Seymour's interest in vernacular California, for the 1976 exhibition In Celebration of Ourselves, extended to decorated vehicles, gang graffiti, festivals and pageants. (From the SPACES Archive.)
Early contact sheet (c. 1953) of Rosen experimenting with angles, shapes, and contrast. It would become a signature later in his many images of the Watts Towers. (From the SPACES Archive.)
Two worlds collide. The vernacular surrealism of Grandma Prisbrey’s Bottle Village is aesthetically framed by the lens of Seymour Rosen. (From the SPACES Archive.)