THE ESTABLISHED ARTIST: BRUCE KEYES "I'M STILL STANDING"

“Bruce has been documenting the New Orleans culture since 1971. For 5 decades he has diligently captured photography stills of residents and visitors of the city once known as the ‘Big Easy’ which is arguably not so easy anymore.”

Bruce never viewed photography as a career. He took photographs to be present, in the moment, and in that respect he’s a preservationist and an anthropologist. Unafraid, unwavering, and unconventional. He’s one of those unique artists who can look you right in the face and tell you his truth while his camera bears witness to your truth. People lie, but the camera never lies.

Bruce and I haven’t touched base in 8 years because I relocated to Los Angeles. He reached out to me on Facebook last month and asked me to give him a call, which I did. In the time in between both our lives have been turbulent, volatile and life-affirming. My daughter Maya and I paid a visit to his live/work studio in Old Metairie, Louisiana, which was covered from floor to ceiling in photographs. 

Below is the conversation between two artists, and two old friends catching up.

TERRENCE SANDERS-SMITH – Bruce, your live/work studio is impressive and overwhelming. The sheer volume of your photography production is revealing of your practice’s dedication and focus. This work should be conserved in a museum’s permanent collection for the now and future generations.  What are your plans for the preservation of this important work?

BRUCE KEYES – I’m pleased to have you and Maya come to visit so you can see how my work has developed since our previous collaborations. Speaking from a curatorial perspective, it has always been my end result to have my lifework in the permanent collection of a major museum in Louisiana.

TSS – Let’s start near the beginning. Why did you decide to start shooting the diverse personalities of New Orleans? What was it about New Orleans that attracted you to document this special and unique city?

BK – At a very young age, I remember accompanying my father to Mother’s Restaurant, Bachers Bakery, and our very long walks on the docks seeing all the ships from all over the world.  On the weekends we would ride the Algiers ferry and feast on hot chocolate and beignets. During the parades I would sit on my dad’s shoulders to see the mule- drawn Mardi Gras floats. These are a few of my earliest memories contributing to my impressions of New Orleans. In retrospect, I’ve realized my parents with their Kodak Brownie 8mm movie camera which they used to “document” all our vacations and adventures were forming a subliminal impression of the use of photography as documentation.

TSS – Where were you born and raised? How was life in your household as a child? How did your upbringing influence your artwork and your view of the World?

BK - I am a New Orleans native, born and raised. Life as a child was a miserable experience. Not to infer that there weren’t any intermittent joyful memories, but they were few. Fortunately, this harsh, verbally, and psychologically abusive circumstance did not hamper my visual interpretation of my environment. However, it devastated my ability to develop social and professional relationships.

TSS – As a child did you visit museums or art galleries? Was there anyone in your family that was an artist that inspired you? Do you remember how you acquired your first camera? Do you remember the first shot or the first focused study?

BK - Both of my parents were intelligent, and college educated. At an early age I was introduced to museum and gallery shows, classical music, and theatrical productions. I was attracted to the visual aspects of art and an appreciation of reading was a way to escape my childhood traumas. My travels during my stint in the Navy introduced me to the vast visual and cultural realms that gave me the knowledge and experience necessary to understand my subject matter as I embarked on this creative journey. The early uses of the family camera residing somewhere in the recesses of my mind were suddenly resurrected. My first camera was a Nikon F Photomic. I eventually settled for a Leica R, Hasselblad ELM, and the Sinar P 4x5. Due to a mandated evolvement to auto-focus I currently shoot with a Sony a7 III and various Nikons.

TSS – What separates great photographers from hobbyists is their conviction, dedication, and intuition. Knowing that magic moment in which to capture the essence of the scene or the soul of the subject. How did you develop these characteristics and instincts?

BK - Any endeavor that someone wants to excel in requires desire, commitment and the relentless pursuit of knowledge and technique relative to your personal choice. Prior to my having any rudimentary camera technique, I had a clear understanding of the components necessary to create a strong visual image within the “gestalt” of the film’s constraints. The image is the direct result of searching, locating, and examining everything I could find on the pioneers and masters of the still image. I learned how to compose and orientate the image within the parameters of the 35mm allowed space. Geometrical elements created by the subject matter of landscapes and people. Exposure, development, and zone system followed later. My education to this point was focused on knowing what I was looking for from the onset of concept.

TSS – I believe you have two important and relevant bodies of work: ‘Spirit of New Orleans’ and ‘Weapon of Choice’. What attracts me to both bodies of work are the visual, focus and the discourse. These attributes make your work important and relevant from a historical and cultural context. As a photographer what do you want to be remembered for? What will be your legacy? What do these two series mean to you on a personal and professional level?

BK - As a mature and established photo documentarian my life goal is to have successfully created a tapestry of my experiences, weaving moments from our shared histories that for some viewers will resonate on the level of past shared experiences; and for the first-time viewer an opportunity to understand a period outside their personal experience. “Spirit of New Orleans” is reflective of my personal experience, illustrating to the viewer the essence of why I chose to call the “Big Easy”...home. “Weapon of Choice” is important to me because it is one of many freedoms I enlisted as a Vietnam era United States Navy veteran to preserve. These images purposely photographed in the front of our American flag are not per se an expression of my personal, social, or political stand on this issue, but rather a rabid belief that all Americans have a right to exercise their freedom of choice. By making this an open studio call with no control or pre-conditions, our subjects responded as he or she deemed fit with no influence by me over their choice. This series is intended to reveal and educate the viewer to look with a different lens. To measure their agreement to participate, and their method of self-defense. To evaluate and re-evaluate the second amendment from a new perspective, with the possibility of the evolution, or not, of their opinion.

TSS – I know you have fallen on hard times and experienced a side of our society that many suffer through with no hope. You pulled yourself up and have your life and career back on track. Did you document your downward spiral with your camera?

BK - During my struggles I was incapable of photographically documenting my downward spiral and had no desire to perpetuate it for my archives. For over 5 decades I have struggled with addiction despite the efforts of well-meaning interventions on behalf of my colleagues, friends, and family.  Finally, as I hit rock bottom, I understood what my life’s purpose was. I asked for forgiveness and more importantly I forgave myself. I appreciate my self- worth and value. I am now in pursuit of my full potential. I am not defined by my past but by my present. I am 20 months clean, and I thank God every day for my life.

TSS – All images have a narrative, and their interpretations are subjective to the viewer. As the photographer you know your intentions and what your images are saying? What is the underlying connective tissue of your lifework?

BK - As an established photo documentarian my objective has been to weave a tapestry of experiences, that will, for some viewers, resonate on the level of past shared experiences; and for the first-time viewer an opportunity to understand a time outside of their personal experience.

TSS – I know you are struggling financially. When I look around your studio, I feel like you are the wealthiest man I know. Your work is timeless and priceless. Have you attempted to acquire gallery representation? Do you have a plan to find an audience or collectors for your work?

BK - My hope is at the end of the day my work finds the right collector, the right home or institution, that understands their value and importance.  Of course, I want my work to be preserved and appreciated but that’s the job of curators and museum directors. My job was to take the photo and capture the moment. My images are portraying and reflecting the joy of life as expressed by people from all over the world. In retrospect, I can’t imagine being gifted a more wonderful life experience.

TSS – I have some great news. I spoke with the patron of the arts, New Orleans Architect-Developer Marcel Wisznia about your work. He mentioned that his newest development Two Saints could be perfect for your series  ‘Spirit of New Orleans’ which I would serve as curator. You are valued and deserving of this recognition. Life is fleeting my friend and I hope our friendship bears fruit that you can stay the course, sustain a good quality of life, and keep creating.

BK – I will and thank you and Marcel for this opportunity to exhibit this very important series in the Two Saints building. I look forward to your curatorial efforts.

TSS – Now we need to talk about publishing a book.  A book that represents 5 decades of your contributions to New Orleans and the landscape of contemporary art. Are you in agreement?  

BK – I am in total agreement regarding the creation of the book. It will be massive in size to incorporate my life work documenting the New Orleans culture.

TSS – Thank you for taking the time to speak with me and my readership. You are a good man and great artist, and know that you are loved and appreciated.

BK – Thank you.