Laurence Miller Gallery is pleased to announce our East Coast representation of the Bullock Family Photography Estate.
To inaugurate this partnership, we present this selection of original gelatin silver prints by Wynn Bullock from the archives of the Bullock family. With this impeccable provenance, collectors and curators can have the confidence that all of these prints were made in Bullock’s darkroom during his lifetime — many are among the last vintage and early prints to be made available of these images.
Boy Fishing, 1959
The Pilings, 1958
Wynn Bullock was profoundly inspired by fellow photographer Edward Weston whom he met in 1948. Weston’s early mentorship guided his reverent visual explorations of the landscape around the Central Coast of California.
Lynne, Point Lobos, 1956
The Mast, Cannery Row, 1968
Bullock began introducing the human figure into his landscape photography in the 1950s, and this proved to be instrumental in developing his own unique voice as an artist. What emerged was a vision of human beings nested within a natural world that is at once wondrous and mysterious.
Woman and Dog in Forest, 1953
Bullock said that by photographing figures within his landscapes “I stopped thinking in terms of objects. I was seeing things instead as dynamic events, unique in their own beings yet also related and existing together within a universal context of energy and change.”
Child and the Unknown, 1955
Bullock’s pictures are both tied to a particular time and place while at the same time speaking in universal terms. His embrace of nature as a source of profound truths is indelibly linked to the artistic communities that were drawn to the rugged beauty of the coastal landscape around Big Sur in California.
Point Lobos Rock, 1970
Woman on Dunes, 1972
On this Earth Day Wynn Bullock’s photographs offer us wise counsel — suggesting that to seek to understand nature is to seek to understand ourselves, and that true harmony is embracing the truth that we are one and the same thing.