh's lyrical portraits of leaves. In a complex, lengthy process, Danh employs photosynthesis to trigger subtly colorful images in resin.

"His chlorophyll prints hearken back to the very inception of photography, and I know of no other photographer currently working with his sensibility," Lewis says.

A graceful finishing touch to the show is supplied by some children from Taos, ages 5 to 13. Photographer Zoe Zimmerman taught students at the Yaxche School to make photograms. They compiled a book of their imaginative work, and it will be on hand for visitors.

Michael More's book review column, Writing with Light, appears in Camera Arts magazine. A retired Kodak executive, his criticism has appeared in a number of publications.


 
The Art of Farming: Unique Exhibit Brings
Artists & Farmers Together

Albuquerque Journal North | August 1, 2003
By John Arnold


The Farm Show

The Bond House | 706 Bond Street | Española, New Mexico
August 1 ­ September 26, 2003

Where some may see stark difference between the lifestyles of artists and farmers, Española Farmers Market manager [artist, and curator] *Sabra Moore sees striking similarities.

"They produce food; we produce food for thought," said Moore, who also is an artist. The parallel inspired her to organize "The Farm Show," a unique art exhibit that brings together the worlds of art and agriculture.

The show opens this evening at the Bond House Cultural Center in Española and is being co-curated by Bond House director Nancy Gordon.

Ten area artists, including Moore, have created exhibit pieces based on interviews with 20 Española Valley farmers, most of whom sell produce at the market.

Moore said "The Farm Show" exemplifies the idea of art in context and makes the art world more accessible to a culturally rich community.

"I think people can understand why this show exists," Moore said. "It's a cultural exploration on lot of different level."

Artists tell the farmer's stories through a variety of traditional and contemporary media, including paintings, sculpture, ceramics and photography.

"Hopefully people who wouldn't normally go to art shows will come to this one because it's about their neighbors and people who grow things," said El Rito artist Julie Wagner.

Her abstract work "Frijoles," was inspired by a interview with farmer Eppie Martinez. The mixed media piece shows the growing cycle of a bean plant painted on layers of Japanese paper.

As Wagner set up her creation on a pedestal in the Bond House, Martinez sat in her booth at the farmers market just a few hundred yards away.

"Are these greens organic?" a customer asked as she examined Martinez's table of lettuce, beans and other vegetables.

Martinez replied that her produce was, in fact, grown organically. She bagged a handful of mixed greens and accepted $2 from the customer.

"It's a way of letting (the community) know who we are and what the market is about, said Chimayó grower Evelyn Fernandez.

"We used to go house to house," the soft-spoken Martinez said of the days before the farmers market provided a place to sell her crops. "It's a lot of work."

A couple of booths away, life long farmers Susie and Lawrence Lucero conveyed the same sense of appreciation as they sat quietly in the shade of their tent waiting for patrons.

Most of the growers who were interviewed for The Farm Show never thought or expected their lives would be the subjects of artists. They welcome the collaboration.

"We never had anything like this, Susie Lucero said of the attention bestowed upon them by the art community.

Photographer Laurie Tümer interviewed the Luceros at their Dixon farm before creating a series of lenticular prints ­ motion-image cards that create an optical illusion of motion when viewed from different angles. One of the images shows the Luceros strolling through a plowed field on their farm.

"They have a lot of peace of mind, that is what I noticed," Tümer observed after her interviews [with the Susie and Lawrence Lucero and Don Bustos]. "They love getting up in the morning, as early as possible, and they look forward to going out into the field."


Click here for my Interview with Susie and Lawrence Lucero
Click here for my interview with Don Bustos
Sabra Moore is also author of Petroglyphs: Ancient Language/Sacred Art.












Image in article:

Laurie Tümer, Making Lemonade From Lemons, 20X30”, 2003




Photographs Glow With Evidence
Albuquerque Journal North | November 8, 2002
By Michael More


Whenever we walk out of a restaurant, leave the theater or get off an airplane, we are likely to emerge with a coating of pesticides clinging to our hands and clothing.

Most of us remain oblivious to such exposures, and may never be affected by them. But Laurie Tümer's stunning photographs prove they are upon us most of the time.

Her portfolio, "Glowing Evidence," recently won the Willard Van Dyke Memorial Grant from the New Mexico Council on Photography, a $2,000 annual award given to an exceptional photographer living in the state.

Tümer employs fluorescent dye techniques developed by a leading environmental scientist. She uses these dyes to simulate what happens when farm workers spray pesticides on crops. The dyes light up under ultraviolet illumination, providing "glowing evidence" that the chemicals adhere to their clothing, hair and hands.

Tümer floods her scenes with ultra-violet light, which her film records as a rich cobalt blue. Against that luminous background, the dazzling white dyes stand out like sugar scattered on a navy blue blazer.

Tümer's photos also reveal what pesticide exposure looks like in the Rio Grande, in home gardens and on the scales of the endangered silvery minnow. Their shimmering beauty and their startling message combine to make them unforgettable.

Tümer explains that people exposed to pesticides may develop rashes, flu-like symptoms and even life-threatening allergies so severe they must live a circumscribed life, the equivalent of modified house arrest.

Tümer herself suffers from multiple chemical sensitivity. Though this restricts her mobility, it has not prevented her from becoming a highly accomplished photographer, with a body of widely exhibited work, which reveals an exquisitely precise sense of form, tone, and composition.

Tümer is also a photography teacher at the Santa Fe Community College, and a popular writing and digital photography instructor at Northern New Mexico Community College. She has also given workshops at the Georgia O'Keeffe Museum.

She will be discussing her current work 5:30-6:30 p.m. Thursday at the Santa Fe Community College, in Room 711 of the Visual Arts Building. A print from "Glowing Evidence" is on display at the James Hart Exhibition Space, 1410 Second St. It's part of a SFCC faculty exhibit that runs through Dec. 15.

Photo Eye Gallery, 370 Garcia St., represents her and examples of both prints and delicate photos she printed on small rocks can be seen at www.photo-eye.com/laurietumer. The full range of her work can be seen on her web site, www.laurietumer.com.

Michael More's book review column, Writing with Light, appears in Camera Arts magazine. A retired Kodak executive, his criticism has appeared in a number of publications.






Image in article:

Laurie Tümer, Trade Secrets , 13x16”, 2002


Selected Links



The Show
Museum of Fine Arts

707 West Palace Ave | Santa Fe, New Mexico
June 6-August 31, 2003

Jurors
Terezita Romo
Susan Rothenberg
Charles Stainback

Curatorial Team
Laura Addison
Pennie McBride


http://www.museumofnewmexico.org/theshow/artists.pl?tumer



Rockaloid Inc. | Rockland Liquid Emulsions
http://www.rockaloid.com/gallery9.html
A page in their gallery featuring images from Works on Rocks.



Seeds of Change
http://www.seedsofchange.com/enewsletter/issue_27/issue_27.asp?UID=2004031623175830
An article about my work by photographer and master gardener Scott Vlaun.



College of San Mateo | Department of Photography
San Mateo, California

www.gocsm.net/photo/gallery/Gallery_5.htm
www.gocsm.net/photo/gallery/Gallery_27.htm
Photographs while studying photography with Lyle Gomes 1984-88.