2023 saw the passing of two notable contributors to Colorado’s history of photography. Drex Brooks (1952-2023) documented American massacre sites in a series titled Sweet Medicine, published by UNM Press in 1995. Sandy Hume was one of Colorado’s most important photography curators of the 1970s and 80s. Hume (born Richard Paul Hume in 1946) studied photography with Charlie Roitz and Gary Metz at CU Boulder (MFA 1975). His thesis project was a wry documentation of Denver’s National Western Stock Show that was published as Western Man in 1980. I hope to publish my interview with Drex in the future; for now, I am publishing an edited version of a phone interview I conducted with Sandy on June 8, 2017. Sadly, we never met.
Hume’s curatorial efforts are defined by landscape, scale, and ambition. In January 1977, he organized an exhibition of contemporary works at three Boulder venues that featured works by many landscape artists—Robert Adams, Tom Breeden, Richard van Pelt, Andrea Jennison, Ron Wohlauer, and others—who would reappear that September in The Great West.
An environmental project titled From This Land (organized with Barbara Houghton) followed in 1978. Four years later, in an effort to “bring American photography to the people of Colorado,” he curated American Photography Today, which integrated familiar regional names with nationally recognized photographers like Mary Ellen Mark, Judy Dater, Joe Deal, Jo Ann Callis, Betty Hahn, Joyce Neimanas, and Robert Heinecken. The exhibition was shown at CU Denver’s Emmanuel Gallery. His curatorial swan song, Arboretum: The Tree as Symbol, Form and Object in American Photography (1983), presented 600 photographs by ninety-two artists in three galleries—Emmanuel, University of Denver’s Shwayder (DU), and Boulder Center for Visual Arts.
Hume served as a Republican on the State General Assembly for many years before turning to real estate in Boulder. He passed away on June 20, 2023.
Opening reception for The Great West at CU Boulder, September 1977. L-R: Sandy Hume, Ellen Manchester, William Clift, Beaumont Newhall, Gary Metz. Photographer unidentified. Courtesy of Ellen Manchester.
Rupert Jenkins: Can we go back to the beginning of you studying at CU Boulder? How did your photo life take shape from there?
Sandy Hume: I’m a native of Boulder, born and raised and grew up with the university being a strong presence in my life, even though my parents did not work at the university and there was no degree holder in my family until me. … I just went to CU Boulder normally and then I was subjected to the draft and Vietnam. I volunteered for the U.S. Army Reserves and spent six years on reserve duty. When I got back from my reserve duty, I somewhat absent mindedly took a drawing class up at CU Boulder. … I was actually admitted to the MFA program at CU Boulder in drawing and painting, not in photography, but during the program I applied for the MFA program and inexplicably got in. I took my first photo class from Charlie Roitz and it was good, really solid. Charlie knew what he was doing; he handled the class well, and I just took off like a shot. Then Charlie hired Gary Metz.
I was just working and doing photography and trying to figure out whether going to graduate school for an MFA was what I really wanted to do, because I was really wanting to run for the State legislature. … I interned at the State legislature [in Denver] while I was going to graduate school. I would commute down there on the bus in the morning and take classes at night at the art department, never telling anybody on either side what I was doing. I essentially led a double life because I never ever told anybody in the art department what I was doing in politics. I would have been potentially ostracized, just run out of the gate because I was interested in politics … and because I was a Republican. When I was in Denver and commuting on the bus, I made my first visit to the National Western Stock show.
RJ: Which was the start of Western Man. How many years of work did that represent?
SH: Well, I started working at the stock show in 1971 or ‘72, maybe 1970, and then I pretty much started going to every stock show through the ‘70s and included work from the most recent stock show in the book and exhibition, that we did at Reed Estabrook’s school. Iowa State University, I think was where Reed was then. Reed was helpful with Western Man – because he agreed to do the exhibition and try to sell some of the books without getting much out of it himself, as I recall.
RJ: Your Western Man photography was kind of quirky – Garry Winogrand-ish. I don’t associate that style with your instructor, Gary Metz.
SH: Well, Gary Metz could handle anything that came his way. Not only was he accepting of anybody’s good work, but he found a way to let you know that there were 50 or 75 things that you might want to think about while you were doing it. There was Gary Metz and there was everybody else. It’s hard to describe how crucial he was to the lives of working artists, but he provided a framework for thinking and intellectual inquiry that was and remains unsurpassed in my life. Whether in art photography or in art in general or in politics. He was the best-read person I knew and the kindest person I could have asked for, the most generous person you could have found through telling you what he thought was going on in the world of photography, and pretty much anything else you wanted to ask about.
RJ: He was a graduate of Visual Studies Workshop, I think.
SH: Right, with Uncle Nate, god rest his soul. Nate came to Boulder a lot – he was at the conference for The Great West I mentioned, and he came out to this seminar thing I did with Garry Winogrand, Lee Friedlander, and Linda Connor – I got tapes by the way from that – old cassette tapes – I interviewed everybody.
RJ: Why did you want to do The Great West?
SH: Well, it seemed like something that hadn’t been done, as far as I was aware of it.
RJ: Right after The Great West you and Barbara Houghton organized From This Land (1978), which tackled the environmental consequences of mining.
SH: From This Land was another project that I thought was worth doing. Barbara and I probably have different memories of that – on balance I think it was a huge mistake and a distraction for me. I was still leading my double life. I was in the General Assembly; my daughter was growing up and I wanted to spend time with her. The whole thing.
RJ: You regrouped, though, and curated two mammoth undertakings: American Photography Today (1982) and Arboretum (1983).
Jim Alinder: Ansel's Afterimage will haunt the future photographers of Yosemite. http://www.jimalinder.com/portfolios/portraits.htm
SH: American Photography Today was my effort to bring American photography to the people of Colorado. There wasn’t much going on at DAM at the time – I just thought it would be good to bring in everything we could and see what was going on. Help students and faculty see what was happening. The first thing when I think about Arboretum is Jim Alinder’s photo of Ansel Adams that I used for the poster. We sent one out to all the photographers [and] Eliot Porter called me up and started ragging on me, totally getting up in my face about “how dare I besmirch the reputation of Ansel Adams” by including an out of focus photograph of Ansel Adams standing in front of a bush [laughs]. I didn’t think it was my place to tell him that not only was the photograph a wonderful photograph, but to me it was part of the insurgency of the photo itself. I mean it was a show about trees and there wasn’t a tree to be found in the photograph. But there was a symbol of a tree – Ansel Adams – and in the legend of photography there isn’t any more important element of semiology than the idea of Ansel Adams photographing trees and making the most of it, in the kind of decorative view of photography that he had. Now I didn’t say that to Eliot either because if I’d used the word ‘decorative’ he’d probably have sent out a hit squad on me.
RJ: Did you miss doing those big projects when you left photography?
SH: Oh god no. They were a horrible, horrible sacrifice. I hated every minute of it, but I felt compelled to do it out of respect for the medium.
RJ: Did you enjoy teaching?
SH: Oh god yeah, it was great.
RJ: You were teaching at UC Denver when you did From This Land. You taught at CU as well?
SH: One year. And in summer school I think. They used to have – they may still do for all I know – a rotating position that they would give to one of the graduating graduate students every year, so in 1973 or whenever I got my degree, I was the first photographer to be given that position for one year on the faculty. ... It was kind of unusual because the rest of the faculty didn’t think photography was art [laughs]. While I was on the faculty for that one year I was Andy Sweet’s graduate committee chair. Have the names Gary Sweet and Andy Monroe come up yet?
RJ: No, they haven’t.
SH: Well, you don’t want to say you know what’s going on in Colorado photography if you don’t include those two laddies. Andy’s dead but Gary’s alive and well in Florida. He was there with Gary Metz and is a very good photographer himself. Has quite a record.
RJ: Did you work with Alex Sweetman at CU?
SH: I met Alex at an SPE conference in Minneapolis. Gary and I and I think two other people drove to Minneapolis – I think Dave Freund was with us. Gary Metz was so Gary Metz on that road trip. He and I drove a lot of places together. I have another anecdote – if you publish anything about Gary Metz, which you really should – I think he’s at the center of everything. That’s not an overstatement in the slightest. He emanated such good will, such force of will, and such an unbounded capacity to generate intellectual form, that anybody who says he isn’t still alive here in Colorado is out of their mind. He influenced everything and it’s still going on.
RJ: When you say GM was GM driving to Minneapolis, was he philosophizing all the way?
SH: Of course, that and having to stop at every Howard Johnson’s on the way to eat fried clams.
