BGuthrie Photos: DC -- National Academy of Sciences Bldg -- Art Highlights

DC -- National Academy of Sciences Bldg -- Art Highlights:

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Specific picture descriptions: Photos above with "i" icons next to the bracketed sequence numbers (e.g. "[1] ") are described as follows:
1. NASART_181102_001.JPG: Robert Van Vranken Untitled (Everything at once, or, one thing at a time?), 2004
2. NASART_181102_007.JPG: Charles Darwin To commemorate the bicentennial in 2009 of Charles Darwin's birth and the 150th anniversary of the publication of "On the Origin of Species," the National Academy of Sciences commissioned a replica of a bust of Darwin created by Virginia sculptor William Couper (1853-1942). The original bronze was commissioned by the New York Academy of Sciences (NYAS) in 1909 and was given to the American Museum of Natural History to inaugurate its Darwin Hall of Invertebrate Zoology. The original bust has since been returned to the offices of the NYAS where it resides today. A replica was cast by Couper in 1909 and given to Christ's College, University of Cambridge, where Darwin studied. The March 1909 issue of The American Museum Journal stated that "The bust is pronounced by those who knew Darwin personally and by his sons in England... the best portrait in the round of the great naturalist ever made." The process used to reproduce the bust of Charles Darwin for the National Academy of Sciences combines traditional techniques with innovative digital technology. A virtual model was created by scanning the original sculpture in situ at the New York Academy of Sciences, which graciously consented to the creation of a second replica. Using a rapid prototype process, a form was created from which a bronze was cast. This process reduced the potential of damage to the original and gave artisans more flexibility in refining the details of the final work.
3. NASART_181102_016.JPG: Raoul Dufy Te Genius of Electricity, 1937 (1953) This ten-sheet print is based on Raoul Dufy's painting of the same name, installed in the dome of the Musee d'Art Moderne de la Ville de Paris. Commissioned to paint a history of electricity, Dufy included 109 leading scientists and engineers. Similar in spirit to Hildreth Meiere's iconography that preserves the history of science in the dome of the Academy's Great Hall, Dufy's work is a visual celebration of a significant discovery of great societal impact.
4. NASART_181102_029.JPG: Jill Greenberg Monkey Suit, from the series Monkey Portraits, 2005 Jill Greenberg is known for her photographs of celebrities, but in this series she focused on actors of a different sort, playfully capturing the similarities between simians and humans. Many of the monkeys and apes she photographed have appeared on film or in television shows. Her intimate portraits of these animals convey a startling range of emotions and personalities.
5. NASART_181102_034.JPG: Eric Heller Transport II, 2002 Eric Heller is a professor of chemistry and of physics at Harvard University and a member of the National Academy of Sciences. Heller is known for his work on time dependent quantum mechanics. Transport II shows a theoretical simulation of the flow pattern for electrons traveling over a nanoscale landscape. The electrons are trapped in a sheet at the interface between two solids. Such sheets of electrons are of great importance in cutting edge electronics, forming the basis for sophisticated transistors. The total area seen here corresponds in size to a typical bacterium. The bumpy landscape which the electrons must negotiate is caused by the irregular arrangement of positively charged donor atoms in a layer lying just above the flat interface in which the electrons are traveling. The electrons are attracted to regions with more positive charges nearby, and since these charges are randomly arranged the electrons feel hills and valleys of repulsion and attraction. The electrons have more than enough energy to ride over the highest of the hills, but they are nonetheless slightly deflected this way and that as they pass by. The cumulative effect of many such encounters with hills and valleys results in the pattern you see here. The branching seen here was not anticipated; it was thought that the flow would be more evenly spread out some distance from the center. This has significant implications for small electronic devices of the future. This image comes from a numerical simulation which closely approximated what is seen experimentally, using an extremely sensitive scanning probe microscope which can sample thousands of distinct places inside a space as small as a typical bacterium. The experiments were performed in Robert Westervelt's lab at Harvard. Westervelt and his students managed to clearly image nanoscale electron flow for the first time. This image appeared on the cover of the 8 March 2001 issue of Nature, to accompany an article by Westervelt, Heller, and their research groups. About 200,000 individual electron tracks are shown here. Each electron, here treated as a classical point particle, was launched from the center and given a unique starting angle. The angles were evenly distributed over 360 degrees.Each track built up grayscale density to any pixels it passed by, thus the darkest areas depict domains where many electrons traveled. The existence of dark branches rather far from the launch point is surprising, as no valleys or other simple features of the landscape guide the branches.
6. NASART_181102_039.JPG: Steve Miller From left: Running Bird, Turtle Eggs, and Iguana, 2016
7. NASART_181102_047.JPG: Joy Garnett Plume 2, from the series Strange Weather, 2005 Joy Garnett gathers photographs of man-made and natural disasters from the Internet and renders the images as richly textured oil paintings. In the process, she locates tensions between the visceral power of paint and the fleeting nature of images in the mass media, addressing the evolving role of art in an information-saturated society. In the series Strange Weather, Garnett takes widely distributed news images of the aftermath of Hurricane Katrina in New Orleans and recasts them as paintings in which geological, political, and sociological weather are inextricably intertwined.
8. NASART_181102_056.JPG: Katherine Sherwood Golgi's Door, 2007 Katherine Sherwood explores the evolution of medical imagery in her artwork. This painting is based on the early sketches of Italian physician and scientist Camillo Golgi, who, in 1873, developed a method of staining nerve tissue to make the complex structure of the brain visible. Known as "Golgi's method," it was later used by Spanish neuroanatomist Santiago Ram�n y Cajal to reveal much about the organization of the nervous system. Katherine Sherwood is a professor at the School of Art Practice at the University of California in Berkeley. She exhibits her work regularly in California and often in New York. In 2000, her work was included in the Whitney Museum of American Arts' Biennial Exhibition in New York City. Her exhibition, "Golgi's Door," was on view at the National Academy of Sciences from 2007 to 2008.
9. NASART_181102_061.JPG: Alfredo Arreguin Hero's Journey, 1994 Born in Moreila, Michoacan, Mexico in 1935, Alfredo Arreguin has lived and worked in Seattle since 1958. Arreguin's intricate and brilliantly colored canvases are informed by the memories of Mexican culture and natural landscape as well as the environment and the animals of the Pacific Northwest. The hypnotic and meditative patterns found within his paintings are based upon pre-Aztec images, Mexican tiles, and purely geometric and optical patterns. The second edition of Arreguin's book, Patterns of Dreams and Nature, was published in 2007 by University of Washington Press. The National Academy of Sciences exhibited his work in 1996.
10. NASART_181102_074.JPG: Mia Brownell Still Life with Villin Headpiece II, 2007 Mia Brownell paints intertwined clusters of ripe fruit spiraling in meandering structures suspended in space. Employing dramatic chiaroscuro, Brownell's still-life fantasies simultaneously reference Dutch Old Master paintings and the coiling structures of DNA, amino acids, and protein chains. This piece comes from the series Proteomics, a word that refers to the study of proteins expressed by genes within an organism, with applications in the understanding of disease and in drug development. Art historian Donald Kuspit describes this series as "standing between the supermarket and the museum in the commercial cornucopia of modern America and in the grand tradition of Old Master still life." Brownell takes a long-established genre, considered minor in the modernist canon, and serves up a meditation on the genetic modification of food, inviting us to celebrate and wonder at the rapturous beauty and poignant fragility of nature. Born in 1971 to a sculptor and a biophysicist in Chicago, she now lives in New Rochelle, N.Y., and teaches studio art at Southern Connecticut State University.
11. NASART_181102_079.JPG: Dennis Ashbaugh Maryln, 2000 Dennis Ashbaugh states that "biotechnology has reshuffled our concept of time by opening frightening new doors. It's altered what we eat. It's altered the face and future of our planet." Ashbaugh has explored DNA imagery in his work since 1987. His large, vibrant paintings or "gene portraits" fuse and explore the traditions of abstract art with cutting-edge scientific technology. Ashbaugh has explored numerous concepts and artistic techniques within this evolving body of work. His series of "rust" paintings, whose structure continues to be inspired by genetic code, contain charred areas suggestive of both cosmic black holes as well as of the decay of the industrial "rust belt" destroyed by the outsourcing of American factory work. The exhibition concludes with the colorful series of "camouflage" paintings based on ways that nature finds to conceal living creatures, such as tropical fish that change in relation to their environment, so that, in the artist's words, they are "hiding in plain sight." Ashbaugh is a Guggenheim Fellowship recipient, and his work has been featured in solo exhibitions in New York City at the Whitney Museum of American Art and P.S. 1 Contemporary Art Center. His work is included in the collections of the Metropolitan Museum of Art, New York City, the Museum of Fine Arts, Houston, and the Hirshhorn Museum and Sculpture Garden, Washington, D.C. He collaborated with William Gibson on the critically acclaimed electronic poem, Agrippa (A Book of the Dead) (1992). An exhibition brochure with an essay by Barbara Rose is available upon request. Rose is an art historian and critic known primarily for her writings on 20th-century American art. She is the author of American Art Since 1900 (1967), along with more than 20 monographs on artists including Joan Miro, Claes Oldenburg, and Robert Rauschenberg. Her new book Monochromes (2006) is being published by the University of California Press, Berkeley. Rose is curator of the comprehensive Ashbaugh exhibition that begins its tour next year at the prestigious Institute Valenciano de Arte Moderno, Valencia, Spain, directed by Consuelo Ciscar. DENNIS ASHBAUGH: THE CONTENT OF ABSTRACTION Essay by Barbara Rose The question of whether abstract art is anything more than decoration or good design plagued first generation New York School artists. To study the question, in 1948 Barnett Newman, Robert Motherwell, and David Hare founded the Subjects of the Artists school where the principal topic was the troubling issue of content in abstraction. Their discussions could be summed up in the words of Mark Rothko, who contended that there is no such thing as a good painting about nothing. As unfashionable as this idea may be in the current climate of media driven ephemeral "styles," this is what Dennis Ashbaugh believes. Ashbaugh, who was born in Red Oak, Iowa, in 1946 and educated in southern California, has translated the surfers' taste of high risk adventure into a paradigm for making cutting edge art. A contemporary of the conceptual and media based artists, Ashbaugh rejected the idea that minimal art shut the door on painting. His efforts to keep painting alive and moving in a time when it had been pronounced not just moribund but dead and buried isolated him from the mainstream as it was defined by museums and galleries at the end of the twentieth century. The interplay between conservatism and radicality in Ashbaugh's art is a curious paradox, but it is also what keeps his works consistently interesting and unpredictable. They have nothing of the nose thumbing irony of Marcel Duchamp, but he seems to have taken Duchamp's advice that to be innovative, art had to look elsewhere than at art for inspiration. For Duchamp, this was literature and philosophy; for Ashbaugh it has been genetics and biotechnology. The idea that science could provide imagery for abstract art is not new. In the Forties, William Baziotes found inspiration in marine life and Barnett Newman surely looked at biology texts when making his watercolors of the late Forties, which led to his fully developed abstractions. Indeed, good artists are actually not immune to what is going on outside the ivory tower. Often, however, it is not obvious what their sources are. For example, in the case of Jackson Pollock, who along with Newman is Ashbaugh's most important inspiration, art historians have curiously ignored the fact that the intricate and explosive imagery of the "drip" paintings was inspired by new technology permitting macrocosmic and microcosmic structures to be photographed. These photographs, published by LIFE magazine at the time Pollock painted his cosmic abstractions, were an important source for their striking imagery. Like Pollock, Ashbaugh is keenly aware that innovations in technology require a thoughtful response from artists who are awake to their own time. Ashbaugh's initial involvement with scientific processes were paintings based on the principle of hybridization, which grafted images from different painters -- for example Mondrian and Pollock -- to create a mutant offspring. He first began thinking about the breakthrough in genetics and biotechnology in the late Eighties. In 1990, Ashbaugh began using DNA sequencing documented by digital imaging as a basis for large scale paintings, often the size of Rothko's, Newman's, and Pollock's mural scale works, of layered stains that drift through an ambiguous atmosphere which has its antecedents in J.M.W. Turner's paintings of smoke and mist as well as in Joan Miro's cosmic imagery. Their sophisticated acknowledgment of pictorial tradition differentiates Ashbaugh's genetic "portraits," from the current craze for mechanical digital prints of DNA material. In 1992, he began a series of works based on computer viruses which led to a collaboration with science fiction writer William Gibson, who coined the term cyberspace. The result was the Book of Agrippa, whose pages, like computer data, could be irretrievably erased. The eaten away pages of Agrippa parallel the series of works painted in the mid Nineties inspired by "black holes", whose cracked surfaces intimate apocalyptic meltdown. The technique by which they were produced involved various technical experiments, including embedding iron filings in matter and burying the paintings so that their phospherent pigments would crack permitting the crust beneath to appear, just as geological phenomena may burst through the earth's surface. In Ashbaugh's most recent paintings, marine forms interlock and the camouflage of tropical fish as much as the ubiquitous pattern of combat uniforms are referenced. Considering biology and genetics as sources for iconography permits serious artists, who acknowledge that pop culture is no longer a relevant resource, to access imagery that resonates with a large audience. To hook art back into the general culture, Ashbaugh, along with other leading artists, looks to science for inspiration. He is careful, however, not to confuse technology with science or information with progress, nor to forget that the decision to keep painting means a responsibility to its history as a medium of expression.
12. NASART_181102_085.JPG: Mark Klett and Byron Wolfe Views from the Marble Canyon Platform, 2008
13. NASART_181102_104.JPG: Terry Falke Cyclists Inspecting Ancient Petroglyphs, Utah, 1998
14. NASART_181102_110.JPG: David Maisel Black Maps (Bingham Canyon, UT 5), 1988
15. NASART_181102_114.JPG: Neri Oxman and the Mediated Matter Group, MIT Media Lab Untitled, from the Aguahoja Hex Series, 2017
16. NASART_181102_125.JPG: Harry Bertoia Untitled, 1975
17. NASART_181102_131.JPG: Rebecca Kamen Magic Circle of Circles from the series Manuscript as Muse, 2008
18. NASART_181102_136.JPG: Rebecca Kamen Magic Circle of Circles from the series Manuscript as Muse, 2008
19. NASART_181102_147.JPG: Tim Rollins On the Origin of Species (after Darwin), 2008-2009
20. NASART_181102_172.JPG: Lee Lawrie Winged Figures, 1924 This piece is one of many sculptural elements created by Lee Lawrie for the National Academy of Sciences Building on Constitution Avenue in Washington, D.C. Lawrie (1877 - 1963) has been called the dean of American architectural sculptors. Over the course of his career, Lawrie collaborated with NAS Architect Bertram Grosvenor Goodhue on many projects. They believed that sculpture should be integral to the architecture of a building and not merely applied as decoration. This figure, and its twin, decorated a carved mahogony rostrum used for meetings and ceremonial occasions in the Great Hall. Lawrie's sculptures in the NAS building include architectural elements such as columns as well as animal, botanical, and figural depictions.
21. NASART_181102_177.JPG: Justine Cooper Blood-red Butterflies (Cymothoe sangaris), 2004 Brooklyn-based artist Justine Cooper investigates the intersections between science, medicine, and culture. This photograph is from a larger body of work entitled "Saved by Science." Cooper created this series over the course of a year as artist-in-residence at the American Museum of Natural History, New York. Using a vintage large-format camera from the museum's collection, she photographed the storage areas of the museum, revealing the massive collections that are typically hidden from public view.
22. NASART_181102_183.JPG: Diane Burko Elegy for Pine Island Glacier, West Antarctica, 2015
23. NASART_181102_186.JPG: Diane Burko Elegy for Upsala Glacier, Argentina, 2015
24. NASART_181102_202.JPG: Vik Muniz Carcere VII, The Drawbridge, afer Piranesi, 2002 Brazilian-born artist Vik Muniz, who often uses common but ephemeral materials, meticulously recreated etchings from Giovanni Battista Piranesi's prison series using metal pins and thread. By presenting installation phootgraphs of his sculptural reconstructions such as the one depicted here, Muniz removes the viewer from the original objects created by Piranesi through a series of reproductions of reproductions. This is not done with the intention to mimic or even to improve upon the original, but to encourage the viewer to revist and look harder at the original while pondering the process by which we embed meaning into such icons. Both the original Piranesi prints and Muniz's reinterpretations were exhibited in 2004 at the National Academy of Sciences and in 2007 at the National Gallery of Victoria, Australia.
25. NASART_181213_001.JPG: Harry Bertoia Untitled, 1975
26. NASART_181213_026.JPG: Robert Van Vranken Untitled (Everything at once, or, one thing at a time?), 2004
27. NASART_181213_063.JPG: Dennis Ashbaugh Maryln, 2000 Dennis Ashbaugh states that "biotechnology has reshuffled our concept of time by opening frightening new doors. It's altered what we eat. It's altered the face and future of our planet." Ashbaugh has explored DNA imagery in his work since 1987. His large, vibrant paintings or "gene portraits" fuse and explore the traditions of abstract art with cutting-edge scientific technology. Ashbaugh has explored numerous concepts and artistic techniques within this evolving body of work. His series of "rust" paintings, whose structure continues to be inspired by genetic code, contain charred areas suggestive of both cosmic black holes as well as of the decay of the industrial "rust belt" destroyed by the outsourcing of American factory work. The exhibition concludes with the colorful series of "camouflage" paintings based on ways that nature finds to conceal living creatures, such as tropical fish that change in relation to their environment, so that, in the artist's words, they are "hiding in plain sight." Ashbaugh is a Guggenheim Fellowship recipient, and his work has been featured in solo exhibitions in New York City at the Whitney Museum of American Art and P.S. 1 Contemporary Art Center. His work is included in the collections of the Metropolitan Museum of Art, New York City, the Museum of Fine Arts, Houston, and the Hirshhorn Museum and Sculpture Garden, Washington, D.C. He collaborated with William Gibson on the critically acclaimed electronic poem, Agrippa (A Book of the Dead) (1992). An exhibition brochure with an essay by Barbara Rose is available upon request. Rose is an art historian and critic known primarily for her writings on 20th-century American art. She is the author of American Art Since 1900 (1967), along with more than 20 monographs on artists including Joan Miro, Claes Oldenburg, and Robert Rauschenberg. Her new book Monochromes (2006) is being published by the University of California Press, Berkeley. Rose is curator of the comprehensive Ashbaugh exhibition that begins its tour next year at the prestigious Institute Valenciano de Arte Moderno, Valencia, Spain, directed by Consuelo Ciscar. DENNIS ASHBAUGH: THE CONTENT OF ABSTRACTION Essay by Barbara Rose The question of whether abstract art is anything more than decoration or good design plagued first generation New York School artists. To study the question, in 1948 Barnett Newman, Robert Motherwell, and David Hare founded the Subjects of the Artists school where the principal topic was the troubling issue of content in abstraction. Their discussions could be summed up in the words of Mark Rothko, who contended that there is no such thing as a good painting about nothing. As unfashionable as this idea may be in the current climate of media driven ephemeral "styles," this is what Dennis Ashbaugh believes. Ashbaugh, who was born in Red Oak, Iowa, in 1946 and educated in southern California, has translated the surfers' taste of high risk adventure into a paradigm for making cutting edge art. A contemporary of the conceptual and media based artists, Ashbaugh rejected the idea that minimal art shut the door on painting. His efforts to keep painting alive and moving in a time when it had been pronounced not just moribund but dead and buried isolated him from the mainstream as it was defined by museums and galleries at the end of the twentieth century. The interplay between conservatism and radicality in Ashbaugh's art is a curious paradox, but it is also what keeps his works consistently interesting and unpredictable. They have nothing of the nose thumbing irony of Marcel Duchamp, but he seems to have taken Duchamp's advice that to be innovative, art had to look elsewhere than at art for inspiration. For Duchamp, this was literature and philosophy; for Ashbaugh it has been genetics and biotechnology. The idea that science could provide imagery for abstract art is not new. In the Forties, William Baziotes found inspiration in marine life and Barnett Newman surely looked at biology texts when making his watercolors of the late Forties, which led to his fully developed abstractions. Indeed, good artists are actually not immune to what is going on outside the ivory tower. Often, however, it is not obvious what their sources are. For example, in the case of Jackson Pollock, who along with Newman is Ashbaugh's most important inspiration, art historians have curiously ignored the fact that the intricate and explosive imagery of the "drip" paintings was inspired by new technology permitting macrocosmic and microcosmic structures to be photographed. These photographs, published by LIFE magazine at the time Pollock painted his cosmic abstractions, were an important source for their striking imagery. Like Pollock, Ashbaugh is keenly aware that innovations in technology require a thoughtful response from artists who are awake to their own time. Ashbaugh's initial involvement with scientific processes were paintings based on the principle of hybridization, which grafted images from different painters -- for example Mondrian and Pollock -- to create a mutant offspring. He first began thinking about the breakthrough in genetics and biotechnology in the late Eighties. In 1990, Ashbaugh began using DNA sequencing documented by digital imaging as a basis for large scale paintings, often the size of Rothko's, Newman's, and Pollock's mural scale works, of layered stains that drift through an ambiguous atmosphere which has its antecedents in J.M.W. Turner's paintings of smoke and mist as well as in Joan Miro's cosmic imagery. Their sophisticated acknowledgment of pictorial tradition differentiates Ashbaugh's genetic "portraits," from the current craze for mechanical digital prints of DNA material. In 1992, he began a series of works based on computer viruses which led to a collaboration with science fiction writer William Gibson, who coined the term cyberspace. The result was the Book of Agrippa, whose pages, like computer data, could be irretrievably erased. The eaten away pages of Agrippa parallel the series of works painted in the mid Nineties inspired by "black holes", whose cracked surfaces intimate apocalyptic meltdown. The technique by which they were produced involved various technical experiments, including embedding iron filings in matter and burying the paintings so that their phospherent pigments would crack permitting the crust beneath to appear, just as geological phenomena may burst through the earth's surface. In Ashbaugh's most recent paintings, marine forms interlock and the camouflage of tropical fish as much as the ubiquitous pattern of combat uniforms are referenced. Considering biology and genetics as sources for iconography permits serious artists, who acknowledge that pop culture is no longer a relevant resource, to access imagery that resonates with a large audience. To hook art back into the general culture, Ashbaugh, along with other leading artists, looks to science for inspiration. He is careful, however, not to confuse technology with science or information with progress, nor to forget that the decision to keep painting means a responsibility to its history as a medium of expression.
28. NASART_181213_072.JPG: Steve Miller From left: Running Bird, Turtle Eggs, and Iguana, 2016
29. NASART_181213_085.JPG: Vik Muniz Carcere VII, The Drawbridge, afer Piranesi, 2002 Brazilian-born artist Vik Muniz, who often uses common but ephemeral materials, meticulously recreated etchings from Giovanni Battista Piranesi's prison series using metal pins and thread. By presenting installation phootgraphs of his sculptural reconstructions such as the one depicted here, Muniz removes the viewer from the original objects created by Piranesi through a series of reproductions of reproductions. This is not done with the intention to mimic or even to improve upon the original, but to encourage the viewer to revist and look harder at the original while pondering the process by which we embed meaning into such icons. Both the original Piranesi prints and Muniz's reinterpretations were exhibited in 2004 at the National Academy of Sciences and in 2007 at the National Gallery of Victoria, Australia.
30. NASART_181213_089.JPG: Alfredo Arreguin Hero's Journey, 1994 Born in Moreila, Michoacan, Mexico in 1935, Alfredo Arreguin has lived and worked in Seattle since 1958. Arreguin's intricate and brilliantly colored canvases are informed by the memories of Mexican culture and natural landscape as well as the environment and the animals of the Pacific Northwest. The hypnotic and meditative patterns found within his paintings are based upon pre-Aztec images, Mexican tiles, and purely geometric and optical patterns. The second edition of Arreguin's book, Patterns of Dreams and Nature, was published in 2007 by University of Washington Press. The National Academy of Sciences exhibited his work in 1996.
31. NASART_181213_114.JPG: Susan Middleton and David Liittschwager Felis concolor coryl (adult) Florida Panther, 1997
32. NASART_181213_123.JPG: Susan Middleton and David Liittschwager Oncorhynchus aquabonita whitel Little Kern Golden Trout, 1988
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Bigger photos? To save server space, the full-sized versions of these images have either not been loaded to the server or have been removed from the server. (Only some pages are loaded with full-sized images and those usually get removed after three months.) I still have them though. If you want me to email them to you, please send an email to guthrie.bruce@gmail.com and I can email them to you, or, depending on the number of images, just repost the page again will the full-sized images.
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2018 photos: Equipment this year: I continued to use my Fuji XS-1 cameras but, depending on the event, I also used a Nikon D7000. Trips this year: Civil War Trust conferences in Greenville, NC, Newport News, VA, and my farewell event with them in Chicago, IL (via sites in Louisville, KY, St. Louis, MO, and Toledo, OH), three trips to New York City (including New York Comic-Con), and my 13th consecutive trip to San Diego Comic-Con (including sites in Reno, Sacramento, San Francisco, and Los Angeles). Number of photos taken this year: about 535,000.
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Photo Contact: [Email Bruce Guthrie].