September 7 – October 1, 2017
Reception September 7, 2017
6:30 - 8:30 PM
The Photography Atelier 26 will present an exhibit of student artwork from September 7th to October 1, 2017. The Atelier is a course for intermediate and advanced photographers offered by the Griffin Museum of Photography. You are invited to come view the photographs at the Griffin Museum, 67 Shore Road, Winchester, MA 01890.
On Thursday, September 7th, the public is invited to attend the artists’ opening night reception from 6:30-8:30 p.m. at the Griffin Museum.
Photography Atelier Instructor and Photographer Meg Birnbaum shared, “The Photography Atelier has such a long and rich history, I’m honored to be leading this workshop for emerging photographers with Amy Rindskopf assisting. The talent among the 19 members of this group show is varied and inspiring — from our relationship with the past to emotions, memory, objects, poetry, science and the landscape — the show is very satisfying feast for the eyes and soul.”
Work by 2017 Atelier 26 members includes:
Tony Attardo, Diane Bennett, Terry Bleser, Edward Boches, Judy Brown, Larry Bruns, Fehmida Chipty, Megan Cronin, Erik Eskedal, Kay Goodman, Claudia Gustafson, Donald Harbison, Janis Hersh, Cynthia Johnson, Charles Mazel, Coco McCabe, Amy Rindskopf, Darrell Roak, and Maria Verrier.
Tony Attardo: “Just as He Left It” is a series of photographs that are crafted to express the honor and dignity of Joseph L. Attardo by capturing moments, settings and the personal objects that define who he was and how he lived.
In Terry Bleser’s ‘Brink of Change’, the photographs emerge as little postcards from sleep-born anxieties over moving to a new city.
‘Without you” Dianne Bennett says that in after her husband passed away, she picked up her camera and found scenes that reflected her sadness, isolation, and grief and became a source of comfort.
Edwards Boches’: Seeking Glory: are portraits that celebrate the strength and courage it takes to be a boxer.
Judy Brown is an animal photographer concentrating on farm animals in the project, “Far from the Madding Crowd“. It is her hope that these photographs might be useful to an organization working for better treatment of farm animals.
Larry Bruns has photographed light and space in “Christina’s Home” the subject of Andrew Wyeth’s iconic painting, “Christina’s World.”
Femida Chipty studies and captures color and light as they bring new vision and thought to ordinary architectural shapes like doors and windows.
‘Shadow Land’ finds Meghan Cronin exploring one of the things that we all have in common, we all cast shadows.
Erik Eskedal: In ‘Junkyards: The Transcendental Automobile’ there is the mystery of countless stories as the native growth slowly enshrouds these battle-scarred metal icons. The breeze speaks with ghostly whistles and inspires the art of transcending automobiles.
In “Fire, Air, Earth, Water” Kay Goodman explores relationships between elements
Claudia Gustafson, In the series ’The Space Between’ I am re-enacting my dreams. To create these images, I use metaphors and symbols. I write poetry, sketch my visions, and then I capture them with my camera using toy and vintage lenses to create a blur reality.
Donald Harbison remembers the woods as his ‘Sanctuary‘ growing up. His photographs explore memories that are still raw but muted by time.
Janis Hersh‘s ‘Season Prelude’ focuses on the largely un-noticed scenes and transitions that occur as a town on Cape Cod wakes from a very long and quiet winter season and readies for summer.
Cynthia Johnston’s work, ‘In the Quiet Hours’, features landscapes lit by ambient lighting and by mysterious evening skies.
Charles Mazel: Light under Light explores the stunning visual dimension of fluorescence that is around us all the time, but unseen beneath the sea of white light in which we live.
Coco McCabe: In “T time” a commute can be an intensely private time in the most public of places. It’s that tension that I am capturing in this series of photographs: the aloneness in a crowd, the pause in a rush, the emptiness in a station after hours.
In “Interstellar,‘ Amy Rindskopf discovers an earth-bound journey through the stars
In “Mother Nature’s Easel”, Darrell Roak represents his “continuing wonder of Mother Nature and her artistic hand at molding all of her created parts and pieces in just the right places”.
Maria Verrier – What you say and what I hear is not the same. The diptychs in ‘The In-between’ are intended to represent my own fractured ability to communicate all that is hidden beneath.
About the class:
Photography Atelier, in its twenty-second year, is a unique portfolio-making course for emerging to advanced photographers. In addition to guidance and support in the creation of a body of work, the class prepares artists to market, exhibit, and present their work to industry professionals.
Each participant in the Atelier presents a final project in the form of a print portfolio, a photographic book or album, a slide show, or a mixed media presentation. In every Atelier, students hang a gallery exhibition and produce work for their own pages on the Atelier website. To see the photography of present and past Atelier students and teachers, please visit www.photographyatelier.org. Instructor Meg Birnbaum will be happy to discuss the Photography Atelier at the reception on September 7th with anyone interested in joining the class.
The Atelier was conceived by Holly Smith Pedlosky in 1996 and taught by Karen Davis for 7 years. The workshop was previously offered at Radcliffe Seminars, Harvard University and Lesley Seminars and in the Seminar Series in the Arts, The Art Institute of Boston (AIB), both at Lesley University.