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Previous Exhibitions

January 4 - February 28, 2019

Virgil DiBiase
“My Husband Won’t Tell Me His First Name”: Portraits of Dementia

“My husband won’t tell me his first name.” Judy C., Parkinson’s dementia

De men tia: A chronic or persistent disorder of the mental process caused by brain disease or injury and marked by memory disorders, personality changes, and impaired reasoning.

Alzheimer's is the most common type of dementia.  There are 5.5 million people with Alzheimer's in the USA and that number will triple by mid-century. It has been over 100 years since it was discovered yet we have no effective treatment. We spend more on Viagra, popcorn and anti-aging cream than we do on Alzheimer's research. One in 3 of us will develop the disease and one in 2 will care for someone with Alzheimer's. Ultimately, at the end stages, many will be warehoused in understaffed, under skilled nursing homes and subjected to social isolation and pharmacological sedation, and 50% will die within 6 months.

With this project, I wish to humanize a truly dehumanizing disease. Behind these statistics are people with a full range of emotions: humor, anger, longing, fear, love, and hope. I am a neurologist and these are my patients. Look at these portraits as if you are looking in the mirror. It is our destiny.

"When I was younger, I could remember anything, whether it had happened or not; but my faculties are decaying now and soon I shall be so I cannot remember any but the things that never happened." Mark Twain

-Virgil DiBiase

ABOUT THE ARTIST: Virgil DiBiase is a photographer and neurologist living in rural Indiana on a small farm with his wife and two donkeys. His work has been featured in Burn Magazine, Black and White Magazine, and Don’t Take Pictures and exhibited at Rangefinder Gallery, Colorado Photographic Arts Center, Griffin Museum of Photography, Southeast Center for Photography, and Fort Wayne Museum of Art, among others. He was named a Critical Mass Finalist in 2017 and 2018. 


November 1, 2018 - January 3, 2018

George Nobechi
Unmoored



Three years ago, I departed New York City on what eventually became a 990-day personal odyssey, leaving behind broken relationships, my career, home and all my possessions except for my camera and what I could carry on my back; I became “unmoored.” I did so because it was the first time since my father abruptly passed away when I was nineteen that I had the time and space to take stock of my life and dig deeper into my recollections. 

As I journeyed, I made photographs where I felt the presence of everyday humanity and the stillness of natural tranquility. To contextualize my settings I recalled my upbringing in the organized chaos that is Tokyo. From my high rise bedroom window as a child I spent hours upon hours gazing out at the sprawling city below and found a calmness that was elusive whenever I ventured out of the sanctuary of my room. 

I turned once again to windows and looking out from within, where the faintly warm presence of someone who was there but now departed--a concept known in Japan as nukumori—could be felt. 

I make photographs in the places where I find these elements--nothing in this series is staged—to capture a still moment in time that recalls something from our past, like a distant, but familiar bell tolling for us to come back and find life here again in the stillness. -George Nobechi

ABOUT THE ARTIST: George Nobechi is a Tokyo-born, Japanese/Canadian photographer who graduated from the University of British Columbia with a Bachelor of Arts (Honors) in History/International Relations. When he was 19 his father suddenly passed away, and he left Vancouver upon graduation and began a career in the business world in Tokyo and New York to support his family. In 2015, he left his business career and studied photography under former National Geographic photographer Sam Abell. Under Abell's mentorship, he interned at the Santa Fe Photographic Workshops and established their first Japan expeditions. Since then he has continued to journey freely while making new work. Award and exhibition highlights include a 2017 Critical Mass Top 50 Award, Winner of the Best Landscape category in PDN’s “The Curator,” and two Silver Awards in PX3 for Fine Art and Monograph categories. George has taught photography at the American School in Japan (ASIJ), the British School in Tokyo, Hastings College in Nebraska, and for the Santa Fe Photographic Workshops and he currently produces exhibitions, community talks and workshops in Japan under the brand Nobechi Creative.

September 7 - October 30, 2018

Kevin Miyazaki
Echo


Echo is a new body of work that investigates family history by addressing issues of migration, memory and place. In making the work, I’m interesting in finding connections - however small or large - to my ancestry and ethnicity. My maternal great grandparents and paternal grandparents emigrated from Japan to Hawaii and Washington state, respectively.

I was born and raised in the American Midwest, often the only face of color in an overwhelmingly white suburban setting. My interest in family history stems from this upbringing, but is fueled by compelling stories of migration, personal struggles and accomplishments within my family. My great grandfather Saburo Hayashi became a pioneer in the fields of medicine, education and journalism in Hawaii - the series title, Echo, is taken from the name of the Japanese and English language newspaper he began publishing in 1897. And my father, an American citizen born in Tacoma, Washington, was incarcerated with his family in camps for Japanese Americans during World War II.

The photographs in Echo are a mix of newly created images with others from family archives, made in Hawaii, Wisconsin, Minnesota, Washington state, Ohio and Japan. The diptych format references the physical structure of a family photo album and pairs images that hold deep personal meaning, but often have unidentifiable connections. I’m interested in how family photo albums, particularly when viewed generations later, can hold both fact and mystery. They often present persons and places both known and unknown, and can be both clarifying and inconclusive.

Though the images and stories contained within this series are personal to my experience, it’s important to me that the work be seen as representative of other American tales, with elements of immigration, discrimination, forced migration - and ultimately the successes and failures that have come to define the American experience. -Kevin J. Miyazaki

ABOUT THE ARTIST: Kevin J. Miyazaki is a fourth generation Japanese American born and raised in the suburban Midwest. His childhood in an overwhelming white suburb of Milwaukee created a desire later in life to examine his ethnicity and ancestral history in Hawaii, the West Coast and Japan. Stories from his own family infuse his artwork, along with larger common themes of immigration, forced migration, social and economic mobility. Of particular interest is the incarceration of his father’s family and 120,000 other Japanese Americans by the U.S. Government during World War ll.

Miyazaki’s work has been exhibited at venues including the Griffin Museum of Photography, The Haggerty Museum of Art, Center for Photography at Woodstock and the The Madison Museum of Contemporary Art. He is an adjunct faculty member at the Milwaukee Institute of Art & Design and works as a freelance editorial photographer whose clients include The New York Times, Architectural Digest, Food Network Magazine, AARP and Smithsonian.

Kevin Miyazaki's exhibition at Workspace Gallery is part of the For Freedoms 50 State Initiative that encourages civic engagement, discourse, and direct action. For Freedoms is a platform for greater participation in the arts and in civil society. It produces exhibitions, installations, public programs, and billboard campaigns to advocate for inclusive civic participation. Inspired by American artist Norman Rockwell’s paintings of Franklin D. Roosevelt’s Four Freedoms (1941)—freedom of speech, freedom of worship, freedom from want, and freedom from fear— For Freedoms Federation uses art to encourage and deepen public explorations of freedom in the 21st century. Founded by Hank Willis Thomas and Eric Gottesman, For Freedoms Federation encourages new forms of critical discourse. Our mission is to use art as a vehicle to build greater participation in American Democracy.

July 6 - September 6, 2018

Jim Ferguson
Reconstructed Space



Reconstructed Space is a portfolio of photographs from Europe, Asia, Latin America and the United States. I set out to reconstruct scenes in a formal way with a strong sense of flatness, compression, form and poetic movement. My goal is not a thematic one. I photograph with graphic intent so my photographs become an abstract experience of light, form and planes. The image becomes somewhat ambiguous and surreal, drawing the viewer into an unfamiliar place and time.

I purposefully turn off color and avoid people to make the photos more abstract. I want to challenge commonplace modes of perception creating an unfamiliar and potentially a disorienting depiction. Architecture is a frequent subject but so is nature as it has its own more gentle form.    

I was born cross-eyed.  Corrective surgery left me with no depth perception and my photographs share the hidden realities I see with my altered sense of depth perception.  An anonymous LensCulture reviewer stated  “you have a kind of 'mechanism' that disturbs our sense of place and time, leading to a feeling of the uncanny, thinking that we might know these spaces, but cannot ever”.

ABOUT THE ARTIST: Jim Ferguson earned a BFA from San Francisco Art Institute and an MFA from the School of the Art Institute of Chicago.  His work is in many public collections including the Dallas Museum of Art, Seattle Art Museum, Museo Nacional de Antropologia- Mexico, Amon Carter Museum of American Art, The Art Institute of Chicago, and in numerous private collections. He is also included in the Macmillian Encyclopedia of Photographic Artists and Innovators.  


May 4 - July 5, 2018

Joseph Mougel
Silver Pixels


No longer do we need to traverse mountain peaks or ford canyon rivers to know a place. Instead, our understanding of the land is expanded through archives of images and data, easily accessible, anywhere. Silver Pixels utilizes a 19th-century positive process to create new landscape imagery based on historical photographs of the American West, reinterpreted through satellite imagery and digital capture methodologies. Virtual topographical and pictorial sources cast their illuminating glow onto glass, making an old wet-plate process mimic a digital screen. The photographers who first documented the Western landscape carried their darkroom with them throughout their journeys; artists of today are largely relieved of this burden, with portable cameras that easily capture and store thousands of images. By returning to the process-oriented methodologies of the past, Silver Pixels spans the history of photographic imaging, with ambrotypes captured from altitudes and perspectives that were previously unachievable. Photographers have always carried their equipment out into the field; now we have the freedom to bring the world into the darkroom. -Joseph Mougel

ABOUT THE ARTIST: After serving as a combat correspondent in the US Marine Corps, Joseph Mougel completed a BFA in studio art from the University of Georgia and a MFA in photography from the University of New Mexico, where he also studied video, performance, and interactive media. He participated in the field-based studio program Land Arts of the American West, and has created site-responsive work for residencies at Elsewhere Artists Collaborative, Ucross Foundation, and Iowa Lakeside Laboratory. His work is held in several public collections, including the Nevada Museum of Art, University of New Mexico Art Museum, and the New Mexico Museum of Art. Mougel is the head of the Photography & Imaging program at University of Wisconsin-Milwaukee.

March 6 - May 3, 2018

Jayanti Seiler
Of One and The Other

Of One and The Other explores the complexity found in the diverse relationships between animals and humans from points along a spectrum spanning the fine line between adoration, lifesaving, and exploitation. The photographs developed out of my long-term dedication to wildlife rehabilitation and rescue where I experienced firsthand the unique dynamic between injured animals and individuals that dedicate their lives to this cause. I was compelled to look further at the myriad permutations in the treatment of animals that I observed across different environments wherein humans and animals interact today. I spent time among falconers that use juvenile birds of prey to hunt, wildlife rescue and rehabilitation centers that treat injured animals, owners of exotic big cats, children in the 4-H Program that raise farm animals for market, sanctuaries that care for abused and neglected wild and domestic animals, taxidermists, and private zoos that sell “pet and play encounters” with juvenile big cats. By immersing myself in the commonalities and conflicts of interest between neighboring groups, I sought to call attention to the slippery divide; the borderlands we collectively share with our animal counterparts and make pictures about whether or not these figurative boundaries are either honored or crossed. They speak to the intrinsic dilemma surrounding our ideals and reverence for wild nature as well as our inevitable interference.

Made over a period of five years, the photographs that are part of this collection look at how we desire to coexist harmoniously with animals, yet we seek control, consumption, and domination. These disparities have yet to be reconciled, however there is a growing sensibility and consciousness in Western culture towards animals as sentient―but not equal―beings. My photographic art lives within this larger context and ultimately advocates for an essential regard and greater consideration for animals that are, after all, our fellow inhabitants of this planet who are unable to speak for themselves. Of One and The Other is an acknowledgment of the contradictions, the unresolved and the intricate edges shared by the contemporary lives of humans and the undomesticated world of non-human beings. As seen together, the images are a call to revere the natural world while living in a modern one in which the two realms are in open conflict. Irrespective of our own biases, within every interaction and encounter, there deserves to be a deeper understanding of our obligations and our impact on the lives of animals; who by definition share our ability to perceive and respond to complex sensations and emotions: sight, touch, smell, but also joy, fear, and suffering. –Jayanti Seiler

ABOUT THE ARTIST: Jayanti Seiler is an Associate Professor at the Southeast Center for Photographic Studies in Daytona Beach Florida, and has taught technical and creative art courses in photography since 2011. She founded the organization JayantiPictures, LLC. in 2017, to promote, fund and produce artist works that increase understanding for the fair treatment of animals. In 2018, she released a first edition fine art book of her series titled, Of One and The Other, capturing the complexity of human-animal relationships. Jayanti’s photography has gained national and international recognition in publications including The New York Times LENS, LIFE FORCE Magazine in the UK, LENSCRATCH, Véganes, magazine contreculturel in Canada, Vision Magazine in Beijing, Edge of Humanity Magazine, Muybridge’s Horse Magazine, and Bird In FlightMagazine in Russia. Her work has been exhibited at the Southeast Museum of Photography, Chiang Mai University Art Museum in Thailand, Harvard University, Museum of Contemporary Art Georgia, and Washington State University. Jayanti received her Master of Fine Arts Degree from the University of Florida and her Bachelor of Fine Arts Degree in Photography from the Rhode Island School of Design. 


January 10 - February 22

Yozo Takada
Camouflage

My landscape photographs are a mixture of documentary and fiction. By researching the mutual relationship of people and the environment, I study how people are influenced by their environment and how they change their environment in order to clarify the mechanism of landscape formation through photography. I select photographic subjects carefully and invite the viewers into his landscapes where the fictions and realities are assembled inseparably. My static landscape photographs employ a private perspective as well as a bird’s-eye view. An individual and a society, memory and history, and life and environment: My photographs remind viewers that there are various perspectives to interpret the landscape and the interpretation depends on each viewer’s perspective. Understanding the landscape requires a creative process. 

Camouflage

Snow casts a white veil over my familiar sight and changes it to a new landscape.  Snow conceals everything, at the same time, it wraps invisible things and make them visible.

Camouflage is originally something that I cannot see. Camouflage melts into the background of my life.

Both of the whiteness of snow and the camouflage are similar to an emptiness of the landscape. This work “camouflage” encourages you just to stare at the blank space.

I know that there are a lot of invisible things surrounding my daily life. It seems useless to turn a photographic lens toward the “nothingness.” When I could just make out any figure in the blank, I cannot even realize whether it actually exists or if the images are projected from my mind,

I think photography can work to record the world as well as to project fictions of my mind toward the world.

The more I desire to find the world, the more the fictions keep me away from the world. I am just able to sense the actual world only through the fiction I make. Photography is my private documentary that I can record when I live in my fictional world. - Yozo Takada

Camouflage, focuses on the creation of the large-scale snow sculptures for the annual Yuki Matsuri (Snow Festival) in Sapporo, Japan from 2008-16. The people in camouflage uniforms are local armed forces, Jieitai, correctly called the Self-Defense Forces of Japan who have a base nearby.

ABOUT THE ARTIST: Yozo Takada hails from Sapporo, the capital of Hokkaido, the northern island of Japan. He currently works in Tokyo and manages SheepStudio. Yozo studied at Tsukuba University and received a Fellowship for Overseas Study from the Japanese government in 2008-09 to photograph in the United States. His work has been widely exhibited in Japan including at Place M (M2 Gallery), Nihonbashi Institute of Contemporary Arts, and the Sapporo International Art Festival. His work has been exhibited in the Joseph Gross Gallery at University of Arizona, United Photo Industries in New York, and Workspace Gallery in Lincoln.


November 3, 2017 - January 4, 2018

Angie Jennings
Modern Streets of an Ancient Empire


Angie Jennings
Modern Streets of an Ancient Empire

I am a street photographer. What is street photography?  It’s documentary. It’s a short story. It’s happenstance in a single image. It’s a moment in time that may not be repeated.

I enjoy the challenge of being up close to strangers without them knowing, or with them knowing and silently giving me permission to document them.  I do street photography to document our world.  I am a traditionalist.  I leave the image intact as I see it.  This is life, this is real, and this is who we are.  I have taken these ideas wherever I go and apply them to whatever or whomever I photograph. 

I look for humor, contradiction, mimicry, and I study how people are in social situations or in private moments.  Maybe they wouldn’t think it’s the most flattering of images, but it could be the most real image of them. 

This is real life, this is your life, and this is my life through the lens. - Angie Jennings

ABOUT THE ARTIST: Angie Jennings utilizes her photographic skills acquired over 20 years in various styles of the photographic medium to depict stories in a single image or series. Her images are a combination of digital, film, and photogravure.  She lives and works in Kansas City and has exhibited nationally as well as internationally, Oregon, Colorado, Kansas, Missouri, Oklahoma and Beijing.

September 1 - November 2, 2017

Tytia Habing
A Midwest Dream



When my son was three and a half, my family was living in the Cayman Islands. Because of rising costs, an uptick in crime and the fact that we had no family nearby, my husband and I decided to pick up and move back to southern Illinois among sprawling corn and bean fields and near my family. I was back to where I started, and only a quarter mile down the road from where I grew up and where my parents still live on the family farm. Immediately upon our arrival, I began photographing this series of images of my son living the ‘Midwest Dream’ and I continue to photograph for this project today.

In the beginning, I was simply documenting my child’s life like any other mother would. It was a big, new, and exciting change for him. After a year of photographing his everyday life I realized I had the beginnings of an ongoing project. In making these images, it’s my intention to not only document my son’s childhood, but to highlight a lifestyle that seems to be fading away all too quickly. Only fifteen percent of children in the United States now live in rural areas, and my son is one of these declining numbers. Not only that, but even rural children are staying indoors much more than children did in the past. Having wide-open spaces to explore, living close to nature and being afforded a modicum of independence as a young child was the norm for me growing up, so not only am I photographing my son’s present, I am photographing my past. As a child, I played on the same land, swam in the same river, and walked the same dirt roads as he does now.

This collection of images, and future images I make for this project, will take on new meaning as time progresses and the statistics of rural populations versus urban populations changes even more drastically. It is my hope to create an intimate and captivating record of rural life in Illinois as it is now, and hopefully encourage parents and their children to get out and connect with nature and the great outdoors no matter where they live. -Tytia Habing

ABOUT THE ARTIST: Tytia Habing lives and works in Watson, Illinois very near where she grew up on a working farm. Having spent most of her adult life living in the Cayman Islands, she moved back to her roots a few short years ago. She holds degrees in both horticulture and landscape architecture and is a self-taught photographer. Tytia's work has been exhibited internationally and has been published in Lenscratch, Black + White Magazine, The Sun, Shots Magazine and National Geographic to name but a few. Most notably, her work has been featured on CNN, shortlisted for the Black and White Photographer of the Year 2015 sponsored by Leica, Critical Mass 2015, LEAD Awards 2016 and HEAD ON Photo Awards 2017. Her work has been exhibited widely in the US and abroad and exists in private collections worldwide. Working in a documentary style, Habing’s work explores family, childhood, and living close to nature. 


July 7 - August 31, 2017

Andrew O'Brien
Curtain Wall



My work examines the ways in which humans define physical space while also investigating the material qualities of the image itself, and its role in shaping perception of the world around us. The feedback loop between imagery and our surroundings creates environments that are both intuitive and strange. It is that oscillation between the familiar and the unexpected that is productive for me, and it is the means by which I seek a new understanding of the world.

Curtain Wall uses the eponymous gold-mirrored glass surface of a building as both a literal and symbolic axis around which the interaction between corporate architecture and landscape are explored. Both inside and out, the myriad glass surfaces of this currently unoccupied building create a spectacle of virtual images and reflections that fragment, multiply and color-shift the surrounding landscape. Absent its daily use as a center of human activity – yet showing little signs of abandonment or disrepair – the structure’s presence is uncertain and vaguely threatening. The skin of the building functions as both window and screen – displaying floating virtual images of the interior and exterior while projecting itself far beyond the building site, coating everything in a surreal golden light. It has become less of a building and more like a form of sculpture; a light-space modulator that reveals both the seductive and alienating qualities of modernist architecture in our everyday lives. -Andrew O'Brien

ABOUT THE ARTIST: Andrew O’Brien was born and raised in Southern Maryland. Currently he is based in Chattanooga, Tennessee where he is Assistant Professor of Photography and Media Art at the University of Tennessee at Chattanooga. His artistic practice is shaped by an early interest in science and the natural world, which led to an internship for NASA and Astronomy studies at the University of Arizona before he turned to fine art exclusively. Other vital experiences include conservation work with the Bureau of Land Management in Arizona and volunteer work with non‐profit NGO’s in the Southwest region, where he was exposed to the complex political and geographic environment of the US‐Mexico border. His current work examines the material artifacts of human intervention into the physical world, as well as the history and perception of the landscape. He has exhibited at Seed Space, Nashville TN, Houston Center for Photography, Houston, TX, The Center for Fine Art Photography, Fort Collins, CO, Clark College, Vancouver WA, Greenleaf Gallery at Whittier College, Whittier, CA, and The Curb Center at Vanderbilt University among others.


May 3 - July 6, 2017

Don McKenna
On Common Ground


For over four decades, with few exceptions and for very practical reasons, much of my work has been created close to home in the Midwest. Among the things I photograph are places where people live, work and play. And while I photograph digitally, I prefer the slower, more contemplative process when working with a 4x5 view camera. Initially, my interest in a potential subject is more visceral and I follow my instincts to a conclusion. I am attracted by the visual appeal and narrative possibilities of a place or thing. Perhaps it is the poetic nature of a structure or space itself. It may be the patina of age and the enigma of unrecorded history. Or it may simply be the magnificence of light and how it affects the complex shapes and colors of our human-made and natural world. Regardless, I work toward creating meaningful compositions that share my experience. -Don McKenna

ABOUT THE ARTIST: Don McKenna grew up with three sisters and seven brothers in St. Louis, Missouri. He graduated with honors from the photography department of the Kansas City Art Institute. In addition to Mr. McKenna’s work as a creative photographer and other related professional experiences he has taught photography at the college level. Mr. McKenna’s work may be found in private and public collections in the United States and abroad.

March 3 -May 4, 2017

Lawrence McFarland
From Dodge City to Shiprock

First View of Mountains, Driving Out of Kansas, Highway 96, Colorado, 
1991/2012 (High Plains Revisited)

As a young and now an older man I look out over the High Plains with wonderment. I am eternally curious about what lies just over the horizon. I have continued to pursue that magical place and to find what is revealed once you reach that space where earth and sky meet. Once I finally arrived at that space, the horizon line, what is reveled, of course, is more exciting landscape to be explored.

My photographs function as a metaphoric poem. They define not only my photographic journey but in a larger sense my life. My life’s journey is about remembering where I came from, the people I traveled with, and what I have learned and experienced. It is about how I have reacted to crisis and how I honor beauty. It is about how I treat the weak and helpless. This journey is about who I have become through photography.

The history of the Western States is the driving force behind my forty plus years of photographing the West. My images become a record of my journey, my encounters, my integrity, and my curiosities. They show the joy and the sorrow of the open road, the horizon line that you can never meet, and the pursuit of the spaces that I seek. My images show, and I consider this to be the core of my work, the optimism of the journey, the wonder of discovery, and the revealing of events that happen if you pay attention. The amount of time and energy that I have expended over my lifetime in pursuit of my images depict an epic journey of my commitment and my passion for life and photography. They are an impressive poem of my quest to find the mythical landscape that exists out there someplace inside my mind. -Lawrence McFarland

ABOUT THE ARTIST- Lawrence McFarland received a Bachelor of Fine Arts degree from Kansas City Art Institute in 1973 and a Master of Fine Arts degree from University of Nebraska-Lincoln in 1976. Throughout his career, McFarland has been a thoughtful and generous member of the wider photography community. From 1985 to 2013, he taught photography at the University of Texas at Austin and was awarded the first William and Bettye Nowlin Endowed Professorship in Photography in 2003, the same year that he chaired the national Society for Photographic Education conference in Austin. From 2001-2009, he served on the national board of SPE. 

McFarland's work has focused on the mythic American west for over four decades and was supported by three National Endowment for the Arts Visual Artists Fellowship Grants (1978-79, 1984-85, and 1990-91). He was also awarded the Ferguson Grant in 1982 from the Friends of Photography in Carmel, California, an organization founded by Ansel Adams that shaped photographic discourse for over three decades with exhibitions, publications and awards. McFarland’s most significant honor was a coveted John Simon Guggenheim Memorial Foundation Fellowship in 2010-11. His photographs are exhibited widely and held in numerous prominent public collections including the Museum of Modern Art, the Center for Creative Photography, the Amon Carter Museum, the Art Institute of Chicago, the Nelson-Atkins Museum of Art and the Sheldon Museum of Art.

January 6 - March 2, 2017

Allison Grant
Unsoiled


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

Eliot Dudik
Still Lives and Broken Land


Still Lives

 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. 

Broken Land

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

Keith Yahrling
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 MagazineThe American South.

July 1 - September 1, 2016

Paul Thulin
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

Sarah Christianson
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

Michael Sherwin
Vanishing Points


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 VantageNPR's West Virginia MorningLooking at AppalachiaHumble Arts FoundationFototazoMosslessLight LeakedEyes on the SouthAin't Bad MagazineDon'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

Spencer Murphy
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 WeekendThe Telegraph Magazine, Time, Monocle and Wallpaper. His portraits have also appeared in such publications as Baku Magazine, Dazed & Confused, GQ and Rolling StoneHis 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


Clare Bensen
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



Jeff Kauck
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


Ken Marchionno
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


Ardine Nelson
Inventing Landscape

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

Barbara Karant
820 Ebony/Jet

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


Terri Warpinski
Surface Tension

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


Clarissa Bonet
City Space

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


Zelda Zinn
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


Kally Malcom
Pictograph

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


Kathleen Robbins
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


Alexander Heilner
Aerial Landscapes

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.


For an archive of previous exhibitions, see the archived website.



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