March 1 - May 2, 2013
January 6 - March 2, 2017
My artwork is based on environmental science and my interest in the impact of human refuse on ecology and the global environment. Photographs of landscapes often depict a pristine environment that is devoid of any human imprint. However, the reality is that byproducts of human consumption such as plastics and other refined materials are omnipresent. Using plastics and other synthetic materials to create representations of natural landscapes, my photographs examine this conflict and illustrate how refuse is in many ways here to stay as a presence in the landscape, perhaps forever.
I work in a studio to set up each scene, and often include appropriated images taken from various media sources in my setups. By working indoors with imagery drawn from image culture, I hope to emphasize ways the idea of nature is often formulated at a distance from the processes of the natural world and fictionalized through technology and the conventions of photography. -Allison Grant
ABOUT THE ARTIST: Allison Grant is a Chicago based artist, educator, and curator. She received an MFA in Photography from Columbia College Chicago in 2009 and a BFA in Media Studies from the Columbus College of Art and Design in 2004. Works by Grant have been widely exhibited at venues including the DePaul Art Museum, Azimuth Projects, Packer Schopf Gallery, and the Weston Art Gallery, among others. Her works are held in collections at DePaul Art Museum, Cincinnati Children’s Hospital, Columbia College Chicago, and 4-Culture.
November 4 - December 30, 2016
Still Lives and Broken Land
Born of ill-informed misconceptions about the motives behind reenactments of the American Civil War during the 150th anniversary, my interest developed in the mentality of the weekend actors who caravan a web of routes to re-perform the actions of war on surrogate battlefields. My initial contact with a re-enactor involved driving through woods on a golf cart, while the driver wept and recounted the stories of all his ancestors killed or wounded in conflicts dating to the Civil War. I have since learned that the motivations compelling re-enactors are incalculably complex, but generally address themselves to the preservation of history and appropriate honor for the fallen.
My deeper curiosity and exploration began after hearing a re-enactor say "I don't die anymore." I learned that he invoked this privilege on the strength of his years of service in the community. But the idea of controlling one's death, choosing when and where to perform and re-perform one's demise, says something powerful about our relation to historical representation—about our need for it, and about its conditions and limitations. These portraits provide a sense of the diversity of actors existing in this community, many of whom devote their lives to this performance, and strive to immortalize them in a fabricated state of tranquility as they hover above the ground they fight for.
The idea of history repeating itself generally means that recognizing mistakes of the past prevents their recurrence. Current political and cultural polarization in the United States seems to have blinded us to the effects of our terrible historical schisms—divisions that led to the horrific and devastating events of the American Civil War and which, having not been recognized and resolved, seem determined to repeat themselves. The current political divide in this country is not dissimilar to that of mid-nineteenth-century America. And once again, political leaders today, as before, appear incapable of lasting and effective resolutions.
Perspectives on the Civil War and contemporary culture are many and are deeply engrained in our heritage. Prying open and examining viewpoints objectively is exceedingly difficult, but it is nevertheless an essential responsibility for all citizens if we are to recover any possibility of cultural and political cohesion. My goals are to create landscapes that come alive with the acts of war, and cause, at least, contemplation of the nature of being American, to allow understanding, communication, and cooperation with fellow citizens. These photographs are an attempt to preserve American history, not to relish it, but recognize its cyclical nature and to derail that seemingly inevitable tendency for repetition. - Eliot Dudik
ABOUT THE ARTIST: Eliot Dudik is a photographic artist, educator, and bookmaker exploring the connection between culture, history, and politics. His first monograph, ROAD ENDS IN WATER, was published in 2010. In 2012, Dudik was named one of PDN’s 30 New and Emerging Photographers to Watch and one of Oxford American Magazine’s 100 New Superstars of Southern Art. He was awarded the PhotoNOLA Review Prize in 2014 for his Broken Land and Still Lives portfolio, resulting in a book publication and solo exhibition. Broken Land was most recently published as a feature in the July/August 2015 issue of Smithsonian Magazine. FLASH FORWARD 2015 chose the series for publication and exhibition in Toronto and Boston.
His photographs have been installed in group and solo exhibitions across the United States and Canada including Dishman Art Museum (TX), Morris Museum of Art (GA), Masur Museum of Art (LA), Muscarelle Museum of Art (VA), Cassilhaus (NC), Annenberg Space for Photography (CA), Columbia Museum of Art (SC), Southeast Museum of Photography (FL), Welch Gallery at Georgia State University (GA), Rebecca Randall Bryan Gallery at Coastal Carolina University (SC), Staniar Gallery at Washington and Lee University (VA), New Orleans Photo Alliance (LA), Carte Blanche Gallery (CA), Davis Gallery at the Mayo Clinic in Jacksonville (FL), Carlson Gallery at the University of La Verne (CA), and the Division Gallery in Toronto, Canada, for examples. Upcoming solo exhibitions also include the Griffin Museum of Photography (MA) and the Center for Fine Art Photography (CO).
Eliot taught photography at the University of South Carolina from 2011 to 2014 before founding the photography program within the Department of Art and Art History at the College of William & Mary where he is currently teaching and directing the Andrews Gallery at the college.
September 2 - November 3, 2016
For the Revolution
The area of the original thirteen colonies of the United State of America extends from Maine to Georgia and from the Appalachian Mountains to the Atlantic Ocean. Within this historic boundary, the American Revolution was staged and ideological notions of freedom and liberty were first developed. Since 2012, I have embarked on numerous trips through this historic area searching for instances that illustrate how contentious notions of freedom and liberty are represented in the everyday actions of individuals and the many ways those ideals are embedded within the landscape. -Keith Yahrling
ABOUT THE ARTIST: Keith Yahrling is an artist living in Philadelphia. He received his MFA in Photography from the Rhode Island School of Design in 2013. Yahrling was selected as one of PDN’s 30: New & Emerging Photographers to Watch for 2015. He has recently exhibited work at the Aperture Gallery in New York City, the Perkins Center for the Arts in Collingswood, NJ, NAPOLEON Gallery in Philadelphia and the Annenberg Space for Photography. Work from his ongoing series, For the Revolution was featured in two different print magazines, Mossless Issue Three: The United
States (2003-2013) and Aint-Bad Magazine, The American South.
July 1 - September 1, 2016
Pine Tree Ballads
In the early 1900s, my great-grandfather settled on an island off the coast of Maine because it resembled his homeland of Sweden. As a result, my family has returned to Gray's Point each summer for over a century. Throughout his life he shared exquisitely detailed accounts of the early settlers of the New England apple orchard farm that included such characters as a one-legged ship cook, a widowed schoolteacher, and an ingenious Native American blacksmith. The tales were an intricate mix of facts and lore that fueled my imagination and often had the power to transform floorboard creaks and shadows into enduring ancestral spirits. My decade long photographic project Pine Tree Ballads is a poetic memoir that embraces this spirit of magic realism.
At Gray’s Point, stories have arisen from the mouths of both the young and old that over time have become an ever present narration of the landscape. Each generation thrives on creating and performing anecdotes, legends, and rumors that contribute to an evolving mythology interweaving past and present. The tales transform the shore, ladders, pine trees, boots, granite, stoves, stars, and gusting winds from merely natural and physical elements of the environment into the symbolic essence of my family. This deeply personal photographic sequence is my folktale; a story infused with both imagination and reality which, in most instances, are the true ingredients of history.
Pine Tree Ballads is my attempt to advance a new “docu-literary” photographic aesthetic that celebrates and fully exploits the duplicitous nature of photography/text to be simultaneously interpreted as both fact and fiction. By interweaving various modes of analog and digital production, intentionally using titles as narrative subtext, and adopting an intuitive poststructuralist style of representation, the project explores the emotive, conditional, and material constructs of history, culture, personal identity, memory, and folklore. The series is made with a variety of photo-based processes and consists of over 100 Archival Pigment prints in sizes ranging from 8"x10" to 36"x40” and has been exhibited in several iterations such as traditional photography, video, and installation.
ABOUT THE ARTIST: Paul Thulin’s photographs have been exhibited nationally and internationally at United Photo Industries, NYC; Miami Scope; Candela Gallery, Richmond Va.; Chicago Art Fair; PPAC, Philadelphia; AAC, Washington DC; Toronto Art Fair, Foto Gallery, Barcelona; the C4FAP Portfolio Showcase, Colorado; Mt. Rokko Photography Festival, Japan; FIF_BH- International Festival of Photography, Brazil; and the Noordelicht Photo Festival, The Netherlands. Thulin has been the recipient of a variety of photographic prizes and awards including a 2001 TPI National Graduate Fellowship, a 2006 Virginia Commission for the Arts Artist Fellowship, 2013 Conveyor Magazine Exhibition Grant, 2015 Hariban Award Honorable Mention, 2015 Critical Mass Top 50, and the 2015 Lensculture Emerging Talent Grant. Most recently, his series Pine Tree Ballads was one of ten emerging talent portfolios selected for GUP magazine’s (NLD) tenth anniversary issue. He currently lives in Richmond, Virginia and works as the Graduate Director of the Department of Photography and Film at Virginia Commonwealth University.
May 6 - June 30, 2016
When the Landscape is Quiet Again: North Dakota's Oil Boom
“We do not want to halt progress. We do not plan to be selfish and say ‘North Dakota will not share its energy resource.’ No, we simply want to insure the most efficient and environmentally sound method of utilizing our precious resources for the benefit of the broadest number of people possible. And when we are through with that and the landscape is quiet again…let those who follow and repopulate the land be able to say, our grandparents did their job well. The land is as good and in some cases better than before.”
-North Dakota Governor Art Link, 1973
Since 2012, I have been documenting the legacy of oil booms and busts in my home state and how the region is changing again today due to horizontal drilling and hydraulic fracturing. My photographs bear witness to the transformation of western North Dakota’s quiet agrarian landscape into an industrial zone dotted with well sites, criss-crossed by pipelines, lit up by natural gas flares, and contaminated by oil and saltwater spills. The Bakken oil field is currently pumping out over a million barrels per day from over 13,000 active wells, making North Dakota the No. 2 oil-producing state in the nation behind Texas.
These activities have brought a steady stream of revenue, people, and jobs to this economically depressed region. Everyone wants a piece of the action, including my family: since the start of the boom we have been profiting from oil wells drilled on land that my great-grandparents homesteaded in 1912. Although many other families are doing the same, I am still torn: what are the hidden costs of this prosperity?
Experts originally anticipated that the Bakken Boom would continue for several decades, but falling oil prices are triggering another bust—the third to happen in the state. I examine the scars from North Dakota’s prior boom-and-bust cycles and the new wounds being inflicted upon my home because the status quo must change: something needs to be left for the next generation, not the next quarter. - Sarah Christianson
This project was funded by an Individual Artist Commission grant of the San Francisco Arts Commission and an Investing in Artists grant from the Center for Cultural Innovation. Additional support was provided by RayKo Photo Center and in-the-field assistance was given by the Dakota Resource Council, the Killdeer Mountain Alliance, the Northwest Landowners Association, and numerous other individuals.
ABOUT THE ARTIST: Sarah Christianson (b. 1982) grew up on a four-generation family farm in the heart of eastern North Dakota’s Red River Valley (an hour north of Fargo). Immersed in that vast expanse of the Great Plains, she developed a strong affinity for its landscape. This connection to place has had a profound effect on her work: despite moving to San Francisco in 2009, she continues to document the subtleties and nuances of the Midwestern landscape and experience through long-term projects.
Christianson earned an MFA in photography from the University of Minnesota. Her work has been exhibited internationally and can be found in the collections of Duke University, the National Museum of Photography in Copenhagen, and several institutions in the Midwest. She has received grants from the San Francisco Arts Commission and the Center for Cultural Innovation. Christianson’s first book, Homeplace (Daylight Books), documents the history and uncertain future of her family’s farm by interweaving her images with old snapshots and historical documents culled from her personal archive. Throughout her work, she uses her personal experiences and connection to the land to evoke a strong sense of place, history, and time.
March 4 - May 5, 2016
The landscape of South Central Ohio and neighboring states of West Virginia, Kentucky and Indiana was the spiritual and social epicenter of the Native world nearly 2,000 years ago. The entire area was deemed sacred by ancient indigenous cultures and continues to be an important place for many modern American Indian tribes. I spent the first 25 years of my life in this area. It is my geographical and metaphysical "home". However, I grew up without any teaching, or knowledge of the lands previous inhabitants, and never considered the spiritual power of the place.
In 2007 I moved back to the Ohio River Valley region after spending nine years in the Northwest. Shortly after moving, there were protests taking place on a busy street corner less than a mile from our house. The protesters were objecting to the new Suncrest Towne Center development, which was being built on a sacred burial ground and village site of the Monongahela tribe. I felt compelled to document the site and the resulting photograph inspired a project that would forever change the way I viewed the landscape of my home.
Combining extensive research of historical archives, maps and contemporary satellite imagery, as well as direct collaboration with archaeologists, historians and scholars I have been able to locate and photograph numerous sites of Native American history in the regional area. The sites I choose to visit and photograph are literal and metaphorical vanishing points. They are places in the landscape where two lines, or cultures, converge. They are also actual archaeological sites where the sparse evidence of a culture's once vibrant existence has all but disappeared. While visiting these sites, I reflect on the monuments our modern culture will leave behind and what the archaeological evidence of our modern civilization reveals about our time on Earth.
The Vanishing Points project was recently selected as a Finalist in Photolucida'sCritical Mass competition and featured on: Medium's Vantage, NPR's West Virginia Morning, Looking at Appalachia, Humble Arts Foundation, Fototazo, Mossless, Light Leaked, Eyes on the South, Ain't Bad Magazine, Don't Take Pictures and Prism Magazine.
This project is presented with financial assistance from the Colonel Eugene E. Myers Foundation, West Virginia Division of Culture and History, and the National Endowment for the Arts, with approval from the West Virginia Commission on the Arts. - Michael Sherwin
ABOUT THE ARTIST: Michael Sherwin is an artist currently based in the Appalachian mountains of northern West Virginia. From an early age he found inspiration in the phenomena of the physical world and has spent most of this life exploring and seeking wild places, including nine years in the American West. Using the mediums of photography, video and installation, his work reflects on the experience of observing nature through the lenses of science and popular culture. He has won numerous grants and awards for his work and has exhibited widely, including recent shows at the Clay Center for Arts and Sciences in Charleston, WV, Huntington Museum of Art in Huntington, WV, Morris Museum of Art in Augusta, GA, CEPA Gallery in Buffalo, NY and the Atlanta Contemporary Arts Center in Atlanta, GA. Reviews and reproductions of this work have been featured in Art Papers magazine, Oxford American magazine, Prism magazine, Don't Take Pictures magazine and Aint-Bad magazine, among others. He has lectured extensively about his work at numerous universities and conferences across the nation. Sherwin earned an MFA from the University of Oregon in 2004, and a BFA from The Ohio State University in 1999. Currently, he is an Associate Professor of Art in the School of Art and Design at West Virginia University. He is also an active and participating member of the Society for Photographic Education and the lead instructor for WVU's Jackson Hole Photography Workshop.
January 8 - March 3, 2016
Canary in a Coalmine and Jockey Portraits
In our first international exhibition, Workspace Gallery partners with Kansas City's Snapshot Gallery to bring together two bodies of work by English photographer Spencer Murphy.
In "Canary in a Coalmine," he explores mining communities around Nottingham, UK. In the past half century mining in the United Kingdom has been in a constant state of flux from closures to strikes to industrial accidents but still the community endures. Centred around the Thoresby Colliery, these images of miners, antique mining equipment and mine sites are a celebration of coal mining as it exists now, a monument to a time past and a reflection of a community that, despite the uncertainty, has remained strong and passionate about a trade that has been passed-on through the generations.
While shooting a series of jump jockeys' portraits for Channel Four's The Original Extreme Sport campaign, he was able to photograph Katie Walsh. He says: 'I was keen to include Katie, I wanted to show both her femininity and the toughness of spirit she requires to compete against the best riders in one of the most demanding disciplines in horse racing. I chose to shoot the series on large format film, to give the images a depth and timelessness that I think would have been hard to achieve on a digital camera'. While the series includes a number of portraits, the one of Walsh included in this exhibition and above, won the National Portrait Gallery’s prestigious Taylor Wessing Portrait Prize in 2013.
ABOUT THE ARTIST: Raised in relative isolation in the Kentish countryside, miles from the nearest shop or school, Spencer often found himself with only his imagination for company and the surrounding woodland as his playground. It was a combination of this imagination and an early discovery of his mother’s back issues of Life and National Geographic that sparked an early enthusiasm for photography. He studied at the Kent Institute of Art and Design before getting a BA in photography at Falmouth College of Arts. Spencer now lives and works in London, dividing his time between creating his own artwork, and taking on photographic commissions. He was named as one of the Hyeres Festival’s emerging photographers of 2008. In 2013 Spencer won First Place in the National Portrait Gallery’s prestigious Taylor Wessing Portrait Prize, having been included in the exhibition 6 times between 2006 and 2012. His work is now held in the National Portrait Gallery's permanent collection. He has contributed to many magazines, including The Guardian Weekend, The Telegraph Magazine, Time, Monocle and Wallpaper. His portraits have also appeared in such publications as Baku Magazine, Dazed & Confused, GQ and Rolling Stone. His work has been exhibited throughout Europe and North America, including a 2015 exhibition at Snapshot Gallery in Kansas City, Missouri.
November 6, 2015 - January 7, 2016
The Shepherd's Daughter
My work is deeply rooted in my family history.
After the death of my mother when I was eleven years old, I became increasingly curious about notions of family, memory, and mortality.
I grew up with my father: an avid hunter, archery champion, and former hunting guide in the Alaskan wilderness. Before my father, my grandmother was a hunter and before that my great-grandmother, and long before that the stars made up constellations that told stories of the greatest hunts. In The Shepherd's Daughter, the nuances of hunting and the rugged northern Michigan landscape of my childhood are woven with narratives of memory, mythology, time and impermanence. - Clare Benson
ABOUT THE ARTIST: Clare Benson is a photographer and interdisciplinary artist whose work centers around themes of family history and memory as she weaves in elements of nature, science, and mythology. The trajectory of her creative practice has been highly influenced by her experience growing up in northern Michigan, as well as her time living and working abroad in places like Slovakia and northern Sweden. Most recently, she spent the past year working with scientists at the Swedish Institute of Space Physics, under the auspices of a Fulbright Fellowship. She is the recipient of numerous other awards and honors including the Joyce Elaine Grant Solo Show Award, PDN Emerging Photographer, and First Place in the 2014 LensCulture Portrait Awards. Benson received her MFA from University of Arizona and her BFA from Central Michigan University. She is currently working between Michigan and New York City.
September 4 - November 5, 2015
Cumberland: Island of Conflict and Change
The inspiration for these photographs arose in December 2013, on my first visit to Cumberland Island. From that time I became immersed in this extraordinary body of land with its rare convergence of ecosystems: subtropical maritime forests, inland freshwater lakes, salt marshes, and white sand beaches.
Despite its isolation and natural beauty, the island is not pristine or unchanging. It morphs daily with a 9-foot tide and is completely vulnerable to destruction by hurricanes and other natural processes that constantly transform its landscape and character. Thousands of years of human activity and conflict mark the island as well: from habitation by native peoples; to military invasions by European and Union troops; to current, heated disputes over the future of the island among environmentalists, remaining land owners, and US National Park Service.
The objects and landscapes seen together in this exhibit represent both my passion for still life work and my visual interpretation of the island’s eerie sense that…something is watching. And, the prints, hung from framing bars of reclaimed wood, invite you to experience the images as though you are walking the island firsthand. -Jeff Kauck
ABOUT THE ARTIST: Based in Chicago, Jeff Kauck has built a thirty-eight year commercial career in still life and food photography. A James Beard Award nominee for photography, his advertising and editorial work has been included in numerous ads, magazines, cookbooks and in food packaging. He attended workshops with notable photographers Ansel Adams and Arnold Newman and has been interviewed in Forbes,Popular Photography and Photo District News. His recent personal project about Cumberland Island is a departure from his client-based work.
June 26 - September 3, 2015
300 Miles, Oomaka Tokatakiya
In 2004, I was invited by members of the Lakota Tribes of South Dakota to photograph the Oomaka Totatakiya, Future Generations Ride. The Oomaka Totatakiya is an annual, nearly three hundred mile memorial horseback ride to the site of the Wounded Knee massacre. These images are an important document of a historical event, reenacting a journey that ended at the site of the final “battle” of the Indian Wars.
This work depicts ten years of that journey. The photographs focus as much on the ride, its landscape and hardship, as it does the individuals involved. Taken from both horseback and support vehicles, the images offer a unique perspective and an intimate view. Included in the essay are images of the ride, in both cross-country and urban settings, lunch and dinner breaks, sleeping arrangements, and the unguarded moments of everyday life on the trail.
The sense of accomplishment and comradery that is nurtured by the ride goes a long way toward healing the pain of living in lands occupied for generations. With poverty rates of over fifty percent and unemployment rates over seventy, these are consistently the very poorest communities in the U.S. This is a place that gives people little reason for hope and the ride is a fight against that.
In contrast to the dominant, disheartening imagery coming from the reservation, this work concentrates on the Lakota’s efforts toward self-empowerment. While the ride is in many ways in homage to those who lost their lives at Wounded Knee, this ride is also meant to foster leadership qualities in the youth. Along the way, the riders experience some of what their ancestors endured by embodying an intellectual, spiritual, and physical remembrance. Braving the cold—down to –20°F—these kids, some of them barely into puberty, ride as many as 35 miles in a day to complete the 300 miles.
ABOUT THE ARTIST: Ken Marchionno is an artist and educator living in Los Angeles. His photography, digital works, installations, and videos have been featured in exhibitions and festivals through North America, South America, Europe, and Asia. His work has been included in books on contemporary art such as Betty Brown’s Art and Mass Media, and in Robert Hirsch’s Exploring Color Photography. His photography has been featured in magazines in the US and Korea, including the contemporary art quarterly X-TRA. He has written criticism for Art Papers and Sajin Yaesul, and his creative writing has been included in literary journals such as Errant Bodies and Framework. Ken’s current work, 300 Miles, the Oomaka Tokatakiya, focuses on an annual memorial horseback ride with the Lakota Tribes of South Dakota. 300 Miles is an ongoing social practice work, with members from the tribe working alongside Marchionno. The Oomaka Tokatakiya runs from December 15th, starting at the site of Sitting Bull’s murder, and ending on the 29th at Wounded Knee—the location of the final “battle” of the Indian Wars. This modern tradition was started in 1986 and continues today in memory of Sitting Bull and those who lost their lives in the massacre at Wounded Knee.
May 1 - June 25, 2015
Black and white photography, landscape, secret spaces, plastic cameras, multiple views as one, mans’ arrangement within the landscape: all these are my most basic means of expression. Although I have worked in many other ways these are the ideas I return to. When I visit a new place, whatever else I may do, my Diana camera comes out of the bag and I explore. The resulting work both documents and interprets the environments I find.
The in-camera creation of these images become my response to a particular place. These images are not a documentary view of the scene in front of me, but one created over a period of time. After watching me photograph a friend referred to my actions as a dance I did with the environment. I had not thought before about how I might appear to a passerby but this would be an accurate description. As I create these images I am moving in toward, away from, and around within an environment. The in-camera, overlapped frames allow me to look down, then up, then 30 inches away, then 40 feet away and back to 5 feet in front of me, as I move around. I am recording this visual experience with my simple, altered plastic Diana camera. Previously I had been restricted to overlapping at most three frames at a time due to the limitations of enlargers. Now, with the ability to scan much longer strips of 120mm film, I am able to complete images in the manner I had always wished.
The works in this exhibition represent my visual interpretation of garden areas in Dresden, Germany, Prague, Czech Republic and Slovakia. There are formal, well manicured, sculpture / planted gardens of historical sites and there are the Schrebergardens, kept in the family sometimes over generations.
These prints are archival inkjet prints on rag paper. Because each panorama image is created in camera from a series of overlapping frames the length of each image on the film will vary. I have printed as small as 22” wide and as long as 90”. The final height of the image adjusts accordingly. For consistency I have printed to a specific length and allowed the height of the image area to vary accordingly. - Ardine Nelson
ABOUT THE ARTIST: Ardine Nelson is currently Professor Emerita in the Department of Art's Photography program, The Ohio State University. She has exhibited nationally and internationally, has received Ohio Arts Council and Greater Columbus Arts Council artists fellowships, was a GCAC visiting artist in Spain in the early 90’s and has visited Slovakia to teaching alternative camera workshop.
Professor Nelson’s practice includes the traditional and non-traditional cameras and materials in photography and, since 1990, has incorporated the digital area including archival ink jet printing. As an early experimenter with Polaroid materials, she discovered one and has worked with other transfer processes. Nelson is recognized for her continued bodies of work with alternative cameras; pinhole and Diana plastic cameras. Recently, Nelson’s German Schrebergarden work has been recognized through a Graham Foundation for Advanced Studies in the Fine Arts research and development grant and John Simon Guggenheim Memorial Foundation Fellowship for 2008-09. Her current ongoing body of work titled Ceilings explores formal visual aspects of structures in the process of repurposing / renovation or about to be razed. Though well versed in the possibilities of digital manipulation, her personal work is all camera based and only employs the computer as a printing device.
March 6 - April 30, 2015
This project documents the core essence of the Johnson Publishing Company’s historic building in its semi-skeletal state before the final remnants of John Moutoussamy’s architectural design, Arthur Elrod’s interiors and the last vestiges of the original JPC communal workspace vanish. 820 South Michigan is about to morph into different functionality when it transforms into the future repository for artistic content, a new library for Columbia College. The building contains bits and pieces of its long time occupant Johnson Publishing and still embodies the spirit of this landmark African-American company who occupied the building from 1972 until 2012. The textures, colors, residual structures and remnants from the Johnson workplace all combine to create a unique, altered environment supplying the inspiration for the imagery. Outside of the influence of human intervention, time has been mark-making within The Johnson Building for over 40 years. Through serendipity and in concert with the individuals who occupied the space, gestures have been created by the movement of light over the surfaces revealing and expressive vocabulary that documents the passage of the decades. The absence of furniture and personal artifacts does not negate the reminder of its previous intensely vital occupancy, transcending both time and memory and providing a collective narrative of the past.
ABOUT THE ARTIST: Photographer Barbara Karant is nationally known in the design, art, and architecture communities for the artistic beauty and the level of photographic quality she demands in her work. Trained at RISD (BFA) and the Art Institute of Chicago (MFA), she has worked commercially for more than 25 years. In addition to her interior and architectural work, Barbara has taught at, been published by, exhibited at, and been awarded by some of the nation's most prestigious museums, galleries, magazines, and institutes. Her work is represented in permanent collections including The Minneapolis Institute of the Arts, The Art Institute of Chicago, The St. Louis Art Museum, The Stanford University Art Museum, The Chrysler Museum, The Polaroid Collection, and The Avon Collection, to name a few. Barbara's photography is also represented in numerous private collections across the country.
Barbara’s commercial work has been published in Architecture, Interior Design, Metropolis, Architectural Digest, Metropolitan Home, Chicago Magazine, Domus, Michigan Avenue, Architectural Record, Bark, Esquire, Interiors and The New York Times. Her clients include a very broad range of architects, interior and graphic designers and manufacturers, both nationally and internationally known. Additionally, she has been a Lecturer in the Dept. of Fine Arts at Loyola University and an adjunct professor at both Columbia College and Harrington College of Design. She is the photographer of three books WITHIN THE FAIRY CASTLE, GREYHOUNDS and SMALL DOG BIG DOG.
January 2 - March 5, 2015
Antone Dolezal and Lara Shipley
The People of the Devil's Promenade
Deep in the backwoods of the Ozark hills locals both young and old still talk about the Spook Light. This mysterious light phenomenon appears on chance nights as a floating orb, seen on a remote country road in an area known as the Devil's Promenade. Many have tried and failed to discover its origins, including the United States Army Corp of Engineers in the 1950's. Because of its lack of explanation the Devil's Promenade has been a popular local destination for decades, with the tale of the Spook Light taking on the quality of myth within the local community.
Our collaborative project combines photographs of Ozark people and the land with more abstract and interpretive images based on oral accounts and mythology surrounding the light. Our aim is not to provide documentation, but to suggest a narrative that, in the spirit of the light, is part fixed in the unique region and part afloat in a mysterious, otherworldly realm.
Folkloric stories can shed symbolic light on very real issues in a community. In the Ozarks many live in isolated poverty and drug addiction is high. This region is in the heart of the Bible Belt, and the struggle between heaven and hell factors into everyday conversation. We feel the frequent and mysterious appearance of the Spook Light has come to represent for the people we meet a desire for redemption and the fear of slipping into the darkness. It is a sublime experience whose defiance of explanation provides a reprieve from ordinary life. -Antone Dolezal and Lara Shipley
ABOUT THE ARTISTS: Antone Dolezal was raised on the eastern plains of Oklahoma and currently resides in Santa Fe, NM. His photographs explore the American social landscape and its relationship to history and folklore and are sometimes accompanied by vernacular imagery, found objects and fictional literature.
Lara Shipley is from rural Missouri and currently lives in Kansas City, and teaches photography at the Kansas City Art Institute. She is an artist who primarily makes work about people and their relationships with the out-of-the-way places they call home.
The Devil’s Promenade has been exhibited at photo-eye Bookstore + Project Space (Santa Fe,) H&R Block Artspace (Kansas City) and 555 Gallery (Boston), among other venues and is currently included in the Midwest Photographers Project at the Museum of Contemporary Photography (Chicago.) The project has been featured on National Public Radio, The Oxford American’s Eyes on the South, Lenscratch, Feature Shoot, Fototazo and other online publications. Dolezal and Shipley have produced a three-volume set of books entitled Spook Light Chronicles that are available through photoeye.com.
November 11 - December 31, 2014
Through the lens of the camera Warpinski seeks out the complexities in the relationship between personal, cultural and natural histories. Her current work focuses on three border zones – the former Berlin Wall, the U.S.- Mexico Border, and the Israel-Palestinian separation barrier. The project, Surface Tension, explores the multiple and conflicted perspectives that complicate these places. Walls and fences, embodiments of social and political oppositions, mark and divide the physical landscape. Surface Tensionfuses various methods for capturing photographic images and incorporates the juxtaposition of multiple frames arranged in diptychs, triptychs or single frames configured in installations to explore the complexity of the present, past and future of these sites. Working with and combining images from three geographies conflates the tensions endemic to each and questions the ethics of conflict through an open-ended narrative.
ABOUT THE ARTIST: Terri Warpinski lives in Eugene, Oregon where she maintains a robust studio practice and is a Professor of Art at the University of Oregon. Over three decades her photographically based creative practice has been focused on the relationship between personal, cultural and natural histories. Helen A. Harrison of The New York Times has written of Warpinski’s landscape work: “She is especially attuned to the often subtle evidence of human impact on nature. . . . (Her work) invite(s) speculation about the secrets that may be revealed by close scrutiny and creative speculation.” Her work has been shown in over a 100 exhibitions at a wide range of galleries, arts institutions, andinternational festivals including the Pingyao International Festival of Photography in China; the US Embassy in Jerusalem; Houston International Fotofest; the Oregon Biennial at Portland Art Museum; Center for Photography at Woodstock; the University of the Arts Philadelphia, San Francisco’s Camerawork and most recently in the Portfolio Showcase 7 at the Center for Fine Art Photography in Fort Collins. Warpinski’s current project, Surface Tension was featured in the spring 2014 issue of the Society for Photographic Education’s journal Exposure with an essay written by Katherine Ware, Curator of Photography at the New Mexico Museum of Art. She held an artist residency at the Ucross Foundation in Wyoming, was distinguished as a Fulbright Senior Scholar to Israel 2000-2001, and currently is a recipient of a 2014 Individual Artist Fellowship from the Oregon Art Commission and a Ford Family Foundation Career Opportunity Grant. Warpinski received her B.A. degree is from the University of Wisconsin in Green Bay, and she holds both an M.A. and M.F.A. from the University of Iowa.
September 5 - October 30, 2014
The urban space is striking. Its tall and mysterious buildings, crowds of anonymous people, an endless sea of concrete constantly intrigue me. City Space is an ongoing photographic exploration of the urban environment and my perception of it. I am interested in the physical space of the city and its emotional and psychological impact on the body. These photographs reconstruct mundane events in the city that I have personally experienced or witnessed in public. Stark light, deep shadow and muted color are visual strategies I explore to describe the city. I use the city as a stage and transform the physical space into a psychological one. The images I create do not represent a commonality of experience but instead provide a personal interpretation
of the urban landscape.
ABOUT THE ARTIST: Clarissa Bonet lives and works in Chicago. She received her M.F.A. in photography from Columbia College Chicago in 2012, and her B.S. in Photography from the University of Central Florida. Her work has been exhibited nationally and internationally and resides in the collections of The Museum of Contemporary Photography, The Southeast Museum of Photography, and The Haggerty Museum. She received a 2014 Chicago Individual Artist Grant and was named a 2013 Magenta Foundation Flash Forward Emerging Photographer. Her work has been featured on CNN Photos, Feature Shoot, Lenscratch and many other notable online publications.
July 3 - September 4, 2014
Big Bang/Small Pop
This exhibition brings together two consecutive bodies of work: Irresistible Air, and Blueprint. Both series explore what is suitable subject matter for a photograph, and how a photograph is constructed. Both ask the question what is a photograph and how can it engage us in the age of Instagram.
In the first series, Irresistible Air, I created small sculptures from the air pillows that arrived in the mail with some equipment. The air bubbles reminded me of one of my first photos: a magical picture of my best friend blowing a huge gum bubble. Shooting these air pouches allowed me to work with many of the elements that I love about photography: the transmission and reflection of light, the description of surfaces and shape, as well as tonal range. Simple materials became a screen onto which one could project one’s own vision, or simply appreciate the pleasures of light and physics.
In Blueprint, I also worked with materials that were at hand. I started with a length of paper, usually backdrop paper, and took it through a series of transformations, photographing the outcome. I crushed it, letting the ripples and ridges fall where they would. This turned it into a sculpture, giving it depth and volume. Using the folds as a starting point, I then applied paint, turning it into a painting. Finally, I lit and framed the piece, photographed it, and printed it as a 2-d image. The original paper was a temporary and fragile surface destined for the recycle bin. The photograph is all that remains of the event, a record of the processes that created it. - Zelda Zinn
ABOUT THE ARTIST: Zelda Zinn was born in Louisiana, and grew up in a big family in Texas, back when it was a blue state. Drawing and dreaming up contraptions were early pleasures. She fell in love with photography when she was 10 years old, having taken a magical photo of her best friend with a huge gum bubble covering her face. She attended an arts high school before studying the classics at St. John’s College. For grad school, she attended University of New Mexico, receiving an MA and an MFA in photography. A long-time photography teacher, she loves making photo enthusiasts of her students. Her work has been shown in numerous national and international exhibitions including at the Center for Fine Art Photography and the Santa Monica Museum of Art. She was fortunate to be awarded several artist’s residencies, including the Santa Fe Art Institute and Vermont Studio Center.
May 2 - July 2, 2014
I am interested in how objects can serve as powerful symbols of our experiences. Some objects become emblematic of self, while others may symbolize other people. Objects can be tied to specific events in our lives, and can serve as evidence of a moment.
In the Pictograph series, I explore personal narratives by constructing still life scenes that offer subtle suggestions of an underlying story. The images function as visual metaphors by utilizing color, pattern and object. These elements reference people, places, and events from my past but the symbols are intentionally vague. This vagueness offers a rich visual experience, but denies a literal read.
The backgrounds and objects I incorporate into the work echo the Midwest craft-centric culture from which I hail. The fanciful colors, floral motifs, and repetitious patterns, create a sense of homespun beauty that draws the viewer in for a closer look. Much like these backdrops, there is a sense of romance about growing up in a sleepy rural area surrounded by farm fields and dirt roads. The gauzy remembrances of climbing giant cottonwood trees and attending family gatherings on Sunday after church make me long for this place and that time.
As I experience life in adulthood, far away from the place and people I came from, I find that my sense of self and identity are inextricably linked to rural, Midwest culture. I weigh my successes and failures against a deeply imprinted set of values that insist on maintaining a façade of simple beauty and total normalcy no matter the reality.
That thin veil between how things are and how things ought to be is something of great interest to me. Through this series I explore nuance and façade and give an account of my experiences from my own perspective. The constructed scenes carry a subtle tension between the visual elements, and they give evidence to a more complex narrative taking shape. -Kallly Malcom
ABOUT THE ARTIST: Kally Malcom is a photographer whose work and research explores place, personal history, and identity. Her images employ a range of photographic processes and move between the studio and the natural world. Selections from her recent work have been exhibited nationally and internationally, including the Schneider Museum of Art in Ashland, Oregon; Northlight Gallery, in Phoenix, AZ; Marion Center for Photographic Arts in Santa Fe, NM; and the Pingyao International Photography Festival, in Pingyao, China. Her images have been published in F-Stop Magazine, The Hand Magazine, WPR Wisconsin Life online, and the Huffington Post. Kally’s photographs are held in numerous private collections throughout the United States. Kally holds an MFA from New Mexico State University, an A.A.S in commercial photography from Metropolitan Community College and a B.A. in English from the University of Nebraska-Lincoln. She is an Assistant Professor of Photography at the University of North Florida.
March 11 - May 1, 2014
Into the Flatland
In the fall of 2001, I relocated from New Mexico to the Mississippi Delta to live on my family’s farm, Belle Chase. I ate from my great-grandmother’s china, drank form her crystal and slept in her bed. At dusk I rocked on the porch and watched the blackbirds descend on the canebrake planted by my great-grandfather. Living on the farm I existed in a strange continuum. My family’s history and their connection to this place were markedly present in my everyday experience.
I left the family farm in 2003 to take a teaching position at the University of South Carolina. Into the Flatland explores familial obligation and our conflicted relationship with “home.” The photographs in this series were made during regular trips home to visit family over a period of several years. I chose to leave the Mississippi Delta for many of the same reasons anyone ever chooses to leave a rural area. This is land that my family has inhabited for generations, and I am pulled to this place in a way that I am not able to fully articulate. It is not my nostalgia alone that creates this longing; it is that of my mother and my mother’s mother. –Kathleen Robbins
ABOUT THE ARTIST: Kathleen Robbins is an associate professor of art, coordinator of the photography program and affiliate faculty of southern studies at the University of South Carolina. Born in Washington DC and raised in the Mississippi Delta, Robbins received her MFA from the University of New Mexico in 2001. Her photographs have been exhibited in galleries and museums including The New Orleans Photo ALliance, The Light Factory Museum of Contemporary Photography & Film, The Weatherspoon Museum, John Michael Kohler Art Center, the Ogden Museum of Southern Art, Addison Gallery of American Art, The Southeast Museum of Photography, the Society for Contemporary Photography, and the Mississippi Museum of Art. Robbins' work has also been featured by CNN Photo Blog, Flak Photo, Fraction Magazine, Conscientious, Humble Arts New York, NPR’s Picture Show, PDN’s Photo of the Day, Oxford American, and Garden and Gun. She is represented by the Rebekah Jacob Gallery in Charleston. In 2012, she was part of the Critical Mass top 50 and she was the recipient of the 2011 PhotoNOLA Review Prize. A new limited edition book of Into the Flatland was published by the New Orleans Photo Alliance in 2012.
January 3 - February 27, 2014
Most of my artwork over the past twenty years has been the result of my ongoing obsession with the integration of the organic and the artificial in all areas of our human experience. I am incorrigibly drawn to fringe landscapes where human development is colliding with natural phenomena. Sometimes this is on a grand (or even grandiose) scale, as people build huge artificial islands or consume entire segments of the earth's resources. At other moments I find myself closing in on the particular and the delicate, as I watch a solitary leaf slowly emerges from under fresh paint on a city street. Most recently, my aerial photography has taken up a long-simmering interest in the unintentional mark-making we lay across the land, in the form of our ever-expanding infrastructure.
Interwoven with this conceptual thread is my strong faith in the transcendent power of beauty. I am not shy about finding and relaying the formal allure that so often seems to surprise us when the wildness of nature aligns with the structured, orthogonal world of the human-built. I have been known to make special trips across the country, or even around the world to photograph something very specific or dramatic in this vein. But more often, I find my subjects closer to home, in the rusting marshes of New Jersey's Meadowlands, or in the scruffy hills behind Los Angeles housing developments. In fact, it is these everyday places that really dig in over time, and come to tell us the most about how we live with our surroundings.
ABOUT THE ARTIST: Alexander Heilner is a multi-disciplinary artist who works in photography, video, digital imaging, installation, lighting design, and sculpture. His work has been exhibited, screened, and performed nationally and internationally, from MoMA to Burning Man. In 2012, he won the prestigious Baker Artist Prize and his work was featured at the Baltimore Museum of Art. The same year, Alex’ commissioned digital collages were featured in the new Johns Hopkins Hospital complex, andBaltimore magazine named him the city’s best photographer.
Most of Alex' photography consists of color landscapes. He is obsessed with the relationship between artificial and natural elements within the environment, and within our culture. His recent aerial photography has taken him to an array of locations around the U.S. and the world, looking at the infrastructure and other marks humans unwittingly paint across the earth's surface. Alex has recently begun a long-term collaborative project to document Arctic communities that are in flux due to climate change.
In addition to his fine art work, Alex works selectively in photojournalism and commercial photography, taking on print and web projects that hold particular interest for him. His work has been featured in National Geographic, JPEG, Details, and the website of public radio's Marketplace. Nearly 200 of Alex’ photographs are featured in the 2010 Encyclopedia of New York City.
Alex earned his B.A. at Princeton University and his M.F.A. from the School of Visual Arts in New York. He has been teaching photography at MICA / The Maryland Institute College of Art since 2003, and currently serves as the Associate Dean of Design and Media at MICA. Previously, Alex taught photography and digital imaging at NYU, as well as film and video production at SVA. He has also served as the director of the photography program at the JCC in Manhattan.
Nov. 1, 2013 - January 2, 2014
For as long as I can remember I have had boxes of treasured objects that members of my family passed along to me posthumously. When sorting through sets of china, knitted doilies, a plastic hand mirror, and photographs of people I do not know, I realized that I never knew the significance associated with people I thought I knew very well. I wonder what they saw in me that I have yet to realize myself. The scope of my work continues to explore personal psychology and altering perceptions of common experiences between siblings, while investigating the construction of memory, and the always-evolving definition one's “self.” Through the creation of these images, I found the language of theatricality to be an engaging factor, allowing viewers to deliberate the metaphoric, tangible objects in which the figure engages or carefully rendered as subject matter. Some images appear to be torn from a larger contextual narrative, while others appear as silent still lives. Despite these differences, the work aims to initiate a narrative impulse. -Allyson Klutenkamper
ABOUT THE ARTIST: Allyson Klutenkamper received her MFA in photography from the University of Notre Dame and BFA from the University of Missouri. Her current work deals with the translation of objects left or given to one without any sentimental qualities. The scope of the work continues to explore personal psychology and altering perceptions of common experiences between siblings and belongings, while investigating the construction of memory, and the always-evolving definition one's “self.” Imbedded in all her artistic pieces are heavy undertones of modes of spectatorship and film theory. She is an assistant professor at Central Washington University in Ellensburg, Washington.
September 6 - October 27, 2013
In Search of Sleep
From my earliest days I have had a difficult relationship with sleep. As a child I avoided it at all costs, especially at night. To get me back to bed, my father used to tell me stories. They were not traditional children’s bedtime stories, but invented tales that began on our quiet street and journeyed down open drains to a dreamworld of caverns, forests, and oceans full of unexpected animals and dangers. The story would always find its way back to the real world and end where it had begun, hopefully but doubtfully with me that much closer to sleep. In Search of Sleep recreates this shadowy realm and allows me to explore my reallife questions, from personal dramas to romantic doubts. The cyanotype process, with its distinctive blue tones, visually traverses the distance between waking and sleeping. These images are also toned with tea and wine to both dull the blues and add warmth. Tea, wine, cyanide – all three of these substances relate to different levels of consciousness that often mirror the mental states evoked by my photographs. In Search of Sleep creates a visual lullaby that allows me to safely explore what I love, what I fear, what I remember, and what I imagine. -Emma Powell
ABOUT THE ARTIST: Emma Powell's work has been widely exhibited in the U.S. and Canada and has toured England through the Royal Photographic Society's 156th International Print Exhibition.Her work has received numerous awards in exhibitions and competitions includingPHOTOCentric 2013, TPS 22 Texas Photographic Society International Competition,Onward 13 at Project Basho and Px3 Prix de Photographie and Grand Prix de la Découverte, International Fine Art Photography Award in Paris. Her work is held in public collections at The Museum of Fine Arts, Houston; Center for Fine Art Photography; Ft. Collins, CO; George Eastman House Study Center, Rochester, NY and Seities Museum, Calgary, Alberta. She holds an MFA from Rochester Institute of Technology and a BFA from the College of Wooster and is currently a Full-Time Visiting Lecturer and Artist in Residence at Iowa State University.
July 5 - September 5, 2013
Anne Leighton Massoni
The series Holding, utilizes created images and found photographs to present a place between truth and fiction. These contrasting images sit side by side with a thin line painted across their surface, drawing imagined connections. The images themselves reinforce the concepts of memory and often use mnemonic elements and notions of artifact to represent an underlying story, which touches on the personal while still attempting the collective.
I combine photographs I’ve made of empty places – spaces once inhabited or currently inhabited but with no one present – with found photographs of times that no longer exist – images that are empty of personal memory – and then paint a thin line to draw a literal point of connection from one image to the next. The line, like a strand of DNA, ties the images, separated by generations, to one another. The line is often initiated in the found photograph by pointing to the senses – taste, smell, touch, sound – to a point in the contemporary image that speaks to the residues left behind by current or past inhabitants.
My intention is to make several “chapters” of the Holding series, each dedicated to a person of influence in my life which serves to establish place, lineage, and narrative in each chapter. Leaning on the notion of the “book” as narrative, chapters are titled in “honor of” and each diptych’s title utilizes the complexity of language to help navigate the viewer to underlying connections and conundrums – the narratives of the diptychs are often as rich as they are convoluted. Each “chapter’s” photographs are made in the location of the honoree’s “home” and while appropriated photographs are collected in the same location, they are not necessarily of that place. To date three chapters have been made with a forthcoming chapter to be completed in late 2013.
In the series Holding as with most of my work, I visually
navigate the stories in my mind – remembers stories that may, or may not
exist, imagines stories not yet told. The concept is rooted in the
details presented – sometimes revealing and yet often holding secret,
there is truth in the tales but not necessarily a truth of mine alone. I
am interested in the intangibility of this middle ground, I am
searching for that which we experience and cannot express – evidence of
memory, evidence of experience, evidence of existence. -Anne Leighton Massoni
ABOUT THE ARTIST: Anne Leighton Massoni, is the Program Director of Photography at The University of the Arts in Philadelphia, Pennsylvania. Prior to teaching at UArts she has held professorships at Marshall University, Cornell University, Tyler School of Art, Washington College, Memphis College of Art and Monmouth University.
Massoni graduated with an MFA in Photography from Ohio University and a BA in Photography and Anthropology from Connecticut College. Her work relates to ideas of both real and fabricated memories, using a variety of film and digital techniques.
She has exhibited nationally and internationally including the H. F.
Johnson Museum in New York, NIH in Washington, DC, the Allen Sheppard
Gallery in New York City, the East End Film Festival in London, England
and IlCantinonearte Teatri e Galleria del Grifo in Montepulciano, Italy.
Recent publications of her work include ASPECT: The Chronicle of New
Media Art and SpostaMenti, an exhibition catalog of her series
“Holding”. She serves as the Chair of Society for Photographic
Education’s Mid Atlantic region.
May 3 - July 3, 2013
This group of photograms was created from a variety of packaging materials – mostly plastic containers and utensils. Our world has been transformed by plastic. It is a dominant substance in our material world of commerce. We make, use, value, transform, waste, ignore and discard it. It serves as a vessel, shell, skin, covering and protection. It adds value to what we buy and sell. In every aisle of the grocery store it wraps and packs everything from soup to nuts, wet to dry, large items and small. We buy and discard enough plastic to encircle the earth four times. We toss out another 35 billion plastic bottles, which take up to 1,000 years to decompose. We recycle a fraction of it, and leave the rest to future archeologists. Light passes through the transparent skin and casts subtle shadows of lines and textures. Each time the image is different. The shadow is fixed in the deep grays and blacks of the gelatin silver paper and creates something precious and valuable from the refuse. I dedicate this work to John Wood, a generous teacher and brilliant artist. -Vivian Spiegelman
ABOUT THE ARTIST: Vivian Spiegelman earned an MFA in photography from Arizona State University and a BFA in art from the College of Ceramics at Alfred University in New York. Originally from New York she now lives in Arizona and teaches photography at South Mountain High School in Phoenix, Arizona. Her teaching stints also include Arizona State University, Maricopa Community Colleges in Phoenix and adult education at C.W. Post College and Hofstra University. Exhibited nationally, Spiegelman’s work has been seen east to west - from New York’s Midtown Y Gallery to Northlight Gallery in Tempe, Arizona. Her photographic portraits have appeared in magazines and newspapers including the Phoenix New Times, Smart Money and High Country News.
Modern Day Diana
Diana was the Roman goddess of the hunt. She was praised for her strength, athletic grace, beauty and hunting skills. Her vigor, health, and strength were admired and her protection was sought for young children and women in childbirth.
This series explores the modern notions of women hunters and the issues of gender, power and representation. Each image captures a very personal depiction of the sitter, made evident by the setting. By photographing in each woman’s home or hunting lodge I create a dynamic that questions the relationship between the domestic sphere, traditionally the women’s place, and the hunting world, typically a masculine realm. The attributes of Diana, that of the bow and arrow, hunting dog, stag and animal pelts, further express this dichotomy.
The images in this series were captured across the United States with a large-format 4 x 5 camera. The film was scanned and final output was created with lightjet technology. Contact was established with the hunters via “cold calls” to hunting and gun clubs and by word-of-mouth. -Margaret LeJeune
ABOUT THE ARTIST: Margaret LeJeune holds an MFA from Visual Studies Workshop and a BFA from Nazareth College. She is currently an Assistant Professor at Bradley University in Peoria, IL. Her work has received many awards, most notably the Center Curator's Choice Award from Roxana Marcoci,
Curator of Photographs, Museum of Modern Art and First Prize in the
Women’s International Photography Exhibition by Margaret Salisbury,
International Federation of Photographic Art. LeJeune has been an
artist in residence at Vermont Studio Center, Spiro Arts (Park City,
Utah,) and Women's Studio Workshop (Rosendale, NY.) Her work has been
published in the Oxford American and Visual Overture Magazine as well as several exhibition catalogs and has been exhibited widely in the U.S.
These Grand Places
The landscape echoes an internal terrain, simultaneously marking and blurring difference. Exploring the geography of the land, I search changing and transitional landscapes, places I can feel a sense of communication. At times I am drawn there by history or literature, at other times I strategically seek out places of obvious, often destructive, human disturbances, and yet others, I simply walk and see what is revealed. Response is quiet and often slow. Sometimes I will walk for hours and make no pictures, sometimes I make many, but show none.
In my working method with a 4x5 press camera, things slow down and moments of contemplation are possible. I often photograph at dusk, when color bleeds from the sky and the sublime reveals itself. As the light of day dims, time and movement become an integral part of the photographic process. These Grand Places are collected from many different places in parts of the American landscape and abroad while at two different residencies in France. –Tomiko Jones
ABOUT THE ARTIST: Tomiko Jones received her Master of Fine Arts in Photography with a Certificate in Museum Studies from the University of Arizona in Tucson in 2008. She is the recipient of many awards including the National Society for Photographic Education Freestyle Crystal Apple Award for Outstanding Achievement, 4Culture and CityArtists. Tomiko exhibits regularly in the United States, and has had solo exhibitions in Tokyo and México City. In 2008 she spent three months in residence at the Museé Niépce in Chalon-Sur-Saône, France, the dually acclaimed birthplace of photography. In 2009 she returned to southern France for a project-specific fellowship at The Camargo Foundation in Cassis. After teaching photography at New Mexico State University for a year and a half, in fall 2011 she moved to Colorado as an Assistant Professor of Art and Coordinator of the photography program at Metropolitan State University of Denver.
The conceptual direction of my recent body of work, Secondary Nature (2012), narrows its scope to highlight aspects of human intervention relative to the landscape. As part of a larger, ongoing series entitled Borrowed Views, after the Japanese shakkei, the latter series mirrors the stylized perspective strategies used in traditional eastern landscape painting and seventeenth century Japanese garden design. In the former, vistas are overlaid to influence the way the eye perceives near, middle and far distance; in the latter, a nearby landscape monument is framed within the garden to create a meticulously constructed focal point.
I chose the title to draw parallels between the concept of differentiated natures, with references to first nature, following natural laws of instinct, and second nature, learned cultural clues and behaviors. In some sense, I am searching for an idealized landscape on these islands that is reflective of the garden: highly manipulated, tightly controlled and cultivated; offering a mediated interaction with the natural world while contextualizing it within a broader topographical and conceptual framework. Referring simultaneously to the manipulation of nature while acknowledging the inherent limitations of the monocular view through my lens, these images are rendered with the knowledge that they transform and construct their own version of reality. -Martina Shenal
ABOUT THE ARTIST: Martina Shenal is an Associate Professor of Art in the Photography division at The University of Arizona. She earned her MFA from Arizona State University and a BFA from The Ohio State University. Prior to relocating to Tucson, Shenal was an Assistant Professor of Art at the Memphis College of Art from 1998-2004. Shenal has received numerous grants and fellowships including two Professional Development Grants from the Arizona Commission on the Arts, a Visual Art Fellowship from the Tennessee Arts Commission, a Western States Art Federation/National Endowment for the Arts Regional Fellowship in New Genres, and a Contemporary Forum Artist's Materials Grant from the Phoenix Art Museum. Solo and two-person exhibitions of her work have been held at the UC Berkeley Extension Gallery, San Francisco, CA; Phoenix Center for Contemporary Art, Phoenix, AZ; Second Floor Contemporary, Memphis, TN; Arizona State University Art Museum, Matthews Center; Tower Fine Art Gallery SUNY-Brockport, NY; and the Scottsdale Museum of Contemporary Art. Her work is included in the permanent collections of New Mexico State University Art Museum, Scottsdale Museum of Contemporary Art, and the Center for Creative Photography, among others. Her work from Borrowed Views was published in the March 2012 issue of Fraction magazine.
Carol Panaro-Smith and James Hajicek
A Decade of Alchemy
Over the last decade we have been working collaboratively using the process known as photogenic drawing – one of photography’s earliest and most beautiful. It is also one of the most simple and direct processes that defines the very core of photography without recourse to the normally thought of requisite equipment and materials. This work has been as much an exploration of our personal relationship as it has been an investigation into photography’s sacred beginnings.
We began by digging plants from the earth or collecting life from the sea and exposing them in contact with hand-coated light sensitive paper. This organic material withered under the intense heat and light of the Arizona sun as it completed its final act of participation in the creation of its own image.
As we continued to work with variations of William Henry Fox Talbot’s basic chemical formulas, we discovered that altering the variables of the light sensitive solutions, the chemistry in the paper, the intensity and accompanying heat of the light, and the chemicals emerging from the organic material, a color palette and physical presence emerged in the final print creating an ‘organic artifact’ beyond the imagination of anything previously thought of as photographic.
We also continued this exploration using traditional film negatives and gelatin silver paper with surface manipulations of hand-applied pigmentation looking more closely at the individual components we had been using in the earlier work.
The series Arc of Departure is the beginning of the end of this body of work and has evolved in stages from its initial intellectual underpinnings through a focus on the physicality of the remaining organic artifact to the spirituality of experiencing “the awe” of being in the immediate presence of this sacred transformative act - magic in its very essence, ruled by serendipity, elusive mysteries, fugitive images, and the ruling master of all – the ultimate impermanence of everything.
In the early years, we were immersed in the simplicity of the experience. As our relationship grew and became more grounded, the images began to mirror both verbal and nonverbal conversations about art and life. In order to get to a place where we could begin to understand the true nature of this work, we knew that eventually we would need to distance ourselves from this garden in which we found ourselves.
Figures entered the work to perhaps lead us to a place where the intellect will be once again engaged and the source of accompanying light may have the distance required for true illumination.
-Carol Panaro-Smith and James Hajicek
ABOUT THE ARTISTS: Carol Panaro-Smith received her MFA at Arizona State University. Her area of specialization is alternative photographic processes, mixed media and book arts. She has held a number of positions both as an art instructor and administrator throughout the valley for over 30 years. Some highlights in her career include establishing Alchemy Studio, a working and teaching studio in Phoenix and her tenure as a founding member of the art school, Metro Arts. Her own work along with collaborative work with partner James Hajicek has been internationally recognized and collected. She is presently the program director and curator at Art Intersection.
James Hajicek is a Professor Emeritus at Arizona State University where he taught fine art photography for 34 years. He received his BFA from the Kansas City Art Institute and his MFA from the University of New Mexico. His area of specialization is late 19th century photographic printing processes. His work has been exhibited internationally over the last thirty years and can be found in many significant public collections including the International Museum of Photography at the George Eastman House, Rochester, New York, the San Francisco Museum of Modern Art, and the Bibliotheque Nationale, Paris, France. He has received several National Endowment for the Arts Fellowships for his own photography and his work with obscure photographic printing processes.
What I Keep
I collaborate with a community of difference: many races, backgrounds, and lifestyles. Many of the people have had significant disruptions in their lives, experienced periods of homelessness or incarceration, addiction to drugs or alcohol, mental illness or profound poverty and hopelessness, or just made bad decisions. They meet on Sunday mornings at Church Under the Bridge (under Interstate 35), a non-denominational, multi-cultural church that has been gathering there for eighteen years. I ask each person what he or she keeps and why it is valued. This is a collaborative project that is in its fifth year. The work includes 70 portraits with personal statements about each choice. -Susan Mullally
ABOUT THE ARTIST: Susan
Mullally is originally from the San Francisco Bay Area. She received he
BA from UC Berkeley, her MA from UNC Greensboro, and her MFA from UNC
Chapel Hill. She lived and worked in North Carolina for 25 years,
teaching at Guilford College for nine of those years, before moving to
Texas to join the Baylor University Art Department faculty in 2007.
Mullally's work addresses race, class, representation, cultural identification, value, and faith. What I Keep: Portraits and Choices continues what began as an exploration of archive and value in her online virtual museum, www.myvirtualmuseum.com.
Susan Mullally’s work has been exhibited across the country and in China. Her work has appeared in Ms. Magazine, Nation, Literary Companion, The Arts Journal, Christian Science Monitor and many southern university publications. She has photographed Maya Angelou, Rosa Guy, Pauli Murray and A.R. Ammons for their book jackets for major publishers. Her portraits of Romare Bearden, Chuck Close, Philip Pearlstein, Alfred Leslie, Jacob Lawrence, Gregory Gillespie and Alan Shields are in the permanent collection of Reynolda House Museum of American Art in Winston-Salem, NC. Mullally has produced four books and many monographs, notably, Hope & Dignity: Older Black Women of the South, funded by the National Endowment for the Humanities and published by Temple University Press, (1983, 1993) and What I Keep: The New Face of Homelessness and Poverty, published by Baylor University Press, (2010). Her work is part of the Special Collections of the Wake Forest University Archive and she is a MacDowell Fellow.
Next of Kin
About his exhibition “Next of Kin,” Daniel Coburn states, “I use craftsmanship and beauty to engage my viewer in a dark family narrative. After a yearlong hiatus from my hometown, I returned to reexamine my relationship with immediate family. I use the camera to describe the powerful personalities of my parents, and the complexities of their relationship. I photograph the children in my family to revisit my own childhood, which exists only as a set of fleeting, enigmatic images in my aging memory.”
“Next of Kin” records the interaction of a working-class family living in Middle America, and the anxiety that occurs within the confines of suburban dystopia. The viewer is encouraged to contemplate the complexities of these relationships in dialogue with their own family experience. How the imagery functions in conversation with the viewers personal family narrative becomes paramount and its value is ultimately determined by its transformative potential.
ABOUT THE ARTIST: Daniel Coburn is currently an instructor and a graduate student in photography at the University of New Mexico. His work has been featured in exhibitions at the Rayko Photo Center Gallery in San Francisco, Wall Space Gallery in Santa Barbara, the Center for Fine Art Photography in Fort Collins, the Los Angeles Center for Digital Art and the Chelsea Museum of Art in New York. Coburn's prints are held in many public and private collections including The Mulvane Museum of Art, the Albrecht-Kemper Museum of Art, the Mariana Kistler-Beach Museum of Art and the Moraine Park Museum. His writings and photographs appear regularly in regional and national publications including Fraction Magazine and Photo-Eye Magazine. Coburn received his BFA with an emphasis in photography from Washburn University where he was the recipient of numerous honors including the Charles and Margaret Pollak Award.
March 2 - May 3, 2012
Residential Façades is a photographic project focused on the documentation of suburbia: overgrown and under-planned. The unadorned “façades” act as a veil of wealth and stability, hinting at the American dream. A dream it seems we can no longer afford. These replicated structures boast an overwhelming sense of the generic; an indexical sign of the death of the local. All of this resulting in the eventual decline of spatially-derived identity and the emergence of a generic suburban, or dare I say American, vernacular. The title itself confronts us with a convenient double entendre, one simultaneously describing the physical face of these homes (and in turn our neighborhoods and projected identities), and the illusion behind which lingers the fragility of a nation.
This body of images, a typology of street facing facades in suburban developments, makes a deliberate reference to Industrial Façades a series of works by photographers Bernd and Hilla Becher. Less specifically these images call on our memory of the many images associated with the New Topographics exhibition curated by William
Jenkins in 1975. Residential Façades (2009 - present) features an ever-growing number of silver gelatin prints, aptly sized to fit IKEA RIBBA frames. -Travis Shaffer
ABOUT THE ARTIST:
Travis Shaffer is a visual artist whose work spans the mediums of photography, digital imaging and the artist's book. Shaffer's work engages spatial and institutional communities through a discourse with contemporary visual culture. His work combines visual and textual information gathered from both physical and virtual sources. Thematically Shaffer's work addresses questions regarding the nature of commercial and cultural branding; notions of access and diversity; land-use, the built environment, and auto-centricity; the nature of spatially dictated identity; and the formation of isolated communal brands.
Shaffer's works have been widely exhibited in solo exhibitions, group exhibitions, and artist's book fairs throughout the US, Canada, and Europe. Recent examples include "Fabricated" at Tremaine Gallery, Lakeville, CT; A performance / book-signing at the New York Art Book Fair : MoMA's PS1; "ABC/POD" at Printed Matter in Chelsea, NYC; and "systeMY/systemUS" at Imaginarium Gallery in Lodz, Poland. This fall Shaffer recorded a podcast lecture for #PHONAR - Coventry University in Coventry, England
titled "We Are All Thieves, Right", concerning photographic reproduction, meaning, and authorship. Shaffer's work is held in many private and public collections including the Brooklyn Museum's Libraries + Archives collection and Yale University's Beinecke Rare Book + Manuscript Library.
Shaffer was born in southwestern Pennsylvania and currently lives and works in Lawrence, KS. There he is a Visiting Assistant Professor of Photo Media at The University of Kansas. In 2010, Shaffer received an MFA the University of Kentucky.
Shaffer is also a member of [ABC] Artist's Books Cooperative, a group of international artists working with Print-on-demand technologies.
January 6 - March 1, 2012
Nicole Jean Hill
Artifacts and Incidents
I create photographs along the periphery of rural communities in the western United States - the spaces nestled between national forest lands and private property or the easement zones along county roads and greenbelts. Existing as neither private nor public, these liminal spaces simultaneously imply autonomy and lawlessness. Without a clearly defined function, these borderlands are an overlap of unruliness and regulation. They contain evidence of the disruptive character of human activity, efforts at cultivation, and the inherent wildness of an environment.
My photographs are of subtle and aggressive relationships within the natural
world. They document the natural movement of land, disturbances within its
contours, and discarded objects contained within. The source of action that has
defined or altered a site or object is often unclear.
Within each frame and throughout the series, the familiar and the ominous coexist. My goal is to create implied narratives of the orderly and untamable. It is through this visual investigation that I question the nature of nature and the desire to define the boundaries between the knowable and unpredictable landscape.
ABOUT THE ARTIST:
Nicole Jean Hill was born and raised in Toledo, Ohio. She received a BFA in photography from the Nova Scotia College of Art and Design and an MFA in Studio Art from the University of North Carolina at Chapel Hill. Her photographs have been exhibited throughout the U.S., Europe, Canada and Australia, including Gallery 44 in Toronto, the Australia Centre for Photography in Sydney, and the Blue Sky Gallery in Portland, Oregon. Her work has been featured in the Magenta Foundation publication Flash Forward: Emerging Photography from the U.S., U.K., and Canada, the Humble Art Foundation’s The Collector’s Guide to Emerging Photography, and National Public Radio. Hill has been an artist-in-residence at the Center for Land Use Interpretation in Wendover, Utah, the Ucross Foundation in Wyoming, and the Newspace Center for Photography in Portland, Oregon. She currently resides in Humboldt County, California and is an Associate Professor of Art at Humboldt State University.
November 4, 2011 - January 5, 2012
Kathleen Laraia McLaughlin
The Color of Hay: The Peasants of Maramures
In my work I photograph people who have a deep felt sense of tradition. For a year, beginning October 1999, I lived in a remote village in northern Transylvania, Romania. I was in search of “Old Europe.” Two day’s journey from Vienna I found a valley where life proceeds as it has been described a hundred years back in time. During the day, fields echo to the sounds of sickle blades being sharpened; village lanes echo to the sound of water wheels grinding corn. In the autumn, women of all ages line village streets spinning yarn for winter weaving as men walk up and down in woven wheat hats. All year long they wear shoes whose design was old when the Romans conquered Dacia.
My purpose was to capture and convey images of their way of life before it becomes further compromised by globalization. In our modern world, we often feel we have “lost” something important, something precious. Though they do not know it now, these peasants are losing their customs in the same way our forebears lost theirs. They do not see themselves as beautiful or special, because they feel poor and ordinary. But I hope to show they embody beauty because of the way they have spent their days walking paths trodden by their grandparents. Because of the way their lives have become well worn like an old wooden spoon. -Kathleen McLaughlin
ABOUT THE ARTIST: Kathleen is a photographer and educator with an appetite for exploring the world. Wherever she goes, she brings a compassionate and curious lens backed by traditional film. For her efforts at capturing a disappearing world, she has received a Fulbright Senior Scholarship, IREX IARO Grant (NEH), and a Houston Center for Photography Fellowship for her work in Romania. Her images have appeared in PDN, LensWork, Rangefinder, B&W Magazine, Black + White Photography (UK), and The Times Saturday Magazine (UK). Her photographs have been exhibited both nationally and internationally and are in the permanent collections at the Museum of Photographic Art in San Diego, Western Virginia Museum of Art, and the U.S. Embassy in Bucharest. She received her MFA in Photography from Virginia Commonwealth University and is an Adjunct Faculty member at Loyola Marymount University and at the Academy of Art University San Francisco.
The photographs in this exhibition are part of a larger body of work included in her book of the same name, The Color of Hay: the Peasants of Maramures, that is available directly from the artist’s website www.colorofhay.com.
September 2 - November 3, 2011
Postmortem: A Study in Decomposition
The idea came about simply enough -- some tulips were kept past the usual timeframe we display flowers. The stems twisted and curled from drying, and then drooped downwards; I saw more potential for beauty in the 'dying' forms than from their pristine stage at the time of delivery. I began to think about flowers as metaphors for life's later stage of age and even death. I recalled photography has been used to preserve likeness through postmortem photographs. I've been influenced by Frederick Sommer, Emmet Gowin, and more recently by Sally Mann's dark and beautiful series" What Remains."July 1 - September 1, 2011
The initial concept for the series was also as an homage to a recently "dead film," Polaroid's Positive/Negative 55. I started with about 180 sheets of this film and began the series knowing it would end when I used up the remaining film stock. At this point the project is complete. I'm also using optics from a past era, mostly late 19th century, but also early (and a few from mid-) 20th century lenses. I don't think these images are dark or morbid, but instead a means to explore the inevitable end of all living things and a way to find beauty and solace through the process. -Darryl Baird
ABOUT THE ARTIST: Darryl Baird is an Associate Professor of Art at University of Michigan-Flint. In addition to speaking about his own work, Baird has been invited to lecture on topics ranging from early photographic landscape aesthetics and the Picturesque to using digital negatives for alternative photographic processes. Baird’s work is included in the collections at The Museum of Fine Arts Houston, The Detroit Institute of Art and the University of Michigan’s Museum of Art, among others. His work has been exhibited all over the U.S. including at the Center for Photographic Art in Carmel, California and John Cleary Gallery in Houston, Texas.
Bridget Murphy Milligan
This work examines and preserves the tradition of Irish storytelling through the language of photography. Together the images recreate popular stories of faith, mystery, myth, humor, history, and legends. One of the oldest art forms, storytelling is both collective and ephemeral. It embraces everything from rumors, jokes, gossip around the kitchen table, to stories once told around the fireside. In oral tradition, the life of a story undergoes multiple adaptations, and with technology constantly changing and reinventing the way we communicate and share with one another, what will become of traditional storytelling?
The digital collages combine photographs taken while traveling in Ireland and scanned drawings, paintings, and pages from antique storybooks. They are divided into two worlds; the factual depictions of ruins, monastic sites, rocks, bogs, fields, fences, and seaside cliffs, places that once inspired these tales. The shadows, simple renderings of animals or figures representing stock characters and common archetypes in Irish folklore, twist reality into a fantasy. They transport the images into a re-imagined existence, transparent silhouettes of the real, fading in and out of being, like ghosts or memories. The digitally infused drawn and painted nighttime skies convey a sense of mystery by emphasizing the low light and looming shadows. With the darkness of night comes the unknown and are when many of these fireside tales are told and the characters in these tales come alive.
Once a story is captured and written down it is locked into context. The stories themselves change with time, audience, and location, but part of the magic lies in the fact that along the way they pick up bits and pieces of the present and record it forever. Milligan writes, ”With this thought in mind, I included the fragmented and diffused texts from vintage children’s books. For me, the texts and pictorial illustrations in the old children’s books illustrate how the characters are frozen in time and space. My hope is to generate contemporary folklore retellings that reveal a convergence of factual places and fictional narratives or daydreams.”
ABOUT THE ARTIST: Bridget Murphy Milligan studied photography and painting at Miami University, Indiana University, and in Cortona, Italy. Solo exhibitions include those at the Connector Gallery at the Carnegie Galleries, Covington, KY; Silver Eye Center for Photography, Pittsburgh; Kent State University Downtown Gallery, Kent, OH; the University of Missouri Gallery of Art at Kansas City, MO; and the Griffith Gallery at Stephen F. Austin University, Nacogdoches, TX. Murphy Milligan received the Jacob K. Javits Fellowship from the United States Department of Education in 1998-2001 and Ohio Arts Council Individual Artist Fellowships in 2003 and 2007. An Associate Professor in the Department of Art and Art History, Murphy Milligan currently teaches photography, digital imaging, and drawing at The College of Wooster, Ohio since 2001.May 6 - June 30, 2011
A common misconception of a watershed is that it’s all about the water. While water does play a large part, the land plays an even larger role by directing the water to a common point, such as a river or ocean. Thus human impact on the land directly affects the water that runs over it. With this project I intend to highlight this relationship between the land, water, and man, within the Mississippi River watershed.
This is a long-term series of work that aims to define the Mississippi River watershed, the largest watershed in North America, in terms of its smaller pieces. I intend to document the four corners of the watershed in a series of chapters.
The first chapter of the Watershed series, The French Broad River Basin, was the original focus of my work. In the 1950s The French Broad River was one of the most polluted rivers in the country. This work shows the constant change that occurs within the watershed of the French Broad River due to man's presence, as well as natural causes such as floods and erosion. It is my hope that by documenting the rivers of the French Broad, its citizens, and environs, this project will bring attention to the importance of the growing sustainability movement in this watershed and beyond.
The second chapter of the work will focus on the next river in this series of watersheds, the Tennessee River. I began by documenting the TVA Coal Ash Spill in Kingston, Tennessee in December of 2008. The Tennessee chapter of the work will be in sharp contrast to the French Broad chapter, in that it will focus more on the control that man wields over the Tennessee and it’s tributaries. -- Jeff Rich
ABOUT THE ARTIST:Jeff Rich’s work focuses on water issues ranging from recreation and sustainability to exploitation and abuse. Jeff explores these subjects by using long-term photographic documentations of very specific regions of the United States. Jeff received his MFA in photography at the Savannah College of Art and Design in Savannah, Georgia. Jeff's project “ Watershed: A Survey of The French Broad River Basin” was recently awarded the 2010 Critical Mass Book Award. His work has been featured on Fraction Magazine and as one of Daylight Magazine’ s monthly podcasts and was included in Photo-Eye’s Photographer’ s Showcase. In 2011 Jeff was named as a "Flash Forward Emerging Photographer" in an international competition sponsored by Magenta Publishing for the Arts.
March 4 - May 5, 2011
Selections from The Fortieth Parallel: Missouri, Kansas, and Colorado
My work investigates issues of place and space via the exploration and employment of various locative systems. I am most interested in how macro systems relate to micro experiences of land and landscape. I often use or create rules to govern the location or approach in order to make a series of photographs. This method stems from my interest in maps and mapping, historical photographic surveys, and conceptually-based art practices. It is through these influences that I started to see and make pictures: by measuring, coordinating, and locating myself within the world.
“The Fortieth Parallel” is a panoramic examination of precise yet arbitrary places found along this important parallel of latitude across the American landscape. Since 1998, I have been photographing the 40th degree of latitude across the United States at every whole of degree of longitude using GPS. At each confluence, there is approximately a 20 square-foot area in which I can compose a view. This important baseline was used in surveying state boundaries and creating townships and homesteads, and was a key marker in particular for the settlement the West. I am interested in the relationship between the 19th century’s understanding and construction of landscape, location, and place and our 21st conceptions. There are 50 confluences on land, with 2 at landfall on each coast. To date, I have been to 22 of the 52 sites; in the spring 2011, I plan on visiting 6 more. -Bruce Myren
January 7 - March 3, 2011
ABOUT THE ARTIST: Bruce Myren is an artist and photographer based in Cambridge, MA. He holds a BFA in photography from Massachusetts College of Art and Design and earned his MFA in studio art from the University of Connecticut, Storrs in 2009. Shown nationally, Myren has been included in group exhibitions at the Houston Center of Photography, TX; The Gallery Project, MI; and the William Benton Museum of Art, CT, among others. Venues for his latest solo exhibitions include the Special Collections Gallery of the Jones Library, Amherst, MA; the Danforth Museum of Art, MA; and Gallery Kayafas, MA, where he is represented. The current Northeast Regional Chair of the Society of Photographic Education, Myren has taught at the University of Connecticut, the New England Institute of Art, and the Rhode Island School of Design. www.brucemyren.com
Color Falls Down
My photographs visually express the notion of transience and split cultural identity caused by the act of migration. I have been viewing this issue through the lens of my own personal history and cultural journey from India to the United States. This journey left me feeling disconnected- unable to anchor myself in any particular cultural framework. I have therefore formed a hybrid identity, a patching together of two cultures within one person. In my work I explore absence, loss and genealogy through the use of my own family snapshots. These personal artifacts are re-contextualized alongside fragmented images and staged imagery to reveal the correlations between generations, cultures and memory. -Priya Kambli
ABOUT THE ARTIST: Priya Kambli was born and raised in India and moved to the United States at the age of 18 carrying her entire life in one suitcase weighing about 20 lbs. She began her artistic career in the States and her work has always been informed by her experience as a migrant. She completed a Bachelor of Fine Arts degree at the University of Louisiana in Lafayette and continued on to receive a Masters degree in Photography from the University of Houston. She is currently an Associate Professor of Art at Truman State University in Kirksville, Missouri - a community where she has lived longer than anywhere else. Priya's work has been included in exhibitions at Silver Eye Center for Photography, Pittsburgh; Center for Photography at Woodstock, New York; Houston Center for Photography; Photography Resource Center at Boston University; SF Camerawork, San Francisco, and others. Priya's recent awards include the 2008 Photolucida Critical Mass Book Award, the 2009 LensCulture International Exposure Award Honorable Mention and the 2010 Juror’s Pick for the Project Prize awarded by Daylight Magazine and Duke University Center for Documentary Studies.
I am an artist who is trained as a
scientist. My creative work brings
together a scientific viewpoint with the urge to create and imagine worlds we
don't typically see. These landscapes
with a view of the geology that lies below the land are what I call "photo-geologic composites."
Scientific inquiry leads me to search for answers to questions about the earth we live on:
How did the shallow earth layers form to be the way they look today?
What does the earth look like just below highly populated locations?
Does the geology below reflect in some way on the collective character of the populations that live there?
I also search for answers to questions specific to the science of geology that I am most passionate about — the study of groundwater known as hydrogeology:
What does the area where groundwater comes from look like?
What do the risks of certain land uses to groundwater look like?
I find myself interested in creating photo-geologic composite images of both urban settings and sites where we've left our mark on the earth. Once I've decided on a site and begun to imagine a geologic picture, my process involves months of research: I comb through scientific data and reports, I research the land surface to determine the best angle, lighting and transect to photograph the chosen panorama of landscape. To translate my imagined surface and subsurface view into a photo-geologic composite, I use the computer to create an image that blends my interpretation of the land with my imagination of the site based on data. The parallel paths of scientific questioning and artistic expression are integral to the creation of these images. -Jonathon Wells
ABOUT THE ARTIST: Jonathon Wells is an artist and scientist who currently lives in Minneapolis, Minnesota. Born in the Northeast, he has always had a passion for the landscape, which translated into his background as a geologist. After earning a graduate degree in geology at Boston University, he worked in environmental consulting as both a geologist and hydrogeologist for more than a decade. Pursuing his passion for landscape photography at the International Center of Photography (ICP) in New York City, Wells found a way to combine his two passions--geology and landscape photography-- in a single image that he refers to as a photo-geologic composite. He has worked for the past eight years building a body of work that includes an urban and environmental series as well as images inspired by the land and geology.
Sept. 3 - Nov. 4, 2010
Christa Kreeger Bowden
A few years ago, winged creatures, recently expired, began to ﬁnd me. Or perhaps, I started to notice them in my path... a moth attracted to a porch lamp and fallen in the sunlight of the morning, a hummingbird prostrate on cement steps after hitting an exterior window, a bat who ﬂew accidentally into a friendʼs car on a long night drive home. These creatures are to me, ﬁrst and foremost, visually interesting. They embody the idea of the still life, the nature morte, in that they are beautiful and worthy of artistic evaluation. It is the gift of photography that their beauty can be immortalized, and essentially transformed by the artistʼs gaze. These are not biological studies of specimens, and these photographs are very deﬁnitely made, not taken.
Process and subject are intimately intertwined in this body of work. The subjects are explored through a combination of 19th and 21st century photographic processes. The ambrotypes are created by coating black glass with collodion and silver nitrate, and then exposing the wet plate with 19th century lenses, giving the subject a softness of focus and an ambiguity. In contrast, the same subject is photographed directly with a ﬂatbed scanner. This method renders the subject with clarity and excruciating detail: a mothʼs body is furry, its wings scaly, its antennae, like the fronds of a new fern. Comparing these processes, and their ability to transform the same subject, reveals to me the power that I have as an artist over my subject, and ultimately how I choose to reveal my subject to the viewer. I believe that in the end, photography is as much subjective editing as it is a truth document.
Ultimately, these are small visual memorials to the fallen. After they have given me their visual gifts, I often place them in the woods where they can return to the earth from whence they came. The irony in this work is that it is simultaneously about life and death, about ﬂight and stillness, about photographic truth and the constructed image, about the alchemy of process and its ability to manipulate the subject. But above all, this work is about the ability of a photograph to hold a subject and a moment in time perfectly still, long after that subject has left the earth and time marches forward beyond that moment. In the end, memory is most valuable gift that photography gives us.
ABOUT THE ARTIST: Christa Kreeger Bowden was born and raised in Atlanta, Georgia. She earned her MFA in photography from the University of Georgia and a BA in photography and ﬁlm communication from Tulane University. She is an Assistant Professor of Art at Washington & Lee University, where she started the program in photography in 2006. Her work explores the use of a ﬂatbed scanner as a camera, as well as alternative and 19th century photographic processes. She is the recipient of a 2009-2010 Virginia Museum of Fine Arts Fellowship, and was a 2005 nominee for the Santa Fe Prize for Photography. She lives in Lexington, Virginia with her husband Nathan and their son Zachary.
when the evidence of our wounds was reborn as petals…
The “evidence” series deals with the re/construction of spaces out of re/memory and the ephemeral quality of memory when applied to a tangible object such as the landscape. We move on through history with our man made efforts to forget but the land remains. The photos were all taken on St. Martin and seek to illustrate a moment that is fleeting like the tickle of a memory in waiting. The images of the red flowers of the Flambouyant Tree carry with them an inherent beauty as well as a past that includes rebellion, revolt and emancipation. The land for me is a keeper, a witness to the events that occur/ed on the Caribbean island of St. Maarten. It is silent. It is strong. It is both the site of trauma and healing. The Caribbean reality carries with is a constantly evolving dichotomy of opposites that coexist on a daily basis. Beauty and tragedy live together in an uneasy harmony but together nonetheless. -Deborah Jack
ABOUT THE ARTIST: Deborah Jack is an artist whose work is based in video/sound installation, photography, painting and text. Her current work deals with trans-cultural existence, memory, the effects of colonialism and mythology through re-memory. She has published two poetry collections, The Rainy Season (1997) and skin (2006). Her poetry has appeared in The Caribbean Writer and Calabash and has recited her work in the Caribbean, United States, South Africa and the Netherlands. Awards and honors include a Lightwork Artist-in-Residence, Big Orbit Gallery Summer Artist in Residence, a CEPA Exhibition Award, New York Foundation for the Arts SOS grant, and The Photography Institute-National Graduate Seminar Fellow. Jack is also a member of art collective the Evolutionary Girls Club. Her work has been exhibited in solo and group shows in the Caribbean, the United States, and Europe. Her work is part of the Lightwork collection, the Southwest Collection at Texas Tech University, the collection of the Island Government of St. Martin as several private collections. Deborah Jack is an Assistant Professor of Art at New Jersey City University.
May 7 - July 1, 2010
This series explores how meaning is assumed and altered through fragmentation and reassembly.
History informs the present and future; however, new experiences continuously alter our recollection and interpretation of past events. This body of work mimics the continuous breakdown and reassembly that occurs as we navigate our daily experience, in order to illustrate the liquid nature of memory.
Anytime an event or experience is recalled, it is reassembled from fragments dispersed throughout the brain, and differs slightly from every other time it was summoned. As our lives progress, not only is our perception of the future altered, but also that of the past. This seems to cast doubt on the veracity of what we believe and how we view others and ourselves. If past experience relies upon, and consequently conforms to what has yet to occur, then there is little that can be known about who we really are, what we want, and where we are headed.
35mm photographic film and comparably sized inkjet transparencies are dissected and used to construct small installations. These images are photographed digitally and printed as archival pigment prints. The scenes that emerge from this process encourage the seamless and spontaneous migration between the real and the imaginary, the authentic and the artificial, the explicit and implicit. - Cyrus Karimipour
ABOUT THE ARTIST: Cyrus Karimipour received his MFA in Photography from the Cranbrook Academy of Art. His photographs have been exhibited at the Griffin Museum of Photography, Light Work, and ThreeWalls, and internationally in galleries in Berlin, Bregenz and Beijing. His work has been published in Harper's Magazine and Contact Sheet, and can be found in the collections of The Center for Fine Art Photography in Colorado, Light Work in New York, and The Center for Contemporary Art in New Mexico. He is a two time Photolucida Critical Mass Finalist, as well as a nominee for the Baum Award for Emerging American Photographers. Recent exhibitions include the Kaunas Photo Festival, in Lithuania, and The Lishui International Photo Festival, in China.
March 1 - May 5, 2010
The Strange Case of Dr. Addison and the Crosswell Twins
Dr. Charles Addison disappeared In the spring of 1908. The noted botanist, amateur zoologist, and photographic portraitist, had been making a series of images of a young girl named Regina Crosswell. Regina’s twin sister, Lydia, had died in the winter, though the circumstances were unclear. Dr. Addison, however, became convinced that Lydia Crosswell had not entirely departed from our earthly plane.
Addison first photographed the Crosswell twins the previous fall when their father brought them to Addison’s studio. Addison made head-and-shoulders portraits of the girls. When Lydia Crosswell died the following January, Dr. Addison was summoned to the Crosswell estate to make a memorial portrait of Lydia in repose.
Several months later, Mr. Crosswell requested Addison make a portrait of the entire family. Apparently, Regina Crosswell had been unable to let go of her sister and claimed to still see her and play with her. Mr. Crosswell felt that if a new portrait was made it might help Regina to accept the family as it then existed, without her sister. The Crosswell family, including governess Katharine Rennick, came to Addison’s studio and had their portrait made. However, when developing the glass plate negative, Addison discovered one extra figure in the image. To his great disbelief the figure appeared to be that of Lydia Crosswell.
When shown the image, Mr. Crosswell accused Dr. Addison of being a charlatan, and promptly threw him off the property. This served only to intrigue Addison who sought to investigate and either prove or disprove the phenomenon. He arranged several meetings with Regina Crosswell to photograph her further at several locations including the estate, his studio, and the cemetery where Lydia was buried.
To his astonishment, each time Addison photographed young Regina Crosswell, the image of her sister appeared when the photographic plate was developed. Ever the scientist, Addison tried several technical means and experiments to discern the truth. One of those methods was stereo photography with gave a three-dimensional image. Addison reasoned that if the spirit was false, it would not have visual depth. After numerous images all showed Lydia’s image, Addison began to accept the presence of her spirit. He then began to question her demise.
Addison kept an occasional diary of his investigation, and it reveals a curious man searching for clues, motives, and suspecting several different individuals of foul play. The diary ends abruptly with an entry that indicates Addison made a discovery. But what he discovered remains a mystery as Addison disappeared and was never seen again.
My interest has long been in creating compelling and elusive images with a surrealist narrative. I began using stereo photography to further immerse the viewer in that narrative. Simultaneously the concept of my work has evolved into more fully developed stories embracing the supernatural. The Strange Case of Dr. Addison and the Crosswell Twins centers on a pair of twin sisters in 1908 Chicago, one of whom has died mysteriously but appears to her surviving sibling in spirit form. A photographer, Dr. Charles Addison, inadvertently captures the spirit of the deceased girl with his camera and then sets out to investigate the phenomenon. -Christopher Schenberger
ABOUT THE ARTIST: Christopher Schneberger is an artist in Chicago who teaches photography at Columbia College and the Evanston Art Center. His recent exhibition venues include Printworks Gallery in Chicago, Dorsky Gallery in New York City, El Camino College in California, and College for Creative Studies in Detroit. He is twice recipient of an Illinois Arts Council individual artist grant, and twice winner of the Paul Wing award for best stereo theater presentation. His work was recently the cover story for PhotoEd magazine's issue on stereo photography. His work has been reviewed by The Chicago Tribune, The Chicago Sun-Times, and The Village Voice.
January 8 - February 26, 2010
These photographs were taken over a six year period traveling one to
four times a year on a six-star luxury cruise line. The project is one
that examines a private world, far beyond the first class curtain on an
airplane. To me, the work taken on whole, represents an exploration of
my mother’s unrealized hopes to be a part of society’s elite, and her
hopes that she could push me there in her stead. She passed away in
2006 from a pulmonary embolism. Outside her several cruises a year, she
spent most of her time secluded in her apartment in San Francisco, a
far cry from the persona she’d developed over her years of cruising. -Colleen Mullins
ABOUT THE ARTIST: Colleen Mullins is an active photographer and book artist, and is the Academic Director of Photography for the Art Institutes International Minnesota. She was awarded an MFA from the University of Minnesota and a BA from San Francisco State University. Her work has been exhibited nationally including at the Houston Center for Photography, University of the Arts (Philadelphia,) and the Minnetonka Center for the Arts. Her work is held in several public collections including the Southeast Museum of Photography in Daytona Beach, FL and the Global Collection of Photography at the Weeks Gallery, Jamestown Community College in Jamestown, NY. She received a Minnesota State Arts Board Artist Initiative Grant to continue work on her project, Elysium that examines the urban forest of New Orleans, and its new and delicate relationship with its human neighbors in the still choppy wake of Hurricane Katrina.
Nov. 6, 2009 - January 7, 2010
Land of the Stratus
13 x 40 inch archival pigment print, for more images, see Dennis DeHart's website
My fine art photographs and interdisciplinary projects are compelled by the connections, conflicts, and intersections of the natural and cultural worlds. I am interested in how our perceptions of nature are constructed by culture, and culture by nature. During this past year (2008-2009) I have been making pictures in my home state of Washington. The images were photographed specifically in the northwest corner of of the state. This includes north of Seattle, up through the San Juan Islands and east to the North Cascades. Conceptually, I am investigating landscapes through a combination of constructed and non-constructed photographs. In many instances, a kind of trauma is or has occurred in these images. The photos bear witness to this trauma while equally embracing the sublimity of seeing. The photographs take the form of large-scale panoramas. Stylistically, I am sampling historical genres including 19th century travel and landscapes photography and prints. This includes research at the George Eastman House in Rochester, NY studying prints by Carleton Watkins, among others. My photographs also draw from conventions of directional and staged photography. -Dennis DeHart
ABOUT THE ARTIST: Dennis DeHart's fine art photographs and interdisciplinary projects are compelled by the connections, conflicts, and intersections of the natural and cultural worlds. He was born in Hood River, Oregon and spent his formative years in the Pacific NW. Dennis holds a M.F.A. in Photography from The University of New Mexico and a Bachelors degree from The Evergreen State College in Olympia, Washington.
His work has been exhibited in over 75 venues including group, collaborative and solo shows in the United States, Spain, Turkey, China, New Zealand, and Lithunia. Dennis has received grants and awards from the New York State Council on the Arts, Arizona Commission on the Arts, and The Beaumont Newhall / Van Deren Coke Fellowship. His work has been published in such books as Photography, 8th & 9th editions and periodicals including Leonardo (MIT). Dennis's work is included in private and public collections including the Getty Archives in Los Angels, The City of Phoenix, and the Centro de Art Seville in Seville, Spain.
Professionally, Dennis has served as a Visiting Professor of Photography and Digital Imaging with Indiana University & Prescott College (Arizona), and as an Assistant Professor of Photography with the State University of New York College at Buffalo, in Buffalo, New York. He has also done extensive volunteer work including two years of National Service in Seattle, Washington.
Dennis currently lives and works as a full time artist and professional photographer on Orcas Island (Washington State) with his wife and two sons.
DeHart's recent photographs include large format panoramic images that Diana Edkins, a curator at the Aperture gallery in New York City describes as " A classical approach to the western landscape and space, which is both dissident and disturbing while functioning aesthetically and provocatively."
Sept. 4 - Nov. 5, 2009
Africa in Images and Proverbs
This proverb indicates how important proverbs are in African society to express the wisdom and philosophy of the African people. They were used, and are still being used to instruct members of the society how to think, how to behave and how to have a better life. They are the key to the understanding of African ways of life in the past and in the present.
I have been taking photographs in Africa since 1987. While living in Kenya for eight years I traveled all over East and West Africa recording, in black and white, special and unique moments in African daily life showing metaphor, wisdom, happiness, misery, humor, instruction, disappointment, praise, affection, ethics, and human interaction. These are the same qualities found and described in African proverbial language: thus the idea of coupling the images with proverbs. Proverbs are rhythmic, poetic, instructive, easy to remember and pleasing to hear. When connected with photographs the visual and tactile senses are also engaged. Together they can be a powerful expression of African life and the universality of human emotions, ideas, and behavior.
“One person is thin porridge; two or three people together are a handful of cornmeal” (Kuria, Tanzania). -Betty PressABOUT THE ARTIST: Betty Press recently returned from photographing in Sierra Leone where she was with her husband, a Fulbright Scholar and Lecturer at Fourah Bay College. In the USA she is an adjunct Professor of Photography at University of Southern Mississippi. She is best known for her photographs taken in Africa where she lived and worked as a freelance photojournalist from 1987 to 1995. Now living in Hattiesburg, Mississippi she photographs in the South as well as travels to Mexico, Central America, the Caribbean, Cuba and Africa. She has had numerous exhibitions including one of African photographs in 2001 at the nationally recognized Southeast Museum of Photography in Daytona Beach, Florida. Her most recent shows have been at the Baldwin Photographic Gallery, Middle Tennessee State University in Murfreesboro; the Art League, Daytona Beach, Florida; and Lycoming College, Williamsport, Pennsylvania. Her latest project, "Africa in Images and Proverbs," has been exhibited at the Rocky Mountain College of Art and Design, Denver, Colorado and at the University of Miami, Florida and University of La Verne, California.
Her work has been selected in many juried
competitions. Recent awards
were received from Women in Photography, the Photographic Center
Northwest, Seattle and the Art of Photography in San Diego. She
had the honor to photograph Audrey Hepburn on her visit to Somalia as a
UNICEF Goodwill Ambassador in 1992. In 1999 her photographs were
featured in a book titled The New Africa: Dispatches from a Changing Continent, published by the University Press of Florida.
Betty Press is a graduate of Nebraska Wesleyan University and studied photography at the University Of Michigan School Of Art, Ann Arbor. Her work is in several public art collections, including the Harry Ransom Center for the Humanities, Austin, Texas, Southeast Museum of Photography, Daytona Beach, Florida, National Museum of Women in the Arts, Washington, DC, and Stetson University, Deland, Florida. She is represented by Panos Pictures, London; Woodfin Camp & Associates, New York; Photographic Image Gallery, Portland, Oregon; International Visions Gallery, Washington, DC; Rahimatulla African Museum of Modern Art, Nairobi, Kenya; and A Gallery in Hattiesburg, Mississippi.
July 3 - September 3, 2009
In about the third or fourth grade, late in the afternoon when I should have been doing homework, I would go to the backyard to play. I was a pioneer, and I would ride my horse back and forth across the grass from my homestead to a river. When it got too dark, I’d be called in for dinner, and be banished from this world for the day. By sixth grade, the time between visits to my backyard adventures grew longer. Now, as I look back, these make believe dramas, seem like explorations of a Garden of Eden, and as I grew up, without noticing, the gates to it closed. When children are deeply absorbed in play, they seem far away. They create invisible worlds through conversations, dialogs, and theatrics. Their young voices breathe life into stuffed animals; they see dinosaurs and dragons lurking behind the trees and under beds. I observe the way they move their hands and feet, the way they find and handle small creatures, the way they smell, touch, inspect, and collect dirt, rocks, leaves— and more. How can they so fully engage themselves in this rich interior life? Which moments will they remember, and how? Is this instinct, this impulse to play universal?I listen to my sons, and I watch them, but I do not always fully understand their stories, myths and secrets. When I photograph children—my own and others, I use the lens of a camera, a window, if you will, to seek clues to the realms they have created. I am engaged once again in child’s play, if only from a distance, and I find that I have made a connection between my childhood, and theirs through my photographs. -Suzanne Révy
ABOUT THE ARTIST: Suzanne Révy is a portrait and fine art photographer based in the greater Boston area. She holds a BFA in photography from Pratt Institute. After a decade in the field of magazine photography as a photo editor, she left to raise two sons. She began photographing her boys, their cousins and friends, and intuitively has built a portfolio that explores childhood moments, in particular when children are engaged in creative play.
May 1 - June 30, 2009
Ian van CollerOUTSIDE LOOKING IN: Portraits of Domestic Workers in South Africa
Much has been made of a burgeoning “post-racial” era in America since the nomination and election of Barak Obama. In my home country of South Africa, the election of Nelson Mandela in 1994—the first election of a black South African by a black majority newly armed with voting rights—heralded similar speculation about a “post-Apartheid era.” Today, South Africa has adopted what is arguably the world’s most progressive constitution, and touts the largest proportion of women to serve in a national parliament anywhere in the world. Yet, in contrast to the adoption of these democratic ideologies, the daily existence of the majority of its population remains largely unchanged. What is the impact of these historic political victories….? Outside Looking In reflects the persistent fault line between national democratic ideals and ongoing racial and economic inequalities that, in South Africa, circumscribe the lived experiences of a large majority of its black citizens more than a decade after apartheid’s end.
South Africa has one of the highest rates of unemployed workers in the world, the majority of who are black South Africans that are lacking in both education and opportunity, and are living in extreme poverty. Those who are fortunate find work as a “domestic”—a gardener, nanny or maid—within wealthy and middle-class households. Today, more than 1.5 million black South Africans continue to serve as domestic workers, many of whom live in on-site quarters, and effectively reproduce an ongoing “social apartheid.” On a daily basis, the domestic worker/employer relationship reproduces racial and economic inequalities within the most intimate of spaces—the household. More than a decade after the election of Nelson Mandela, domestic service remains so entrenched in South African culture that to an outsider, it is noticeably absent from public discourse on equality and race.
Outside Looking In is a compilation of portraits from two series: Interior Relations: Portraits of Female Domestic Workers (Part I), and The Garden Path, which focused on the male landscapers and gardeners. My own experiences as an expatriate South African, raised with black nannies and gardeners, provides me with a personal (and yet distant) vantage point from which to view the persistence of domestic service. This portrait series has been an exploration of the complicated and intimate relationships between employers and domestics, which are interwoven with intimacy, inequity, nostalgia, and the struggle to create and assert post-apartheid identities in the face of persistent inequalities. The institution of domestic service, so engrained in South African culture, also provides an opportunity for an unusual level of intimacy and understanding that can bridge enormous gulfs in ethnicity, culture, education and poverty.
With the help of a local assistant Phinneas Ndlovu, I was also able to collect brief oral histories of the women and men I photographed. Most of the women are single (widowed, divorced, separated, never married) and support numerous children, and often extended families, on their meager salaries. These women, often with the assistance of their employers, are paying for their children’s advanced educations, which will ultimately allow the next generation a realistic opportunity work alongside white South Africans.
Both parts of this portrait series capture images of domestic workers photographed within the homes or gardens that they service, and often reside. The images provide a space for these men and women to assert their own identities, juxtaposed within settings where they normally have had to conform to their employers expectations regarding manner and dress. For this project, the subjects were asked to wear their preferred clothing and accessories so that they could express some aspects of their personal aesthetics and identity.
ABOUT THE ARTIST: Ian van Coller is an artist and photographer who grew up in apartheid era South Africa. After receiving a National Diploma in Photography in 1991 from Technikon Natal in Durban, van Coller moved to Arizona in the southwest of the United States. He spent nine years in Tempe where he completed his BFA degree in Photography (from Arizona State University) and worked for 5 years as a photogravure collaborative printer and partner at Segura Publishing, a small fine art printing company in Tempe (www.segura.com). In 2000 Van Coller moved to Albuquerque, New Mexico where he received his MFA in photography from the University of New Mexico. He currently lives in Bozeman, Montana where he is an Assistant Professor of Photography at Montana State University. Van Coller returns to South Africa every year to work on art and photography projects. His work has been widely exhibited in the United States and South Africa where his work is included in many museum collections including The Philadelphia Museum of Art, The Fogg Museum, The Scottsdale Museum of Contemporary Art and The South African National Gallery (IZIKO).
March 6 - April 30, 2009Gwen Walstrand
Through visual associations, I attempt to connect landscape imagery and ideas. Triggers for memories and attachments to particular places are embedded in the nature of such images. The inherent links photographs have with the past, and the specifics of my own experiences, are used to refer to larger issues of loss, worry, memory, attachment, and the significance of place in our histories and memories. -Gwen Walstrand
ABOUT THE ARTIST: Gwen Walstrand is an Associate Professor of Photography at Missouri State University in Springfield, Missouri. She holds degrees from the University of Iowa (M.A., M.F.A.), and Southwest Missouri State University (B.F.A.). Gwen’s work has been included in national and international exhibitions including shows at Santa Reparata International School of Art in Florence, Italy, Muse Gallery in Philadelphia, SoHo Photo Gallery in New York City, University of Toledo’s Center for the Visual Arts Gallery in Toledo Ohio, Santa Clara University Art Gallery in California, East Carolina University’s Gray Gallery, and Seton Hall University’s Walsh Library Gallery in South Orange, New Jersey. She has received numerous exhibition awards as well as residency awards and fellowships to support her work. Gwen’s work has been published in Orion Magazine-Nature/Culture/Place and in Christopher James’ Book of Alternative Photographic Processes, and has been featured in many exhibition catalogs. Gwen has taught photography classes in beginning and advanced black and white photography, large format photography, non-silver processes, photography history, advanced senior seminar, art theory, and landscape theory.
THE PROCESS: Van Dyke brown printing is a hand-coated, historical
process which can be applied to various surfaces such as paper and
cloth. The silver nitrate solution is applied with a brush or rod to
the printing surface, dried and then exposed using very bright
ultra-violet light such as a 1000-watt grow light or sunlight. The
negative film must be the same size as the desired print since the
light-sensitivity of the solution does not allow for enlargement. The
results are a very long, delicate tonal scale and red-brown to
brown-black coloration. Different papers render different color texture
and contrast results.
January 9 - March 5, 2009
Psychometry is a series of black and white photographs exploring issues relating to anxiety, loss, and existential doubt. The term refers to the pseudo-science of "object reading," the purported psychic ability to divine the history of objects through physical contact. Like amateur psychometrists, viewers are invited to interpret arrangements of tarnished and weathered objects, relying on the talismanic powers inherent in the vestiges of human presence. These images suggest a world in which ordinary belongings transcend their material nature to evoke the elusive presence of the past.
The objects I photograph, discovered in flea markets, auctions, estate sales, and antique shops, have their own unknowable histories. They range from ordinary items, such as doll houses, bird cages, and Christmas ornaments, to symbolically charged objects that relate to the human figure, such as dress forms, leg braces, and wigs. Once photographed, they form a visual language that hints at the lives that once surrounded them. Ironically, these metaphorical arrangements only reinforce the idea that the secrets of the past are forever lost.
Through an examination of fortune-telling and clairvoyance, many of the images confront the desperate human desire to know the unknowable, historically referencing the Victorian interest in spiritualism as well as the look of the nineteenth century photographic image. Illegible text and arcane symbols in pictures with themes like palm reading, tea leaf reading, and numerology force the viewer to consider man's insatiable need to anticipate his own fate.
The concept behind each picture dictates its darkroom manipulation, sometimes requiring research and revisions that last weeks or months. Combining photography with drawing, seamlessly incorporating photograms, integrating appropriated text, and scratching the emulsion of the negative create images where horror, history, and psychology occupy the same imaginative locale.
The success of these images relies upon the viewer's expectation of truth in the photograph, expanding upon age-old darkroom "trickery" to suspend belief between fact and fiction. The romantic ideas suggested by these photographs are enhanced by the nostalgia that accompanies historic photographic imagery, the process of traditional printmaking, and the magic of the darkroom.
Pervading the work is a sense of melancholy for the past, and a mounting dread that comes with the realization that our own stories will suffer the same fate. These images are designed to create a tension between beauty and decay that expresses anxiety over the passage of time, the inevitability of death, and a fascination with the unknown.
ABOUT THE ARTIST: Carol Golemboski received an MFA in Photography from Virginia Commonwealth University and an MA in Art from The University of Wisconsin-Madison. Her series of black and white photographs, entitled Psychometry, addresses psychological issues concerning anxiety, loss and existential doubt. By combining photography with drawing, scratching the negative, and incorporating text and photograms, she infuses her images with tension and mystery. Golemboski has been the recipient of numerous grants including individual artist fellowships from the New York Foundation for the Arts, the Virginia Commission for the Arts, and Light Work. Her Psychometry series won the 2007 Project Competition award from Center in Santa Fe, New Mexico. Her images have been published in notable photographic journals and magazines such as LensWork, Contact Sheet, and AfterImage. She is represented by several galleries nationwide including the Robert Klein Gallery in Boston, the George Billis Gallery in Los Angeles, and the Sandy Carson Gallery in Denver.
November 7, 2008 - January 8, 2009
The Italian Portfolio:Evidence of Hands on Stone
Since 1989, I have been photographing the architectural landscape of Italy, exploring the visual splendor of its religious, public and vernacular structures. These objects are the evidence of patient application of hands on stone, allowing extraordinary things to be created from ordinary materials. Over time, layers of the past and present combine to create something that will remain to be seen in the future.
My photographs are my response to this subtle layering of the ancient and the contemporary in Italian architecture. For me, the buildings, their materials and the light that plays on them not only describe the passage of time but also the sense of proportion, beauty and attention to minute details of life and living for which Italy is justly famous. Though the hands of the men and women who crafted these structures are always visible, I eliminate the physical presence of people in the photographs to place the emphasis on the objects themselves. In this, I am following the documentary tradition in photography, though my objective is to give the images a sense of timelessness, much like the structures themselves possess.
I work with a large format camera for its ability to express nuances of tone and detail as well as for the deliberate actions which the camera requires and which I enjoy. While the camera and the film inside of it are “old” technology, my prints are inkjet. The film is scanned and the images are printed with pigment inks on rag paper, so the 16 by 20 inch prints, like their subjects, exhibit a respectful mixture of the past and the present, with an eye to the future.
ABOUT THE ARTIST: Jeffrey Curto is Coordinator and Professor of Photography at College of DuPage in Glen Ellyn, Illinois, where he has taught since 1984. He was awarded a Bachelor of Fine Arts degree from Illinois Wesleyan University in 1981 and a Master of Fine Arts degree from Bennington College in Vermont in 1983. Additionally, he attended Ansel Adams’ last workshop in Carmel, California in 1983. A portfolio of Curto’s photographs of Italy was published in LensWork magazine in the spring of 2005. Examples of his work can be found on his website at www.jeffcurto.com
September 5 - October 31, 2008
Rachel Girard Reisert
Still and All
My photographs take shape in the backyard, a microcosm for the larger world, where on a daily basis, life in various forms begins, expands, and eventually dies. In the moments found and pictured, I consider the metaphorical possibilities of object and light, and the significance not only of what we know, but how.
As presence requires absence to be truly understood, light and shadow are interdependent necessities in bringing forth the photograph as object – mirroring the dualities in the world as in our own perceptions. By subtraction from the world, each image remains a fragment of space and time, creating something distinct, and simultaneously reflecting what has already passed. In this reductive and additive ritual, I acknowledge the continuous cycle of giving and taking, as it emulates the interchange of life and death. Beauty is affirmed within this transformation, heightening the awareness of desire and hope, as the picture becomes testament to the pleasure as well as the pain of life.
Serving as a meditation on mortality and impermanence, these images reference the rich historical tradition in Dutch still life painting of the sixteenth and seventeenth centuries known as vanitas. Items commonly represented in these paintings include skulls, flowers at the edge of decay, fresh and rotten fruit, bubbles, clocks, jewels, books and musical instruments to serve as reminders for the brevity of life. While employing some of the materials that have been traditional symbols of this theme, the photographs create a new set of visual clues rooted in a contemporary personal and cultural perspective.
I offer these images as a poet extends words. Like lines of a poem, they remain elusive in how meaning is attached and allow for multiple understandings. Resolution is permutable, never becoming fixed or definitive. Perception and interpretation are key in discovering the intersections of our circles of knowing, and ultimately reveal our most fundamental connections as human beings. -Rachel Girard Reisert, 2008
ABOUT THE ARTIST: Rachel Girard Reisert received her BFA from Columbus College of Art and Design in 2002 and her MFA from Arizona State University in 2007. Her photographs and artist books have been exhibited in Alabama, Arizona, Kentucky, Ohio, Texas, Tennessee, New Mexico, New York and Hungary. She is currently an Adjunct Professor of Photography at the University of Cincinnati.
July 1 - August 29, 2008
Barriers and Conduits: Viewing the Urban Landscape
In Jennifer Little's most recent body of work, Barriers and Conduits: Viewing the Urban Landscape, heavy, concrete bridges frame glimpses of nature. The framed views depict nature's containment within the urban landscape, while alluding to the technological and social conditions that create this urban nature. Reflections in the water beneath the bridges double the geometry of the structures, emphasizing that nature is completely surrounded by a manmade frame. The watery reflections also imply that the natural and the manmade coexist in a tense but fluid equilibrium. The constant noise and congestion on the busy city street surfaces of these bridges stand in stark contrast to the tranquil and quiet remove of the hidden and wild spaces just below them. These photographs explore the near intersection of two conduits running in perpendicular directions: the manmade conduit of the road and the natural conduit of the creek, stream, or river. The two conduits converge at the bridge, but never quite intersect. Little's photographs seek to capture the small fragments of sublime nature that lie hidden beneath these bridges in our post-industrial urban landscape.
The artist uses a combination of analog and digital processes to create these images. She photographs 4x5 inch color negatives, makes proof prints using a color enlarger, and scans the best negatives to create final large scale ink jet prints on an Epson wide format printer.
ABOUT THE ARTIST: Jennifer Little was born and raised in Memphis, Tennessee. She attended college at Washington University in St. Louis, receiving a B.F.A. in Photography. She subsequently completed her M.F.A. in Photography at the University of Texas at Austin. Jennifer is currently an Assistant Professor in the Department of Visual Arts at University of the Pacific in Northern California. She teaches courses covering Digital Photography, Black and White Darkroom Photography, Computer Graphics, and Web Design. Jennifer has exhibited her work at museums and galleries across the United States, including The San Francisco Arts Commission Gallery at San Francisco City Hall, The Marin Museum of Contemporary Art in Novato, CA, and The Center For Fine Art Photography in Fort Collins, CO. Her work has been published and reviewed in Camera Arts Magazine and The Austin Chronicle.
May 2 - June 30, 2008
The Pittsburgh Project
These photographs are drawn from a project I have been working on for the past three years. I have been documenting Pittsburgh, a rustbelt town seated at the confluence of the Ohio, Allegheny and Monongahela rivers in the rolling hills of Western Pennsylvania. A century ago, the city became an economic hub that served as one of the nation's largest producers of steel, coal, glass and aluminum, attracting scores of European immigrants with the promise of work in the mills. As the city's economy boomed, its culture flourished, and Pittsburgh became home to one of the country's most prolific African American communities-the Hill District-as well as some of America's most influential families: the Carnegies, Rockefellers, Fricks, Heinzes, Hillmans and Mellons.
With the deindustrialization of the latter 20th century, Pittsburgh suffered a massive economic decline, losing half its population over the last 50 years alone. The city can no longer afford some of the most basic of municipal services, like plowing the streets in the winter or keeping public pools open in the summer. In recent years, the City of Pittsburgh has teetered on the verge of bankruptcy.
Today, Pittsburgh strives to diversify its economy. As area real estate is relatively inexpensive, such companies as Google and Apple are considering the incentives of moving into the city. The sites of what were once the largest steel mills in the country have been leveled in favor of luxury condos and shopping plazas. There is hope that things are changing for the better-only time will tell.
It is no accident that such a culturally rich and socioeconomically diverse city nestled in this dynamic landscape has fascinated photographers for more than 150 years, including such historically acclaimed image-makers as Lewis Hine, W. Eugene Smith and Margaret Bourke-White, to name a few. In continuation of the story they began documenting decades ago, I offer these panoramic images-assemblages of medium-format photographs that hopefully convey moments from Pittsburghers' everyday lives with breadth of scope and intimacy of detail.
Pittsburgh is more than an intersection of waterways connecting industries now gone by the wayside, the city is a confluence of cultures, classes, and the changing tides that keep them in constant flux, much like the rivers themselves. It is a place where a story familiar to cities across the country is unfolding at this very moment. In a sense, this project documents an entire nation's struggle to reconcile its history with the uncertainty of its future, and to reinvent itself anew.
Generally I assemble eight separate, medium-format negatives (shot with a Mamiya 7 on Ilford HP5) in PhotoShop to create a full 360° view. I do no manipulation to the images other then adjustment of levels. They are than outputted on an Epson 7800 with Ultra Chrome Inks on Epson Enhanced Matte paper. The prints are 44 inch wide by 9 inch tall.
ABOUT THE ARTIST: Dylan Vitone is an Assistant Professor at Carnegie Mellon University. He holds a B.A. from St. Edward's University, and M.F.A. from Massachusetts College of Art. His photographs have been exhibited widely and his work is in the permanent collection at many institutions including the Museum of Contemporary Photography at Columbia College Chicago, George Eastman House, Smithsonian Institution, National Museum of American History, Harry Ransom Center, Portland Art Museum, and the Polaroid Collection.
March 7-April 30, 2008
Temples of Democracy
photographs by Keith F. Davis
on loan from the American Century investments Art Collection
Temples of Democracy
These photographs were begun in an intensive five-year period, 1982 to 1987. However, my interest in this subject has never waned and the series continues today. In that initial five-year period, I visited about two-thirds of the nation’s state houses, from Maine to Wyoming, Wisconsin to Louisiana. This project was conceived as a personal and poetic quest. No attempt was made to be either systematic or encyclopedic in coverage. While I would have enjoyed visiting all fifty capitols, I accepted that this was unlikely. I also realized that some of the buildings I visited simply resisted being photographed (by me, at least) in any genuinely interesting way. It was easy to record the facts of these places, but much harder to shape those facts into satisfying pictures. Ultimately, I’m not sure how useful these images may be for architectural historians—that is, what sort of balance they strike between an objective sense of documentation and a more intuitive sense of invention. Of course, photography is fascinating, in part, because it consistently blurs any line we try to draw between the presumably opposing notions of “fact” and “interpretation.”
Why make photographs of state capitol buildings? These structures are both physically prominent and intellectually unfashionable—an interesting combination. They are astonishingly rich symbolic texts—but texts written in a visual and metaphorical language that has become remarkably “foreign” to most of us. The ideas and images that previous generations easily understand appear to many today as quaint, obscure, or simply irrelevant. This process of cultural forgetting calls, I think, for some form of remembrance and re-imagining.
I am interested in both the physical and symbolic experience of these buildings. Some of these spaces powerfully embody the notion of a “secular cathedral.” The scale of these enclosures, the solemnity of their design and decoration, the often hushed atmosphere, and the careful orchestration of light all combine to create a contemplative, even reverential, state of mind. But, of course, capitols are not churches—they are utilitarian structures devoted the often messy and contentious business of politics. I have attempted to convey some sense of this complexity in the pictures.
My interest in symbolic expression is also conveyed in the images of statues, paintings, photographs, and inscriptions that are intended to inform, commemorate, and inspire. For me, at least, these images and artifacts raise many more questions than we can even begin to answer. How has our thinking about our collective civic life changed in the past two hundred years? How do we think about history: are we products of, or refugees from, the past? Can we take anything but an ironic attitude toward “traditional” notions of greatness, heroism, and virtue? How have the most intangible ideas—of democracy, leadership, or sacrifice, for example—been given symbolic form? What resonance and relevance do these ideas have today? Ultimately, I think, these structures have something important to say about our civic life and cultural memory.
Keith F. Davis
ABOUT THE ARTIST: Keith F. Davis is Curator of Photography at the Nelson-Atkins Museum of Art, and Chair, Art Selection Committee, Hallmark Cards, Inc., both in Kansas City, MO. Born in Connecticut in 1952, he received his B.S. degree (1974) in Cinema and Photography from Southern Illinois University, Carbondale, and his M.A. (1979) in the History of Art from the University of New Mexico, Albuquerque. In 1978-79 he held a research internship at the International Museum of Photography at George Eastman House, Rochester, NY.
He became Curator of the Hallmark Fine Art Collections in 1979, Chief Curator in 1987, Fine Art Programs Director in 1992, and Chair, Art Selection Committee in 2008. In these positions he expanded the Hallmark Art Collection to over 2000 paintings, prints, and dimensional works, and the Hallmark Photographic Collection to a present total of over 5000 works by 850 photographers. He has curated seventy exhibitions from the Hallmark art and photography holdings; these shows have been seen in over 300 individual bookings in leading museums across the U.S., and in Canada, New Zealand, Australia, Great Britain, France, Spain, and Switzerland.
His various awards include a Fellowship from the National Endowment for the Humanities (1986-87) for his work on the Civil War-era photographer George N. Barnard.
He is the author of numerous books and catalogues, including: Désiré Charnay: Expeditionary Photographer (1981); Todd Webb: Photographs of New York and Paris, 1945-1960 (1986); Harry Callahan: New Color, Photographs 1978-1987 (1988); George N. Barnard: Photographer of Sherman’s Campaign (1990); Clarence John Laughlin: Visionary Photographer (1990); The Passionate Observer: Photographs by Carl Van Vechten (1993); An American Century of Photography: From Dry-Plate to Digital (1995); The Photographs of Dorothea Lange (1995); An American Century of Photography: From Dry-Plate to Digital, 2nd edition, revised and expanded (1999); and American Horizons: The Photographs of Art Sinsabaugh (Hudson Hills, 2004); The Art of Frederick Sommer (2005); and The Origins of American Photography: From Daguerreotype to Dry-Plate, 1839-1885 (2007). His major essays include “A Terrible Distinctness: Photography of the Civil War Era,” in Photography in Nineteenth-Century America (1991), and “‘To Open an Individual Way’: Photography at the Institute of Design, 1946-1961,” in Taken By Design: Photographs from the Institute of Design, 1937-1971 (2002).
In addition to lecturing widely on various aspects of 19th and 20th century photography, he has taught the history of photography at the undergraduate and graduate levels.
He has exhibited his own photographs intermittently since 1973. His work was featured in “Midwest Photography,” at the Walker Art Center, Minneapolis (1981); “An Open Land: Photography of the Midwest, 1852-1982,” at the Art Institute of Chicago (1982); and in a solo exhibition at the Dolphin Gallery, Kansas City (2000).