Tom R. Chambers Books Published on Amazon
DS - Black Circle
The circle is juxtaposed with pixel configurations that are derived from Malevich’s early works prior to Suprematism. It pierces the compositions in non-linear fashion, and its achromatic nature contrasts with the color fields. Its presence reinforces Malevich’s notion of non-objectivity.
Digital Suprematism: A Play on Kazimir Malevich's Early Works
Journey Through Photography and the Arts
Journey Through Photography and the Arts: Chambers, Mr. Tom R.: 9798364122865: Amazon.com: Books
causa mortis: Chambers, Mr. Tom R.: 9798542004181: Amazon.com: Books
Tom R. Chambers superimposes words that are synonymous with death onto photographs of him to create the project, “causa mortis”. The images are greatly out-of-focus to produce abstractions. From afar, they "can be made out", but upon close viewing and to be able to read the word, detail diminishes/vanishes.
"Contemplation of death" is a phrase used when the thought of imminent death causes a person to transfer his or her property to another. The gift or transfer in such circumstance is called a "gift in contemplation of death" or a "gift causa mortis". As an artist, Chambers’ "gift causa mortis" is the creation of this project for public consumption.
The photo abstractions border on "otherworldliness". As he enters his twilight years, he looks back at these images in a contemplative manner, and they are indicative of a life lived in memories ... vague recollections … that now move him to the realization that death may be near.
NYC Souvenirs
This book is a tribute to Chambers' uncle, Carol Don "Bud" Meekins (1935-2015). Chambers made this statement when he was notified in June of 2015 that his uncle didn't have long to live:
"I am heading to my hometown (Nocona, Texas) to be with my uncle, Bud Meekins. He is seriously ill in the hospital, and I have been told that he does not have much longer to live. He is almost 80 years old. Bud is one of the last surviving members of the family on my mother's side.
My heart is heavy. Bud was twelve years old when I was born. We grew up together - off and on - as my mother visited her parents, and I stayed with my grandparents during the summer over the years. I used to go out with him and my grandfather to the pasture to feed and work the cows. He was always there for his mother, and helped his parents more than you can imagine. Bud is a true example of the Pioneer spirit of family morals and values.
When I was in the third grade in Decatur, Texas he lived with me and my parents for awhile as he attended community college. I remember watching him play basketball for the college. He was very good. He wore the number 33, and when I played basketball in junior high, I wore the same number - proud to represent my uncle on the court this way.
In the late 1950s, my father went to Alaska to work on a contract job. A few weeks later, Bud helped my mother drive our car from Texas to the territory (not a state at the time) to join my father. He stayed with us for awhile to enjoy the sights.
As both of us grew older, we didn't see much of each other, particularly after my mother's death in 1983. This was a devastating year for both of us. He lost his sister (first sibling death), and I lost my mother. I remember both of us being so distraught, that we had difficulty in communicating. Not long after that tragic day, I moved totally out of the situation, and relocated to the East Coast. My grandmother (my mother's mother) was just as distraught, and she couldn't understand why I wanted to move so far away.
I moved even farther away in the 1990s when I joined the Peace Corps, and then went to Zimbabwe, Africa and later to South Korea and even later to China. I returned to the States in 2007, and Bud was there for me, even though it had been close to 20 years since we had last seen each other. He with one of his sons helped me acclimate as I prepared to live and work in America again. Since I had been overseas for a long period of time, my driver's license had expired, so Bud drove me to a neighboring town to take the written and driving tests. I remember using his oversized pickup truck for the driving portion of the test - I passed.
I relocated to Houston in 2007 and since that time, I have visited Bud a few times, and talked with him over the phone, particularly when two of his sisters became ill, and passed away. On some of my visits back to my hometown to see Bud, I made photographs, and the photo that you see as a part of this post is my favorite of Bud. It shows him walking through the pasture of his land - his father's land - towards the windmill and tank (water) that he and his father installed many years ago to nurture the cows.
School Days, NASA, and the "Space Race"
The Great Walk: Mutianyu Great Wall, Beijing, China
In Jungian psychology, archetypes are highly developed elements of the collective unconscious. Jung understood archetypes as universal, archaic patterns and images that derive from the collective unconscious and are the psychic counterpart of instinct. They are inherited potentials which are actualized when they enter consciousness as images or manifest in behavior on interaction with the outside world. They are autonomous and hidden forms which are transformed once they enter consciousness and are given particular expression by individuals and their cultures. (Wp)
A "glitch" is a disruption in a system. Also, Glitch Art - the aestheticization of digital or analog errors - is a current, viable art form that includes workshops, lectures, performances, installations and screenings worldwide. (Wp)
Glitch Art is not only a popular approach within the digital medium, but also in Chambers' mind has an ideal connection with Carl Jung's "archetypes" because of its disruptive aspects. A glitch just as this archetype is an archaic pattern and image, albeit fleeting, but this project (these images) actualizes the potential by moving the "unconscious" to the conscious level via the printed flux (change) in the repetitive portrait of Carl Jung. And what better portrait than that of Jung to make this comparison, and Chambers takes this further by saying that as the exhibition is viewed as a whole, highly developed elements of the "collective unconscious" come to the forefront via the multi-portraits of Jung.
Tom Series: Self-portraits based on Tom R. Chambers' life experiences
Tom R. Chambers utilizes the self-portrait to project his life experiences. His portrait remains constant with the experience (situation) indicated as a change or flux in the image. The accompanying text details his experience with the inclusion of links to the Internet for additional information. "Tom Series" is not only an artwork about Chambers' life - biography (visual/textual) - but also a reference tool, a study of history through his existence.
Curator/Educator: Volunteer in the Arts, United States Peace Corps
Tom R. Chambers joined the United States Peace Corps as a Volunteer in the Arts in 1992. He had wanted to join the organization while in college in the 1960s, but life took him in another direction. At the age of 45, he was able to fulfill his desire of representing his country as he made contributions to the local environs of another country. He was the oldest in the second group of volunteers – “Zim 2” - to travel to Zimbabwe.
His Primary Assignment was one of Curator for the National Gallery of Zimbabwe in the capital city of Harare. He wrote a grant proposal, and received funds from the African Archives and Museums Project/Social Science Research Council to computerize the gallery's Permanent Collection information. It took almost the three-year period to research, design the software and input the data, but it was accomplished, and the gallery now has a sophisticated information data base. He also trained the African staff in computer utilization and curatorial preparation.
Numerous exhibitions were mounted - particularly the Traditional African artifacts - to take advantage of the new information system. He made headway in establishing a relationship between the gallery and AFRICOM (a preservation organization) to preserve Traditional African artifacts and share collection information with other museums and galleries worldwide. All of this culminated in an invitation by the gallery to exhibit a personal project, Variations on the Dan Mask. This conceptual look at the African mask form was well-received at the exhibition opening and later. This exhibition was a good ending to his three years at this institution. His project is now a part of the gallery's exhibitions listings, but what is probably more important is that he was accepted by the African Arts community as an individual, not an American and not a person of a different race. This fact is really important to him as he continues to integrate as a part of world society.
His Secondary Project was one of arts outreach to African artists - "school leavers" - who participated in three (one per year) fine arts/documentary photography workshops, The McEwen Photographic Studio, named after Frank McEwen, the first director of the National Gallery of Zimbabwe. These students showed an outstanding potential for self-expression through the medium of photography, and their works were exhibited at the National Gallery of Zimbabwe as a part of "Moments In Time" (1993), "Moments In Time II" (1994) and "Moments In Time III" (1995). These exhibitions were officially opened by the U.S. Ambassador to Zimbabwe. This U.S.A. connection brought the relationship between the African community and the Peace Corps even closer. He feels good about this, and considers his contribution not only having educational value, but also public relations importance as it relates to interracial understanding.
His Tertiary Project was one of grass-roots development to reach out to street children and young adults through a program called, Street Kids In Action. This educational/vocational program brought together interested parties in the African community to make an attempt to solve the "street problem". Concerted efforts resulted in substantial funds being raised to offer opportunities to these at-risk young people. He hopes the program is continuing to solve this problem, and he is happy that he played a role in providing the stimulus to generate this kind of activity.
"MADE IN AMERICA": Nokona Leather Goods
"MADE IN AMERICA": Nokona Leather Goods: Chambers, Tom R.: 9798696557854: Amazon.com: Books
Tom R. Chambers documented the Nokona Leather Goods factory in Nocona, Texas in 2017. This company has been making baseball gloves since 1934, and its business plan has historically emphasized buying raw materials in the United States, while employing highly skilled leather crafts people from Nocona who assemble each glove by hand ... strongly advocating, "MADE IN AMERICA".
Moon Rocks
Moon Rocks: Chambers, Tom R.: 9798696126524: Amazon.com: Books
Tom R. Chambers visited the Lunar Sample Laboratory Facility (LSLF, Building 31) at NASA (Houston, Texas) in 2016. He was a research analyst at the Lunar Receiving Laboratory (LRL, Building 37) during Project Apollo, 1969-1972.
China
China: Chambers, Tom R.: 9798696053561: Amazon.com: Books
Tom R. Chambers documented China via his student connections, 2003-2007. He taught Media/Communications, English, Digital/New Media Art, and Photography at Sheng Da College (Zhengzhou) and Zhaoqing University (Zhaoqing). His students were instrumental in providing introductions and translations so he could make photographs of the country and its people.
Budapest, Hungary (2006)
Budapest, Hungary (2006): Chambers, Tom R.: 9798695873108: Amazon.com: Books
Tom R. Chambers made these photographs of Budapest, Hungary when he was visiting a fellow artist. He documented the streets of the city and was struck by the amount of graffiti and tagging on public and private property. He states, “It is a shame that so much of this defaces old and wonderful architecture."
9/11
9/11: Chambers, Tom R.: 9798695291582: Amazon.com: Books
Tom R. Chambers was in South Korea September 11, 2001. He was upset that he was so far away from his country when this tragedy happened, and a sense of guilt set in. In 2015, he was able to make amends by traveling to and documenting the memorial and museum.
Route 66, Texas Panhandle (2016)
Route 66, Texas Panhandle (2016): Chambers, Tom R.: 9798694987950: Amazon.com: Books
Tom R. Chambers documented Route 66 in the Texas Panhandle in 2016. He recalls traveling with his parents on this portion of the highway and westward to California when he was a child in the 1950s. U.S. Route 66 (US 66, Route 66) in the state of Texas extended across the Texas Panhandle from its designation in 1926 to its decommissioning in 1985.
Southwest Of Rusape: The Mucharambeyi Connection
Ahmedabad, India (2006)
Ahmedabad, India (2006): Chambers, Tom R.: 9798694515474: Amazon.com: Books
Tom R. Chambers spent three weeks in Ahmedabad, India teaching a Digital/New Media Arts workshop for graduate students at the National Institute of Design. He also documented the streets in and around the city with the help of some of his students. They were instrumental in "opening doors" via introductions and translations so Chambers could make the photographs. The workshop culminated in the exhibition, NMA@NID.
Forgotten and For Sale
Forgotten and For Sale: Chambers, Tom R.: 9798694240840: Amazon.com: Books
Tom R. Chambers documents old photographs, in situ. They are “forgotten and for sale” in various antique shops in Texas (Hico, Georgetown, Brenham, Sealy). He states, "There is a lack of concern that prevails throughout the documentation. Family members (others) seem to have little regard for personal photo collections – visual histories that recall and validate genealogical connections, not to mention record historical moments in time."
Digital Suprematism
Tom R. Chambers is a Texan with a “Russian, Suprematist soul”. He has repeatedly introduced the modern trend of new media art to the masses. He has brought Minimalism to the pixel. In 2000, Chambers began to look at the pixel in the context of Abstraction and Minimalism.
Retro Providence: 1985-1990
Retro Providence: 1985-1990: Chambers, Tom R.: 9798692336293: Amazon.com: Books
Tom R. Chambers returned to Providence, Rhode Island to showcase a sampling of his coverage as Mayoral and City Photographer for Providence, 1985-1990. The exhibition comprises 60 prints of city activities and its people. The coverage over a six-year period is a direct result of a mayor's presence and activity throughout the environs of a city. It is assignment-based via a press secretary's office, City Hall.
Descendants 350
Descendants 350: Chambers, Tom R.: 9798690824808: Amazon.com: Books
This photo album of Descendants of many of the First Settlers of Rhode Island pays tribute to the trials and tribulations that their Ancestors were subjected to during the early to middle 1600s. It offers a unique look and study of the State's early history as it relates to images of Descendants (contemporaries) as icons or symbols to pay tribute to and talk about their Ancestors' (First Settlers') contributions through text extracted from The Genealogical Dictionary of Rhode Island (and other sources).
This contemporary approach resurrects the past through the present: discussion of Ancestral contributions to the State's development via historical text and visualization of their Descendants, today (1986), through documentary photography to bring forth those founding bloodlines, and to offer to the viewer a likeness or similarity of features between the Descendants and their Ancestors.
This unique coupling of present and past bloodlines makes this project special: Rhode Island's early history is referenced, and the Ancestors'/First Settlers' contributions in formulating the State's history are genetically perpetuated through today's Descendants of those First Families, our contemporaries and those individuals who are alive and interact with other residents of the State during our present time. This sense of presence or immediacy is the key factor that brings this project to the forefront for consideration and discussion.
The expression and posture of the Descendants within the images are essentially the same throughout the series of photographs to establish a common thread or connection, which indicates a unity of pride for their Ancestry. Even though the photographs can be viewed strictly as portraiture, they are also a collection of icons or symbols that presents itself through flesh objects (Descendants) as gifts of gratitude, respect and admiration for those Ancestors/First Settlers who founded and settled a new society based on freedom from religious persecution.
This project was funded by Providence 350, Inc. as a part of Rhode Island's 350th Anniversary Celebration, 1986. Chambers received a Proclamation from Edward DiPrete, Governor of Rhode Island.
The Pixel as Suprematist/Minimalist Art
During the latter part of 2000, Tom R. Chambers began to look at the pixel within the context of Suprematist/Minimalist art. He equated the pixel with the works of non-objective artists like Vasily Kandinsky, Barnett Newman, Mark Rothko, Ad Reinhardt, Kazimir Malevich, Piet Mondrian and others. They generated works to establish an abstract visual language of the sublime, pure color, geometric form, deep contemplation and metaphysical pursuit of the truth.
The Primordial Pixel
Primordial: constituting a beginning; giving origin to something derived or developed; original; elementary.
These "Pixelscapes" are similar to Color Field painting that emerged in New York City during the 1940s and 1950s. This movement places less emphasis on gesture, brushstrokes and action in favor of an overall consistency of form and process. In Color Field painting, color is freed from objective context, and it becomes the subject in itself (Themes in American Art: Abstraction, National Gallery of Art, Web, May 9, 2010).
By the late 1950s and early 1960s, young artists began to break away stylistically from Abstract Expressionism experimenting with new ways of making pictures and new ways of handling paint and color. In the early 1960s, several and various new movements in abstract painting were related to each other. Some of the new styles and movements that appeared in the early 1960s as responses to Abstract Expressionism were called: Washington Color School, Hard-edge painting, Geometric Abstraction, Minimalism, and Color Field (Smithsonian Museum Exhibits Color Field Painting, December 7, 2008).
Chambers' "Pixelscapes" - and his earlier works with the pixel - are an attempt at equating this picture element with the various aforementioned movements.
My Dear Malevich
These Pixelscapes were found within a photo of Kazimir Malevich (Ukranian-born artist, 1878-1935) via magnification, filter treatment (halftone) and isolation of the pixel(s) in Photoshop. Malevich founded the art movement, Suprematism in Moscow, 1913 as a parallel to Constructivism. Suprematism ("supremacy of forms") is a study in abstraction conceived in itself ... non-objective and not related to anything except geometric shapes and colors ... and a precursor to Minimalism.
He states, "Under Suprematism I understand the supremacy of pure feeling in creative art. To the Suprematist the visual phenomena of the objective world are, in themselves, meaningless; the significant thing is feeling, as such, quite apart from the environment in which it is called forth. I took refuge in the square form and exhibited a picture which consisted of nothing more than a black square on a white field. It is filled with the spirit of nonobjective sensation which pervades everything. This is no empty square, but rather the feeling of non-objectivity."
This homage is also a confirmation of Chambers' "Pixelscapes" as Minimalist Art and in keeping with Malevich's Suprematism ... the feeling of nonobjectivity ... the creation of a sense of bliss and wonder via abstraction. Chambers' action of looking within the Malevich photo to find the basic component(s) ... pixel(s) is the same action as Malevich looking within himself ... inside the objective world ... for a pure feeling in creative art to find his "Black Square", "Black Cross" and other Suprematist works.
And there's a mathematical parallel between Malevich's primitive square ("Black Square") ... divided into four, then divided into nine ("Black Cross") ... and Chambers' "Pixelscapes". The pixel is the most basic component of any computer graphic, and it can be represented by 1 bit (a 1 if the pixel is black, or a 0 if the pixel is white). And filters (tools [e.g., halftone]) in a graphics program like Photoshop produce changes by mathematically modifying pixel values based on the values of neighboring pixels.
So as Chambers mentions in his "Pixelscapes" article, "Malevich and those Minimalists who followed later would probably have had great appreciation for this basic and mathematical component ... the pixel." And beginning in 2000, his Pixelscapes were somewhat of a revelation for him when compared to the non-objective works of Malevich and other Minimalists generated many years before the pixel and Digital Revolution. It seemed that Chambers had managed to do what they had done through the simple process of magnification, treatment and isolation of the pixel(s).
Review by JD Jarvis, Art Critic/Artist and coauthor of Going Digital: The Practice and Vision of Digital Artists (ISBN 1-59200-918-2) (Note: This review was written for the first exhibition of "My Dear Malevich" at the Art Gallery, Fine Arts Department, Zhaoqing University, Zhaoqing, China (April 2 - 15, 2007.)
"Can an exhibition of art be both physical and virtual, a historical yet avant-garde, forward-looking homage with one foot in the current 21st century digital art scene and the other in the rich 20th century history of Modernist art? The answer is, yes, if you are Tom R. Chambers and your base of operations is the Fine Arts Department of Zhaoqing University in the Guangdong Province of China.
For several years now, Mr. Chambers has treated his students at Zhaoqing University and their peers at selected universities ranging from Wake Forest University, the University of Louisville, the Art Institute of Boston, the State Art Museum of Novosibirsk, Russia, Rensselaer Polytechnic in Troy, New York (among others), as well as, anyone with access to the web to a cross cultural mix of student digital art and photography. Based on themes from 'Self/Soul', 'Into the Future' or the color 'Red' these projects are brimming with culture and art. Chambers has infused his students with his own sense of wonder, introspection and a desire to examine and communicate.
Which brings us to one of Tom Chambers' own most recent and personal exhibitions entitled 'My Dear Malevich' on display from April 2 through 15 in the art gallery of Zhaoqing University. This is the physical/virtual part of this exhibit. Wherein we see on the web a presentation of what must be, in real-time and space, a very striking exhibit. Consisting of many, large-size, black and white prints of hard-edged geometric designs, the project is also an homage to the Russian artist who carried earlier Cubist work entirely into the abstract and non-representational. Kazimir Malevich founded the Suprematist art movement around 1913 and opened the door to true non-objectivity in modern art.
This exhibition expands inward (so to speak) from research into the progenitors of Minimalism, an artform in which Mr. Chambers has been experimenting for several years with his series of 'Pixelscapes' exhibitions. Utilizing the most basic unit of any computer graphic; the single pixel, his 'Pixelscapes' serve as colorful pathways into the purely metaphysical aspects of art which, by virtue of presenting so little, leads the viewer to so much in terms of their own emotional content.
With 'My Dear Malevich', Chambers describes for the viewer a process by which he travels (via magnification) into a digitized photograph of Malevich and discovers at the singular pixel level arrangements which echo back directly to Malevich's own totally abstract compositions. This process is such an apt metaphor for Malevich's own journey deep with himself, as well as, his discovery of the non-objective soul of art contained within the objective world as to constitute a form of visual poetry.
This visual poetry contains the ironic connection between Modernist philosophy which moved visual art from figurative representational pictures of the physical world into an expressive and emotional world of abstraction; and, the digital realm in which the purely abstract unit of one pixel off - one pixel on, has been utilized to reproduce once again, with breath taking accuracy the physical world. Now, Chambers' has shown a path by which this tool, which so often serves hyper-reality, is forced to reveal the abstract soul at its very core. Was Malevich thinking in "pixels" without knowledge of the term and even many decades before the fact of the technology, which utilizes this basic component? His association with Futurism might account for this sort of metaphysical connection. And, so it is that we have the aspect of this exhibition that straddles a whole century of art. From the earliest beginnings of Modern art to the latest developments in the tools by which the newest works are being made. The ground that is covered is immense, but the time between the two virtually disappears in this exhibit. It seems that with 'My Dear Malevich' it is not a matter of what is old (or new) being new (or old) again; but that what is 'old' and 'new' exists simultaneously. That which is 'gone' is also, at the very same time, ever-present."
Black Square Embellished
The glitch treatment is the embellishment of "Black Square" in each case, and it could be argued that it is also the defacement of the same. Is this act of changing the appearance or surface of "Black Square" for better or worse, or does it matter? Would Malevich disapprove of these digital renditions since he once stated, "There's nothing more after "Black Square?"
Things evolve, and opinions change, and Chambers considers "Black Square Embellished" an evolution of sorts ... a move from Malevich's Suprematism towards Neo-Suprematism. There are those out there who might even interpret these pieces as Anti-Suprematism.
Malevich's "Black Square" changed the interpretation of art ... "Black Square Embellished" changes the interpretation of "Black Square".
Suprematist Representations of Kazimir Malevich's Work Prior To "Black Square"
Digital reproductions of Kazimir Malevich's work are magnified to reveal pixel configurations that rival works in Suprematism, Abstraction, Minimalism, Geometric, and Color Field art movements. They are brought to the forefront via these early works to celebrate Malevich's latent and ultimate creativity which gave way to Suprematism with the display of "Black Square" and other works in 1915 as part of the Last Futurist Exhibition of Paintings 0,10.
Project Apollo for the Classroom
Amazon.com: Project Apollo for the Classroom (9781697360721): Chambers, Tom R.: Books
This "Project Apollo" photo book comprises images made by the astronauts. The book is for the classroom as a tool for greater appreciation of the Apollo era and manned Space exploration. Tom R. Chambers was a research analyst at the Lunar Receiving Laboratory during Project Apollo, 1969-1972.
Nocona - The Early Years
Nocona - The Early Years: Chambers, Mr. Tom R.: 9781799026990: Amazon.com: Books
This selection of photographs provided by the citizens and now residing in the Permanent Collection of the Tales 'N' Trails Museum shows the early years of the community of Nocona, Texas and surrounding areas. It puts a "face" and sometimes names to activities over a 100 years ago that were a formative influence.
The text is extracted from TSHA (Texas State Historical Association) and other sources to provide as accurate a narrative as possible to reflect the mores and living conditions of the time. The photographs are courtesy of: Bill Billings, Bill Crowe, Louie Labeau, Nell Ann McBroom, Doris Reed, Glenn and Marie Stouder, James Wallace, Clarice Whiteside, Rosemary Wingate, and Eddie Yetter.
The originals were scanned by Mike Storey. The restorations, poster layouts, and research (text) are by Tom R. Chambers. The research was edited and approved by Nell Ann McBroom (Director/Curator, Tales 'N' Trails Museum) and Max Brown (Historian). Nocona is Chambers' hometown.
Mattie Oline: Thoughts of a Grandmother
Mattie Oline: Thoughts of a Grandmother: Chambers, Mr. Tom R.: 9781797724478: Amazon.com: Books
This book is a tribute to Tom R. Chambers' grandmother, Mattie Oline (Battles) Meekins, 1899-1997. She kept a diary from 1948 through part of 1993. Chambers researched her entries over the years, and chose the ones that have significance for him and society. His grandmother rarely missed making a daily entry in her diary during 45-plus years - an astonishing 16,000-plus entries. Chambers was born in July of 1947, so her diaries were ongoing from when he was about six-months old through the age of 45. The entries are practical, heartfelt and country-bred.
Mother's 45s
Tom R. Chambers' mother passed away in 1983. "Mother's 45s" is a tribute. Chambers matched his mother's 45rpm records with the family photographs to create assemblages by using the hole spaces of the records to frame the images. He eventually arrived at a satisfactory combination, incorporating forty-five 45rpm records with images and a portion of each song onto an audio cassette to be used as a part of the exhibition. He faded-in/faded-out the songs and looped them for continuous play and in order with the wall display of the photo/record assemblages.
The photographs of his mother were sequenced according to the chronology of her life, which spanned almost 60 years. When the piece is viewed along with the songs, the sound stimulus pulls the viewer from record to record (1 - 45) and this process has some interesting points: the maturation process of his mother is seen; the man who came into her life and eventually became her husband and his father is seen; the maturation process of her only child (him) is seen; the change in hair and fashion styles is seen; the change in automobile models is seen; and various locales throughout the United States are seen.
This project (and its success) is the high point of Chambers' visual arts career for the simple reason that it involves and perpetuates his mother's existence.
The project was exhibited at Gallery One in Providence, Rhode Island (1990), and later picked up through national search to be shown as a part of the "Parents" exhibition at the Museum of Contemporary Art, Wright State University in Dayton, Ohio (1992).
Project Apollo: Missions 1 and 7-17
Project Apollo: Missions 1 and 7-17: Chambers, Mr. Tom R.: 9781797572536: Amazon.com: Books
Tom R. Chambers, former research analyst at the Lunar Receiving Laboratory during Project Apollo (1969-1972) has edited/enhanced NASA Apollo images, and included NASA text and quotes by the Astronauts to pay respect to the accomplishments of that era. The images are in sequence with the Apollo missions.
Project Apollo Dialogues, etc.
Project Apollo Dialogues, etc.: Chambers, Mr. Tom R.: 9781797677125: Amazon.com: Books
Tom R. Chambers, former research analyst at the Lunar Receiving Laboratory during Project Apollo (1969-1972) has edited/enhanced NASA Apollo images, and included NASA dialogue between the Astronauts and CAPCOM (Mission Control) to provide detailing of various activities and reactions. He has matched the dialogue as closely as possible with the time frame of the image. The etc. in the title includes additional images and quotes.
Project Apollo: Photographs and Interpretations
PROJECT APOLLO: Photographs and Interpretations: Chambers, Tom R.: 9798557697705: Amazon.com: Books
Tom R. Chambers, former research analyst at the Lunar Receiving Laboratory during Project Apollo (1969-1972) edits/enhances many of the photographs made by the Apollo astronauts. All of the images and some of the text are courtesy of NASA, and Chambers offers interpretations on certain photographs and their combinations, composites, cropping, and enlargements.
ABC Apollo
ABC Apollo: Chambers, Tom R.: 9798559651422: Amazon.com: Books
Tom R. Chambers creates an ABC book for children. He combines upper/lower case letters with photographs made by the Apollo astronauts. At the same time the child learns his letters, he will also gain an appreciation for Space exploration.
Apollo Alphabet
Apollo Alphabet: Chambers, Tom R.: 9798559085517: Amazon.com: Books
Tom R. Chambers puts this alphabet book together for the young learner to practice ABC's and become aware of Project Apollo and Space exploration. He uses simple words that relate to photographs made by the astronauts.
Apollo 50th Anniversaries: Missions 7-17
Apollo 50th Anniversaries: Missions 7-17: Chambers, Tom R.: 9798563488533: Amazon.com: Books
Tom R. Chambers created 50th Anniversary posters from photographs made by the astronauts for missions 7-17. He edited/enhanced the "raw" images, and utilized information/quotes courtesy of NASA to celebrate this extraordinary era of manned Space exploration. Chambers is a former research analyst at the Lunar Receiving Laboratory during Project Apollo, 1969-1972.
Lunar Samples: Macro Photography/Polarized Light Microscopy
Tom R. Chambers, former research analyst at the Lunar Receiving Laboratory (Biological Sciences Section) during Project Apollo (1969-1972) showcases a sampling of lunar rocks in the form of posters revealing their macro and micro characteristics. He edited and enhanced the “raw” Images. These images and information are courtesy of NASA.
Apollo Pics: Edited/Enhanced Photographs Made by the Apollo Astronauts
Tom R. Chambers (American Citizen [Texas]) combines President George Washington's "Farewell Address" with images of the President to reinforce Republicanism and his (Washington's) warning to the American people about the potential of political dangers.
A Full Vindication of the Measures of the Congress: Alexander Hamilton's defense of the actions of the First Continental Congress
A proposal for the creation of a supreme national government ... James Madison's Virginia Plan
If I was equal to the task ... John Adam’s Thoughts on Government
POOR RICHARD: Benjamin Franklin’s Apothegms from Poor Richard's Almanack
When in the course of human events ... Thomas Jefferson's Declaration of Independence
Four score and seven years ago … Abraham Lincoln's Gettysburg Address
SWOR:TMC
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