nocamera.com presents the complete portfolio of archival digital prints from twenty years of work by visual artist Gene Gort. All images here have been produced by placing objects on or above a flatbed scanner. No camera has been used in the process, hence the name. Each print has a white border and print sizes are listed in the inventory and pricing page. All prints are for sale unframed. All images are copyrighted and may not be reproduced in any form without written permission from the artist. Please check back for new images and news. If you care to be notified when new work is listed on this website, please email us with a request.

ABOUT THE ARTIST
Gene Gort is a visual artist, video producer, media programmer, and former educator who lives in Torrington, Connecticut with his husband, artist/designer, Patrick Kennedy. Gene has been producing video, installation, digital media, and collaborative projects for almost 40 years. He has been Professor of Integrated Media Arts at the Hartford Art School, University of Hartford for a majority of that time from which he retired in 2020. His current work concentrates on digital image-making and collaborative multi-media performances. His interests lie in examining the ordinary or quotidian, and what it has to offer us.

His artwork and videotapes have been shown internationally including DeCordova Museum and Sculpture Park, Lincoln, MA; Pacific Film Archive/Berkeley Art Museum, Berkeley, CA; TheVideoArtFoundation, Barcelona, Spain; Cyberarts Festival 2001, Boston, MA; New Britain Museum of American Art, CT; University of Rochester, NY; Hallwalls, Buffalo, NY; Mills Gallery, Boston Center for the Arts; Vtape Salon and the Art Gallery of York University/Prefix Centre for Contemporary Art, Toronto; Real Art Ways, Hartford, CT; Black Maria Film and Video Festival, touring; Athens Film and Video Festival, Athens, Ohio.

Gort has collaborated with composer and sound artist, Ken Steen; e-Cellist, Jeffrey Krieger; choreographers and dancers, Stephen Pier + Miki Orihara; composers and musicians, Bent Duo (Bill Solomon and David Friend) and Sarah Hennies; double bassist, Robert Black; creative programmer, Timothy Lawless; pianist, Megumi Masaki; and composers and musicians, Quey Percussion Duo (Gene Koshinski and Tim Broscious). These projects have been included in festivals internationally including Sonorities Festival, Queen’s University, Belfast, Northern Ireland; Dark Music Days Festival at Harpa, Reykjavik, Iceland; New York Electroacoustic Music Festival, NYC; Brandon University New Music Festival, Winnipeg, Manitoba; and Percussive Arts Society International Convention,Indianapolis, IN.

The Artistic Excellence Award from the Connecticut Office of the Arts in 2019 is one of many awards and grants he has received including residencies at the MacDowell Colony and I-Park Artist’s Enclave; Pollack-Krasner Foundation grant, Rockefeller Foundation nominee; Edward C. & Ann T. Roberts Foundation, New Works Grant; LEF Foundation project support grant; and Massachusetts Artist Fellowship Program, among others.

“The work on this site is a departure from my media-based work and collaborations. In 2000, I bought a flat-bed scanner and began experimenting, placing objects directly onto the glass which resulted in some visual surprises. The direct lighting, shallow depth-of-field, and peculiar sense of gravity revealed the apparatus and its workings, and clearly departed from traditional lens-based photography. This was refreshing. I also enjoyed the idea that it was a time-based medium; it was a result of a “timed exposure”, line-by-line, like video, a medium I was used to. That is, the time it took for the scanner arm to travel the length of the scan area was determined by the size of the area and the chosen resolution. This added to my curiosity. I produced a series of time-based scans that examined snow fall/accumulation, rain, and insects moving on the scanner glass.

Additionally, I placed flowers, vegetables, fruit, and other available things on the scanner glass and produced what could potentially be called digital botanicals. The work on this site is this version of the scanner process and adheres more to this aesthetic. It is direct, governed by traditional aesthetics and formalism. The process of building these images is more like, “let’s see what happens”, than conforming to a planned composition. Once the objects are scanned, the compositional process begins, cropping, editing, and cleaning the images. I am often surprised by the results and often feel like the images are “gifts” or discoveries that the scanning process reveals – a way of seeing. This work allows me the satisfaction of creating something beautiful that is a result of a process that continues to reveal the things around me in ways I couldn’t do with simple observation.”  – Gene Gort

TECHNICAL SPECIFICATIONS
All prints are produced with an Epson 9600 inkjet printer with UltraChrome Inkset and are signed and printed when ordered. All images are printed on Hanemühle Photo Rag paper, 308 gram weight. They have a rich, matte surface and resemble photo-lithographs more than photographs. UltraChrome archival inks are rated for approximately 100 years under optimum conditions behind glass in stable environments. The prints are durable but susceptible to water damage if not protected and must not be exposed to direct sunlight.

PRICING
All prints are unframed and vary in price. LARGE sizes are printed in editions of 5 with 1 artist proof. MEDIUM and SMALL are open editions. See inventory and pricing page for purchase information. Shipping, handling, and sales tax are additional to the print price and are calculated based on size and weight. They are shipped UPS or FedEx ground 3-5 business days. Shipments cannot be sent to PO boxes. Prints are individually shipped flat, wrapped in glassine and packed with corrugated board. Online orders via PAY PAL only.