David McCleery


WRITING

Recent Publications:

"The Drowned" a short story, The Flat Water Rises: An Anthology of Short Fiction by Emerging Nebraska Writers, December, 2018, Wayne State College Press

Grassland, a novel under the pen name Asa Hawk, 2018, A Slow Tempo Press. Available on Amazon in digital download or paperback.


Anthologies and Chapbooks:

The Flat Water Rises: An Anthology of Short Fiction by Emerging Nebraska Writers, December, 2018, Wayne State College Press

Nebraska Presence: An Anthology of Poetry, Oct 1, 2007 (edited by Greg Kosmicki and Mary K. Stillwell)

A Brief History of Sacred Places, Archaeology, and Grave Robbing in the Hill Family, an essay. Nebraska Q125 Project, in the anthology Nebraska Voices, co-sponsored by the Nebraska Humanities Council and The Nebraska Press Association, 1993

King, Warrior, Magician, Weenie, Contemporary Men’s Humor, (edited by Peter Sinclair), A Crossing Press, 1993

Gleanings, 1979

Forty Nebraska Poets, Best Cellar Press 1981. (edited by Greg Kuzma) 

Visual Language., with photographer Clay Walker, Chapbook, 1989, A Slow Tempo Press

Seven Poems, Chapbook, 1991, Sandhills Press

Edited Resource Guide to Six Nebraska Authors, Volumes One & Two, 1991. (with Kira Gale for the Nebraska Literature Festival, A Slow Tempo Press)

A Flowering: A Festival, editor of an anthology of the Nebraska Writing and Storytelling Festival, 1991

The Decade Dance: A Celebration of Poems, 1991 Sandhills Press (edited by Mark Sanders)

Other work has appeared over the years in these and other publications:

Kansas Quarterly, Blues Review Quarterly, The Funny Times, Nebraska Humanities Magazine, Whole Notes, Nebraska Center for the Book Newsletter, Pawnee Tribal Newsletter, Lincoln Journal Star.

Other Media:

Host of "Voices of the Plains" Series, Conversations with Nebraska Poets and Writers l989 - 1990, a Weekly Half-Hour Radio Program on KZUM 89.3 FM Lincoln, NE

Honors:

Recipient of the 1990 Literary Heritage Award, Lincoln Mayor’s Arts Award


Photographic Prints

Images are printed on Hahnemuhle Photo Rag 308 heavy art paper. All work is signed on the back.

If you’re interested in purchasing a print please contact me at 402-217-8170 or through the "contact" page of this website.

Small Prints – $65
Signed and Numbered (open edition)
8 X 8 Square

Medium Prints – $105

Signed and Numbered (open edition)
12 X 12 Square

Large Prints – $125
Signed and Numbered (open edition)
16 X 16 Square

Very Large Prints – $150
Signed and Numbered (open edition) 
20 X 20 Square

JULY 20, 2012 •  BY CORY MATTESON /LINCOLN JOURNAL STAR  DENTON -- Despite forcing himself out of bed at 5 a.m. or so, David McCleery didn’t have much of a plan for when he arrived at the Spring Creek Prairie Audubon Center on Thursday morning.  This trip was mostly a reconnaissance mission, he said as he carried a Hasselblad 501-cm camera mounted to a tripod over his shoulder and walked along the trail. “I don’t hunt, so, in a sense, it’s a way to do that,” he said.  McCleery started to get into photography only 2 1/2 years ago. “Really, I’m just trying to do photos that please myself,” he said. And if others enjoy them, he said, even better. Earlier this month, he received an email that confirmed that a panel of judges with ties to National Geographic, Time, the New York Times and a host of other international publications, were fond of his work. McCleery submitted a photo in the amateur landscape photography competition of the Paris-based Prix de la Photographie (Px3). The email told him he had won, and invited him to fly to France for the awards ceremony. He didn’t bother to look up the cost of a last-minute flight, but was nonetheless excited to have won.  McCleery shot the winning photo, which was of seven black-and-white trees on the horizon of the cloud-covered Nine-Mile Prairie in northwest Lincoln, last February. He entered just the one photo, compared to the photographers who placed silver and bronze, who each submitted multiple shots of their subjects. It was not lost on him that his stark interpretation of the still Nebraska plains somehow bested the silver-medal subject, the Matterhorn. “You can go right to the edge of Lincoln and take a photograph that’s appreciated,” he said.  So far, he has done them with considerable limitations. He shoots with black-and-white film only, with one lens (an 80 millimeter) and develops them in a darkroom at his house. He’s only begun to experiment with a second camera, of the handmade pinhole variety, which is even more primitive than his first.  “It’s a way to really slow down the process,” he said, and he’s OK with slow. He ventured to Nine-Mile Prairie five times before capturing the shot he wanted. He took his favorite photograph, an image of the Roca grain elevator, after it caught his eye on crack-of-dawn drives. One day he decided to set up his camera across from it and take a 3 1/2-minute long exposure of it at 4 a.m. “It’s as lovely as anything you can find in the world,” he said.

JULY 20, 2012 •

BY CORY MATTESON /LINCOLN JOURNAL STAR

DENTON -- Despite forcing himself out of bed at 5 a.m. or so, David McCleery didn’t have much of a plan for when he arrived at the Spring Creek Prairie Audubon Center on Thursday morning.

This trip was mostly a reconnaissance mission, he said as he carried a Hasselblad 501-cm camera mounted to a tripod over his shoulder and walked along the trail. “I don’t hunt, so, in a sense, it’s a way to do that,” he said.

McCleery started to get into photography only 2 1/2 years ago. “Really, I’m just trying to do photos that please myself,” he said. And if others enjoy them, he said, even better. Earlier this month, he received an email that confirmed that a panel of judges with ties to National Geographic, Time, the New York Times and a host of other international publications, were fond of his work. McCleery submitted a photo in the amateur landscape photography competition of the Paris-based Prix de la Photographie (Px3). The email told him he had won, and invited him to fly to France for the awards ceremony. He didn’t bother to look up the cost of a last-minute flight, but was nonetheless excited to have won.

McCleery shot the winning photo, which was of seven black-and-white trees on the horizon of the cloud-covered Nine-Mile Prairie in northwest Lincoln, last February. He entered just the one photo, compared to the photographers who placed silver and bronze, who each submitted multiple shots of their subjects. It was not lost on him that his stark interpretation of the still Nebraska plains somehow bested the silver-medal subject, the Matterhorn. “You can go right to the edge of Lincoln and take a photograph that’s appreciated,” he said.

So far, he has done them with considerable limitations. He shoots with black-and-white film only, with one lens (an 80 millimeter) and develops them in a darkroom at his house. He’s only begun to experiment with a second camera, of the handmade pinhole variety, which is even more primitive than his first.

“It’s a way to really slow down the process,” he said, and he’s OK with slow. He ventured to Nine-Mile Prairie five times before capturing the shot he wanted. He took his favorite photograph, an image of the Roca grain elevator, after it caught his eye on crack-of-dawn drives. One day he decided to set up his camera across from it and take a 3 1/2-minute long exposure of it at 4 a.m. “It’s as lovely as anything you can find in the world,” he said.

PHOTOGRAPHY

Solo Exhibitions:

Forthcoming:  With support from the Nebraska Arts Council, "Summer Abandoned, An Essay and An Exhibition", will be presented in the State of Nebraska Governor's Residence Gallery, Lincoln, Nebraska.

2014     Goshen Art House, Goshen, Indiana, in conjunction with the independent award-winning documentary film  "Medora."

2013      Fred Simon Gallery at the Nebraska Arts Council, Omaha, Nebraska
2012     "Close Proximity" County-City Building, Lincoln, Nebraska
              
Group Exhibitions: 
2018     The Willa Cather Foundation, Red Cloud Opera House Gallery, Red Cloud, Nebraska

2016      The Willa Cather Foundation, Red Cloud Opera House Gallery, Red Cloud, Nebraska

2015     The Willa Cather Foundation, Red Cloud Opera House Gallery, Red Cloud, Nebraska

2013     The Willa Cather Foundation, Red Cloud Opera House Gallery, Red Cloud, Nebraska

2012     NVAL International Juried Exhibition, Carter House Gallery, Redding California

Awards:
2012 Gold Medal Fine Art Landscape, Prix de la Photographie, Paris (Paris Photo Prize)

2012 IPA International Photography Awards, Honorable Mention, Fine Art, Landscapes

Album Cover/CD Jewel Case  Photography:

2018   Migrant Tales, the fourth release from the UK folk-rock band The Nelson Brothers

Permanent Collections:

Willa Cather Foundation Art Collection

Publications:

Summer 2018             Midwestern Gothic Summer 2018

February 2018             Midwestern Gothic Winter 2018

November 2017          Willa Cather Review Fall 2017

August 2017               Midwestern Gothic Summer 2017

February 2017             Midwestern Gothic Winter 2017

February 2012             Px3 (Paris Photo Prize) Annual publication of awarded photographs

Book Cover:

2018    Grassland, a novel by Asa Hawk, A Slow Tempo Press


I am happy to discuss creating prints on different surfaces and in different sizes when working in collaboration with publishers, musicians, art consultants, architects, and interior designers.

To acquire about exhibit or license the images, or to discuss collaborating on upcoming projects, contact the artist directly.

Thank You, Dave McCleery


 Why shoot film?

There is the tactile feeling of craft to the process of shooting black and white film; the action of loading medium format film into a camera, hearing the shutter fire, the scent of darkroom chemicals.  There are other pleasures too; the reading of the light, setting the aperture and shutter, taking over an hour to make twelve exposures, being outside and looking closely at the world.  And when that part is finished, letting the film rest in their paper cocoons and sit forgotten, sometimes for weeks, until you go into the dark where the film is developed.  The thin negatives, as transparent as the wings of a cicada, are held up to the light.  Sometimes you are surprised by what you find, often disappointed.  That’s a part of it.

Half my work is comprised of images using the sharp lens of a Hasselblad.  But as of late I find myself reaching for primitive handmade pinhole and historic medium format cameras.  I’ve gotten somewhat adept at altering cameras to produce dream-like visions entirely in-camera.  These images feel like the most personal and purest form of photography I've attempted.  Pinhole and altered cameras create photographs less real, more dream-laden, than photographs produced by more advanced technological means.  The images seek to be both intimate and introspective in their depiction of objects and landscapes.  They are not always clean and focused.  These images are flawed in some of the same manner as dreams or memories.  They are marred and blemished, they have blurred and undefined areas, they drift in and out of awareness and clarity.  I’ve been leaving the film edge of the negative intact on many images to remind the viewer that they are analog-based and there is a limit to the information available. I am excited about where my continued exploration of film photography will lead as I avidly pursue an idiosyncratic and alternative process to create a deeply personal visual landscape.