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Exhibitions

Gail Samuelson | Griffin State of Mind

Posted on August 22, 2022

It has been a true pleasure to see Gail Samuelson‘s work on the walls of the Atelier Gallery in Winchester this month. Her exhibition, Passing Through has layers of light, color and texture all mixing with the light and beauty of the gallery. Our visitors have been deeply engaged with the work, and its implied meanings. We wanted to know more about Gail and her work. We asked her a few questions about her creative process, her attachment to the museum, and to her beautiful works, and this is what she had to say.


Tell us how you first connected to the Griffin Museum.

I first visited the Griffin in 2010 on a field trip while taking the Photography Atelier when it was still being offered through the Art Institute of Boston at Lesley University. I fell in love with the space, the light, and the quirky setting next to a pond. But what excited me most was the prospect of our class showing work at the museum. It was a huge notch up from the hallways of Lesley! What I didn’t know at the time was how many good friends I’d make and the sense of community I’d find there.

I took the Photography Atelier six times, twice at Lesley University and four times at the Griffin Museum. In the Atelier, I learned how to hone in on a project via assignments about portraits, landscapes, and still lifes until something struck a chord with me.

After the Atelier, I took Emily Belz’s Topics in Photography classes “Sense of Place” and “Light and Color”. In Light and Color, I made images of light passing through my house, some of which would eventually find their way into Passing Through. Both classes had a big influence on me.

orange wall
yellow wall

Cerulean, Crimson, and Sunglow from the series Light House, © Gail Samuelson, 2021

How do you involve photography in your everyday life? Can you tell us about any images or artists that have caught your attention recently?

Mostly, I photograph the small, often fleeting, moments I notice as I go about my day, so I always have a camera with me. I like to photograph light and shadows in my house with a digital camera and when I’m exploring the landscape, I bring along a film camera (or two) because I like to shoot my landscapes with film. I have favorite spots both in Sherborn and in Orleans that I visit often; I almost always find something new to photograph or a new way to photograph.

For artists, there are so many but to name a few, I love Rinko Kawauchi’s 2010 Aperture book, “Illuminance” and the way she uses light, color, pattern, and how she sequences images. And as I’m writing this feature, I took a break to buy Barbara Bosworth’s “The Sea” from Radius books! I’ve been spending time on the cape this summer and am interested in the way the camera lens captures patterns created by the interaction of light, wind, sand, and water. I have Barbara’s first Radius book “The Meadow” and marvel at her dedication to a particular landscape. I also love all of S. Billie Mandle’s projects and I’m eager to delve into Teju Cole’s “Golden Apple of the Sun”. His kitchen images remind me of another favorite, Jan Groover.

Driftwood, from the series Passing Through © Gail Samuelson, 2019

Please tell us a little about your series Passing Through, and how it was conceived.

The series began in a rare “Aha” moment when I was studying my prints from two separate projects: one of landscapes where I live in Sherborn and on Cape Cod, and the other was Light House that had its origins in Emily’s Light and Color class. I noticed a kinship between them and started making pairs: of light and color; inside and outside; concrete and abstract.

Each pairing is a visual conversation about the interconnectedness of place, between the shelter and intimacy of being in my home and the quiet landscapes I discover outside my door. The images are from different places, but they form a consonant union. There’s a term in music, “counterpoint”, a relationship between two musical lines which are interdependent in their harmony yet independent in rhythm and melody. I love that and see a visual analogy when pairing my photographs.

Because I use different cameras for each project, my diptychs combine a square shaped landscape that I get from my film cameras, with a rectangular image of light in my house that I capture with my digital camera.

Winter Water, from Passing Through, © Gail Samuelson, 2019

Has there been a Griffin Museum exhibition that has particularly engaged or moved you?

“Leaps of Faith” was either the last or next to last exhibit at the Griffin Museum in March 2020 just before the pandemic forced the museum to close its doors to the public. The exhibit featured the work of Armani Willett, John Horvath, Walter Pickering, and Barbara Diener. It was a marvelous curation and installation, and I am drawn to how beautifully Barbara Diener layers patterns of color and light over her images.


What is your favorite place to escape to?

I live next to Rocky Narrows, a Trustees of Reservations property so when I need to “escape”, I just walk out my back door and explore the woods. It’s a restorative tonic for all the senses. I also love Maine: Rockport and its neighboring towns, home of Maine Media Workshops and a good friend of mine; and Acadia. I enjoy garden spaces, so I’ve made my reservation to visit the Coastal Maine Botanical Gardens in Boothbay later this month.

What is a book, song or visual obsession you have at the moment?

On July 12th, we were dazzled by the first images from the James Webb Space Telescope. The telescope’s ability to register infrared wavelengths combined with its enormous mirror and pixel resolution allowed us to see light from 13.7 billion years ago, just 100 million years after the Big Bang and creation of our universe!

­­If you could be in a room with anyone to have a conversation, who would it be and what would you talk about?

­David Byrne comes to mind. I’ve always loved the Talking Heads, his 1984 movie “Stop Making Sense”, the rhythmic layering of his songs, and his idiosyncratic movements on stage. My husband and I went to see “American Utopia” in early 2020 when it was in previews at the Emerson Colonial Theater, shortly before it closed due to the pandemic.

We’d talk about how he came up with his style of movement on stage, how he goes about writing a new song, and what he’s working on now.

To see more of Gail Samuelson‘s work visit her website. You can find her on Instagram @gailsamuelsonphoto

Filed Under: Atelier Gallery, Exhibitions, Griffin State of Mind, Uncategorized

Donna Dangott | Griffin State of Mind

Posted on June 24, 2022

It is a great pleasure to showcase the words and talents of Donna Dangott. Her beautiful exhibition, Hidden in Plain View was on the Griffin Gallery’s wall in June of this year. This intricate and layered work, emotionally and visually draws you in, grabs you and holds your attention as you unveil each layer in the work. We wanted to know more about her creative process, the ideas behind this body of work, and her connection to the Griffin. This is what she had to say.

How did you first connect to the Griffin Museum?

I became acquainted with the Griffin Museum in early 2021. I was exploring what galleries and other institutions in New England that might be of interest to me for consuming their offerings, but also, to possibly exhibit my own work at some point. It was around that time I first became acquainted with Paula Tognarelli, the former director of the Griffin Museum. She had seen some of my work on exhibition at Sohn Fine Art Gallery in Lennox, MA and reached out to me. She was interested in that work and offered me some very wise and valuable advice. And she purchased a piece for her private collection too. Our paths eventually, and happily, crossed again and again. I am forever grateful for that connection. The Griffin, and current director, Crista Dix, have also grown to be important in my career and my ability to continue to learn and grow through all that they offer to our creative community. I have been fortunate to have developed several friendships across the miles with other members of this community as well. 

How do you involve photography into your everyday life?

I very rarely have a day now that does not involve photography on some level. If I am not actively working on one or more of my own projects, fulfilling an assignment or purchase of work, managing the calendar of exhibition deadlines, and taking care of other business matters on behalf of my studio practice, well then, I am otherwise spending time reading and researching, visiting exhibitions in galleries or museums, either in person or virtually, taking workshops or attending lectures, networking with other artists here in Texas or across the country, and trying to stay in touch with what is going on in photography and the broader world of visual art here and abroad. 

Are there any images or artists who have caught your attention lately?

There are too many to list here really. There are so many truly gifted visual artists, and I discover somebody new to me almost every week. I am humbled on a daily basis to be considered part of this community. I have very eccentric tastes in art and photography—ranging from very traditional to very modern or contemporary—and I enjoy all media. At the moment I am very attracted to the work of two artists—Holly Roberts and Daisy Patton– who each combine photography, collage and painting in their works. Their work is very different in their styles and subject matter, but both artist’s works resonate deeply with me. And, I aim to explore more of the mixed-media methods that they utilize and incorporate that into some of my own work. So, I find their work particularly inspiring, but also, they express their chosen narratives so beautifully and eloquently. If you are not already familiar with their work you should visit their websites. 

holly roberts wolf
© Holly Roberts   https://hollyrobertsstudio.com/  
Daisy Patton https://www.daisypatton.com

Tell a little about your recent exhibition ‘Hidden In Plain View’ and how it was conceived.

This series actually grew out of another series titled ‘In The Garden’ , and really, they overlap to some degree. It began during the early stages of the COVID-19 pandemic lock-down, during which I spent a concentrated period of time reflecting on personal history throughout my life, and contemplating ways that I could incorporate some of it into my visual work in a meaningful way. I was beginning to develop my skills more in photomontage and other ways to blend together various images digitally at that time too. Like many other creative folks I was also just feeling extremely vulnerable to all that was going on in our world—on many fronts. Retreating to my gardens and the natural world has always been nurturing and healing to me. I have found that working out a visual project intellectually, emotionally, and creatively is too. Over several months time I worked further on combining images of human sculptural forms with botanical motifs and developed many strong images that expressed visually how many of us survivors of childhood abuse and trauma perceive ourselves at times or how we learn to cope with our experiences. At times in our lives we literally are hiding in plain view. This series has been so well received and I have been deeply touched by the generous and thoughtful conversations shared with me by others who have seen it. I am so grateful to have had the opportunity to share this work at The Griffin. The whole series that appeared at recently at The Griffin can be viewed on my website: https://www.ddangott.com/

person staring at you
© Donna Dangott – Envisioning the Garden
person eyes closed
© Donna Dangott – Dreaming of the Garden

Has there been a Griffin Museum exhibition that has particularly engaged or moved you?

I actually find most ALL of them engaging and many are indeed very moving. I applaud The Griffin for their commitment to showcasing emerging talent, as well as, those artists who have long established and illustrious careers. The exhibitions are truly rich and quite diverse. There is something to learn from each and every one of them. Living in Texas I am not able to view in person many of the exhibitions there, but I certainly do enjoy them all in a virtual format. And I tune into the artist’s talks as often as I am able. Last Summer I was in Boston for a few days and had the opportunity to view in person a couple of exhibitions that I still think about even now. One was Vaune Trachtman’s ‘Now is Always’ exhibit in the Atelier Gallery. I loved the concept of the series. The images were just magical and her photogravure prints were exquisite. And in the main gallery was the ‘Spirit: Focus on Indigenous Art, Artists and Issues’ exhibition. I found that to be a very powerful exhibition to view in person—as much for the imagery as the subject matter in general. Donna Garcia’s and Meryl McMaster’s images were particularly moving to me. 

people on a road
© Vaune Trachtman, “Strand (detail of tryptic)”
woman shaking head
© Donna Garcia, “Muscogee”

What is your favorite place to escape to?

My ‘happy place’ can usually be found outdoors on a hiking trail in some remote place or wandering along a deserted stretch of shoreline. I love to explore new landscapes as much as I enjoy returning to old, favorite territory too. I haven’t had near enough time out ‘on the trails’ these past two years due to deadlines and other demands on time, combined with some travel restrictions for one reason or another. However, I am about to embark on a 12 day journey through the Grand Canyon on the Colorado River where I will be rafting and hiking each day. The southwest desert terrain has been like my second home for 40 years. In contrast, I am spending all of September in Scotland where the environment is completely different. I very much am looking forward to that adventure too. I plan to stretch my legs and my spirit, shoot new work, sketch, write and contemplate my projects for the next many months ahead. 

What is a book, song or visual obsession you have at the moment?

I actually have very broad musical tastes. And the same goes for my reading materials. I have lately become smitten with Flamenco music. It is incredibly passionate and expressive. If you aren’t familiar with it, check out Sabicas, Stefan, and Jesse Cook. However, I am usually listening to very contemplative music by Max Richter, Phillip Glass, Olafur Arnalds, Nick Cave and Warren Ellis, among many others. At the moment I am reading Down the Great Unknown by Edward Dolnick. It is the story of “John Wesley Powell’s 1869 journey of discovery and tragedy through the Grand Canyon” as he and a handful of other men explore it for the first time. It seemed appropriate to learn more of that history for my approaching journey in the canyon. At age 64 I am still very eager for new adventures. If the spirits are willing I hope that there will be many more ahead yet in my art and the rest of my life too. 

If you could be in a room with anyone to have a conversation, who would it be and what would you talk about?

© Georgia O’Keefe

I would love to have met Georgia O’Keeffe and to spend time with her. I have always admired her fierce independence and commitment to creating not only her own exquisite and sensual art but to living life on her own terms. I would love to just walk through the desert with her and share the marvels of every stone or curve of the terrain, as well as, the expanse of the sky that goes on and on. Nobody else has captured that realm quite like she did in her work. Seeing her work in person is like a spiritual experience for me. The O’Keeffe Museum in Santa Fe has a wonderful collection of her works and it is well worth a visit. 

To see more of Donna Dangott’s body of work, head to her website. Find her on Instagram @ddangott

Filed Under: Exhibitions, Griffin Gallery, Griffin State of Mind, Uncategorized

Olga Merrill | Griffin State of Mind

Posted on June 17, 2022

Olga Merrill’s textured photographic work, Enigma, was on the walls of our Atelier Gallery in June 2022. We wanted to know more about her creative journey and how the work inspired her and in turn inspires us. We asked her a few questions, and this is what she had to say.

Tell us how you first connected to the Griffin Museum.

© Andre Kertesz, Distortion, image courtesy MOMA

My first connection with Griffin Museum was in July 2019 at the reception of the Juried Members Show. My husband and I came to congratulate photographers I knew and know now. I became a member after and only one thing I regretted that I did not join earlier. My works have been part of a few exhibitions, I enjoyed a lot of online events as well. My gratitude to the Griffin Museum for everything.

How do you involve photography in your everyday life? Can you tell us about any images or artists that have caught your attention recently?

I was not shooting as intensively last year as I did before. In any case photography and other media are part of my everyday life. I love to make warm tea, set up music and look through wonderful images. I recently got the first edition catalog of Andre Kertesz: The Mirror as Muse. I love studying his Distortion images now.

Please tell us a little about your series Enigma, and how it was conceived.

The concept of this series was born after I became a citizen of the USA. I still have my original citizenship as well. The duality, feeling as I am personally in between two worlds, literally and metaphorically. My “Enigma” is my interpretation of the relationship between our human existence and the Earth. 

© Olga Merrill
man looking up
© Olga Merrill, Fortitude

We all witness the endless flux of life. I invite and provoke the viewer to see deeply into what mysteries are hidden in the intimate corners of the soul. I hope that in the end, one finds answers as to what legacies will be left behind.

correia - peeking
© Susan Irene Correia

Has there been a Griffin Museum exhibition that has particularly engaged or moved you?
This year I enjoyed the exhibition ” E. caballus: The Domesticated Horse“, a wonderful group of photographers, fabulous prints and installations. The horse can be a metaphor for your world and life. A steady rhythmic horse provides riders with an opportunity to move up the scale and to accomplish new things. Take inventory of your world.  What horse are you riding?

What is your favorite place to escape to?
Escape from what and why?  Perhaps some people are trying to escape from themself thinking that they are escaping somewhere. You cannot escape from yourself.

city view from water
© Olga Merrill, Friday Night

What is a book, song or visual obsession you have at the moment?

I always love to listen to music by Jean Michel Jarre, especially when I am doing post-processing of my photos. The “Hard-Boiled Wonderland and the End of the World” by Haruki Murakami is on my table, I want to read it again.

man looking right
© Olga Merrill, Invisible Thoughts
man with weeds in eye
© Olga Merrill, The Moment

If you could be in a room with anyone to have a conversation, who would it be and what would you talk about?

If God can be called “anyone” it will be God. The topic of conversation will remain a mystery to the public.

To see more of Olga Merrill‘s work, log onto her website. You can find her on Instagram @merrill.olga

Filed Under: Atelier Gallery, Blog, Exhibitions, Griffin State of Mind, Uncategorized

Vantage Point | Griffin @ Lafayette City Center

Posted on May 5, 2022

We have a call for entry for our next exhibition at the Griffin satellite space – Lafayette City Center Place.

Call for entry is open now. Deadline for submissions is May 13th, 2022. Selections will be made by May 15th, 2022.

Please send submissions directly via email to photos (at) griffinmuseum dot org

Exhibition Dates: 21 June – 12 September, 2022

Artist Reception – 14 August, 2022 4 to 6pm

How does X mark a spot? How do we navigate our own surroundings? At what point do we walk, run or fall? Vantage Point seeks to illuminate our vision and create a point of contact to the land.

Our call for entry is looking for your vision of the landscape that surrounds us. We want to see a place, environment or space that gives context to where we find ourselves in the landscape. 

We are looking for any type of photography, traditional, digital, real or composted landscapes all showing a point of view from the earth or sky, including a point of contact, hardscape or organic path. It can be a natural or man made landscape, like a waterfall in the woods or a shack in the desert. It can be aerial views, or images created on land or sea.

If you have a video or moving images you wish to have us consider, send us a link, and we can review it for inclusion in our Moving Image online gallery.

Submission Guidelines – Submit up to 5 images

Images should be 1200 pixels on the shortest side at 72 dpi.

image naming convention – lastname_imagetitle_year (example lightyear_toInfinityandBeyond_2022)

Accepted Images should be framed in metal frames only with plexiglass glazing. Wood frames and glass will not be accepted. Framed prints sized no larger than 24 inches on the longest side.

Framed work due to be delivered to the museum by 17 June 2022.

For any additional questions please contact us.

We look forward to seeing your submission!

Filed Under: Call for Entries, Exhibitions, Public Art, Uncategorized

28th Annual Juried Members Exhibition

Posted on March 1, 2022

 

28th Annual Juried Members Exhibition

Jurors – Frances Jakubek & Iaritza Menjivar

 

7 July – 4 September, 2022

28th Annual Juried Members Exhibition. 

July 7, 2022 – September 4, 2022.

Artist Reception July 10, 2022 at 4 PM. 

© Tokie Taylor, “An Offering,” 2021 Arthur Griffin Legacy Award

A series of online artist talks celebrating the award-winning artists in the exhibition will take place during the course of the exhibition. More information below. 

Our annual call for entry is now open for submissions from March 1st thru April 15th, 2022, for all creative artists using photography as a primary medium, highlighting still images and including moving images, installation, and public works, experimental and mixed techniques for inclusion in our summer exhibition. 

The Griffin Museum celebrates the craft of photography and the community it serves in its thirtieth year with our Annual Juried Members Exhibition. Our jurors are part of the legacy of the Griffin Museum, and we are thrilled they have agreed to jury this exhibition. As former Associate Directors, Frances Jakubek and Iaritza Menjivar have a long-standing connection to the museum and its members, and we celebrate their success as they moved from the Griffin Museum to other positions working to educate the public and celebrate the art of photography in their respective career paths. 

Juror – Frances Jakubek

Frances Jakubek is an image maker, independent curator and advocate for photography. She is the Director of Bruce Silverstein Gallery in New York City, co-founder of A Yellow Rose Project, and past Associate Curator of the Griffin Museum of Photography in Winchester, Massachusetts. 

fj headshot
Frances Jakubek

Recent curatorial appointments include Open Walls for the British Journal of Photography & Les Rencontres d’Arles, The RefridgeCurator, Photo District News’s The Curator Awards and Save Art Space. She has been a guest writer for Don’t Take Pictures, Diffusion Magazine and for artist publications including Serrah Russell’s monograph tears, tears. 

Jakubek has been a panelist for the Massachusetts Cultural Council’s Photography fellowships, speaker for SPE National, Washington & Lee University, and the School of Visual Arts’ Masters of Photography i3 Lecture Series. Personal works have been exhibited at The Southern Contemporary Art Gallery in Charleston, SC; Filter Space, Chicago; Camera Commons in Dover, NH; and The Hess Gallery at Pine Manor College, MA.

 

 

Juror – Iaritza Menjivar

iaritza headshot

Iaritza Menjivar, © Elias Williams

Iaritza Menjivar is currently the Events Manager of the Somerville Arts Council and assists with public art projects and grant administration. She is past Associate Director at the Griffin Museum of Photography and continues to work as a freelance photographer. Iaritza’s clients include The Washington Post, Maine Media Workshops, MIT, and LISC among others. 

For three consecutive years, Iaritza was awarded the presidential scholarship for the Advanced Mentorship Study Program in Visual-Storytelling and Documentary Projects at the Anderson Ranch Arts Center. She was also a recipient of the St. Botolph Foundation Emerging Artist Grant. Iaritza has exhibited at the Leica Gallery Boston, Modern Families at ArtsWestchester, and the Emerge-Cubes at Photoville in New York. She has been a judge panelist for the Massachusetts Cultural Council’s photography fellowships, speaker for a panel discussion at AIPAD and guest curator for The Fence.

 

Submission Guidelines – 

Fees

Standard Pricing

March 22 – April 15, 2022 Fee – $35

Submissions accepted through CaFE – https://artist.callforentry.org/festivals_unique_info.php?ID=10001

Submission period ends April 15, 2022 at 11:59 Mountain time.

Evaluation Criteria

The Griffin Museum invites member photographers working in all mediums, styles and schools of thought to participate. Experimental and mixed techniques are welcome. There is no theme. We are excited to review all forms of the photographic image, including moving image, installation and public works, experimental and mixed techniques are welcome. The members exhibition celebrates the creativity of all of our members using photography in their practice. 

The number of photographs in the exhibition will be approximately 60 photographs.

Eligibility

ELIGIBILITY: This Call for Entries is open to all active member photographers. Entrants must be members of the Griffin Museum of Photography (with a current membership through April 2022). We do not advocate for members to join the museum just for this juried opportunity only. We always welcome new members as part of our family and offer a broad range of member opportunities. While some opportunities are for long distance members like our on-line classes, and programs, we want you to feel like part of our community from wherever you reside. 

There is a membership level for Distance Members for those outside of New England. 

Submission Requirements

  • Must be a member of the Griffin Museum of Photography through April 30, 2022. There is the availability to renew memberships.
  • All images must be submitted as jpeg files, sized to 1920 px on the longest dimension, (72 dpi), and in Adobe RGB or sRGB color space only.
  • Upload through the Café Portal 5 images.
  • 8 images can be submitted for members at the dual/family level ($75) or above. Do not submit 8 images if you are not a Dual/Family Member or above. We will contact you to remove 3 images from your submission if your membership is not at the Family or above levels.
  • All memberships will be verified before delivery to juror. The jurying will be anonymous.

AWARDS:

  • $1,000 Arthur Griffin Legacy Award
  • $500 Griffin Award
  • $100 Honorable Mentions (5)
  • (4) Exhibition Awards that will take place next June and July 2023.
  • (1) Director’s Prize with exhibition and catalog
  • (1) Purchase Prize for Griffin Contemporary Collection

A catalog of the 28th Juried Exhibition will be produced. 

An online digital showcase from photographs not chosen by the juror will be produced and available for viewing in the Museum.

Exhibition Dates – 

July 7, 2022 – September 4, 2022.

Artist Reception – July 10, 2022 at 4 PM.

Online Artist Panels highlighting Winning and Honorable Mention Artists.

  • July 21st – 7pm Eastern
  • August 3rd – 7pm Eastern
  • August 18th – 7pm Eastern

TBD – Member Project(ions) – Participating members of the exhibition will have the opportunity for an outdoor slide show evening event on the Griffin Rotary Terrace. 

Curator in Residence opportunity for exhibiting artists to meet with the jurors for a 30 minute portfolio review. 

If selected for exhibition – 

Artwork must be framed and ready to hang. Artists will pay shipping to and from the museum. Artwork can be available for sale. The Griffin would retain 35% of the sale price as a commission for the sale. 

Evaluation Criteria

The Griffin Museum invites member photographers working in all mediums, styles and schools of thought to participate. Experimental and mixed techniques are welcome. There is no theme. We are excited to review all forms of the photographic image, including moving image, installation and public works, experimental and mixed techniques are welcome. The members exhibition celebrates the creativity of all of our members using photography as an element in their practice. 

The number of photographs in the exhibition will be approximately 60 photographs. There are additional opportunities for digital and public art presentations in addition to the museum exhibition throughout the course of the exhibition.

Submission Requirements

  • Must be a member of the Griffin Museum of Photography through April 30, 2022. There is the availability to renew memberships.
  • All images must be submitted as jpeg files.
  • All entries that do not adhere to the guidelines above will be rejected.
  • Upload through the Café Portal 5 images.

All entrants must use the CallForEntry (CaFE) online entry system.

1.   Access the CaFE site and create a free personal account. https://www.callforentry.org/
2.   Upload your files into your CaFE portfolio with these specifications:
Image resolution:  1920 pixels (long dimension) @ 72 ppi

Profile: AdobeRGB(1998).  Save file as an 8bit Jpeg. Files must not exceed 5MB.

Please remove any visible names, titles, watermarks, etc.

  • 8 images can be submitted for members at the dual/family level ($75) or above. Please submit 5 images through cafe and send the remaining 3 images to photos@griffinmuseum.org – subject line Additional Submission Juried Show
  • All memberships will be verified before delivery to juror. The jurying will be anonymous.

Notification and Submission of Artwork:  All entrants will be notified of the results via email after May 16, 2022. Check your spam or junk folders for this notice.

For invited gallery artists ONLY (online artists do not send artwork) artwork must arrive at GMP no later than Friday, July 1, 2022. Work delivered after this date will not be exhibited without prior arrangement. 

Preparing your image for exhibition
All artwork for display in the gallery must be ready-to-hang. Framed pieces can be wood or metal and in any style or profile and must be glazed with acrylic Plexiglas is preferred. Mounted prints are welcome as long as they have some hanging method. Matted but unframed work will not be displayed. Your finished piece must not exceed 30 inches on the long side and weigh less than 10 pounds, with hanging wire securely attached to the back of the frame. No saw tooth hangers. Diptych, triptych, multiple images, etc. must not exceed 30 inches combined on the long side. For the safety of your piece and our gallery visitors, no exceptions will be granted for these framing requirements.

Delivery of Art
Accepted work needs to arrive at the Griffin Museum of Photography no later than Friday, July 1, 2022 via only Federal Express, UPS or USPS. Hand deliveries are welcome during gallery hours, Tuesday – Sunday, Noon – 4:00pm.

If you ship your work please use sturdy, reusable packaging — we will use the same packaging to return the piece to you. You may use reusable fiberboard containers or sturdy cardboard boxes, with additional bubble wrap and cardboard for shock protection. Use of Styrofoam peanuts or similar loose packaging material is not allowed and the piece will not be unpacked or exhibited.
 
FedEx, UPS or USPS can be shipped to the Museum.  Please include a prepaid return-shipping label with additional insurance if desired for the return of your work. No cash or personal checks please. 

Prints that do not meet our requirements, arrive late or damaged, cannot be hung properly, or are deemed by the jurors and CPA to be of poor quality will be not be exhibited. While your work is in our possession, in the event of loss, damage or theft, CPA’s liability is limited to replacement cost of materials only. 

A signed Exhibitor Agreement needs to accompany your work or be completed upon our receipt of the piece.

About the Griffin Museum

The Griffin Museum of Photography was founded in 1992 to provide a forum for the exhibition of both historic and contemporary photography. The Museum houses three galleries dedicated solely to the exploration of photographic arts: The Main Gallery, which features rotating exhibits from some of the world’s leading photographers, the Atelier Gallery and Griffin Gallery dedicated to showcasing the works of prominent, up-and-coming artists. The Griffin is also home to the extensive archives of museum founder and world-renowned photojournalist Arthur Griffin. The Griffin Museum of Photography also maintains 2 additional satellite galleries: Lafayette City Center Passageway in Boston Downtown Crossing, in Winchester @WinCam at Winchester Community Access and Media. For more on the Griffin Museum of Photography, visit www.griffinmuseum.org.

 

 

 

 

 

Filed Under: Call for Entries, Exhibitions, Online Exhibitions, Public Art Tagged With: Members Juried Show

John Chervinsky Emerging Photographer Scholarship Award Winner | Justin Michael Emmanuel

Posted on January 18, 2022

© Justin Michael Emanuel, Celeste

The John Chervinsky Emerging Photographer Scholarship 2022

The Griffin Museum of Photography is pleased to announce the winner of the 2021 John Chervinsky Emerging Photographer Scholarship, Justin Michael Emmanuel. His series A Facefull of Mangos captivated this years jury to earn him a monetary award, an upcoming exhibition and artist talk at the Griffin Museum as well as a volume from the collection of photographer John Chervinsky.

Now in its sixth year, over 171 photographers submitted applications to be considered for the scholarship. The jurors, Tricia Capello, Bruce Myren and Connie and Jerry Rosenthal have selected Justin Michael Emmanuel as the 2021 recipient of the John Chervinsky Emerging Photographer Scholarship.

  • Allyson and Alex
    © Justin Michael Emmanuel, Allyson & Alex
  • cowrie shell jme
    © Justin Michael Emmanuel, Cowrie Shell
  • jme darien and granny
    © Justin Michael Emmanuel, Darien & Granny
  • jme sisters
    © Justin Michael Emmanuel, Sisters

About A Facefull of Mangos –

With this photographic series, I present to the viewer a resistance to systemic racism and also a window into understanding what makes us human. I hope that by showing imagery of touch, warmth, laughter, and love, I may begin to unravel and break down any preconceived notions or ideas that do not give resonance to those qualities in regards to Blackness in the mind of the viewer. I am desperately attempting to declare my own humanity and have it recognized by others. By showing the gentle side of our human nature I am hopeful that the viewers will recognize their own familial behaviors and interactions, thus bridging gaps that are set by race, ethnicity, nationality, culture, and economic social-political forces. This work desires to deconstruct and challenge the mainstream historical imagery that has described Blackness in a light that wasn’t its own. I hope that the importance of these images are not only determined by what they express visually or culturally but also by the fact that they are documents of the human capacity to care for and feel empathy towards one another. Most importantly, the purpose of this work is to create empathy among people by showing the human aptitude to love. In the Bible, it is said that at the tower of Babel, God, frustrated and threatened by the power of human cooperation, fractured our language so that we could no longer understand each other and work together. And while an ancient story that reverberates with myth, the essence of this still rings true. That when we work together, not even the heavens will be the limit of our greatness. That God himself will pale in comparison to the vastness of our achievements. If only we could work together, we could become so much more. It is as the writer Eric Williams once said, “Together we aspire, together we achieve.” – JME

About Justin Michael Emmanuel –

Born in Hartford, CT, in 1995, Justin-Michael Emmanuel is a mixed media artist that primarily uses photography and the written word to explore ideas of family, love, and blackness. Justin was first exposed to photography in 2015 during his time at Hampshire College where he received both the David E. Smith and Elaine Mayes fellowship awards for his photographic work on Afrofuturism. He then completed a master of fine arts degree at the University of Hartford Art School in 2021 where he also won the Stanley Fellman Award for his graduate thesis work A Facefull of Mangos. Photographs from that series have been included in group exhibitions at the Chrysler Museum of Art, The Center for Photographers of Color, and the Joseloff Gallery. Justin currently resides in Quincy, MA, where he continues to make photographs that critically engage with his community. By using the camera to show our human aptitude to love, Justin hopes that his photographs will help give people the tools they need to shape the world around them.

We look forward to showcasing the work of Mr. Emmanuel in 2022, and are excited to watch his progress and an artist and visionary in the field of photography.

About the John Chervinsky Emerging Photographer Scholarship –

Photographer John Chervinsky, whose work explored the concept of time, passed away in December of 2015, following a typically resolute battle with pancreatic cancer. The modesty and unassuming character John conveyed in life belies the extent to which he will be missed, not only by his family and friends, but also by the entire photographic community of which he was so proud to be a part.  The John Chervinsky Emerging Photographer Scholarship was announced in June 2016 to recognize, encourage and reward photographers with the potential to create a body of work and sustain solo exhibitions. Awarded annually, the Scholarship provides recipients with a monetary award, an exhibition of their work at the Griffin Museum of Photography, and a volume from John’s personal library of photography books. The Scholarship seeks to provide a watershed moment in the professional lives of emerging photographers, providing them with the support and encouragement necessary to develop, articulate and grow their own vision for photography.

We extend our gratitude and thanks to our jurors for their work in reviewing submissions and selecting our winner, and thank you to the artists who submitted their work for consideration.

Filed Under: Exhibitions, John Chervinsky Scholarship Award

Susan Irene Correia | Griffin State of Mind

Posted on January 14, 2022

In today’s Griffin State of Mind, we are thrilled to share our conversation with Susan Irene Correia—equine photographer whose work is devoted to capturing the spirit of the horse in her photography. As part of our E.caballus exhibition, Correia’s works include Power – Dance with Beauty, Play with Abandon, and Be Loved. To learn what gets her in the Griffin State of Mind, we asked her a few questions. 

Tell us how you first connected to the Griffin Museum. 

It’s a fairy godmother story.  At the end of a long day of reviewing portfolios for the Seacoast Camera Club, with one more to go and a long drive home Griffin Museum Executive Director and Curator Paula Tognarelli walked into the library room and reviewed my work. It ended up with an invitation to exhibit at the Griffin. I am so grateful to Paula for this introduction into the Griffin family. 

© Susan Irene Correia, Halt at X

How do you involve photography in your everyday life? Can you tell us about any images or artists that have caught your attention recently?

I try to spend some time reviewing other types of work and be inspired by their journeys and successes. I was fascinated this year by the intense creativity of Kathleen Clemons and was able to organize a local workshop for a small group of photography friends. It was a pleasure to just absorb the joy of working up-close with flowers and learning how to use certain specialty lens. It gave me greater respect for looking for the beauty in the details that I can also apply to with horses. And not to worry about horses stepping on my many times broken toes!

 

correia - peeking

© Susan Irene Correia

Please tell us a little about your series Power, and how it was conceived.

A horse is an animal of flight – integrated into their brain to survive and to do so they must be intelligent and fit. Under saddle if they are respected and asked to work as a partner they comply to accept the direction of the human hand and beautifully work as one. But the spirit of the horse always yearns for the freedom of the body to move and play. That is what inspired me with the theme of Power broken up into the three areas. But most important to me is to have the viewer give thought to our fast moving society which is reflected in the last piece of the series titled “Three Brands Too Many”.  I want the viewer to enjoy seeing their power but also reflect on their fragility. Including my present dressage horse, all of the horses that I have owned were in troubled situations prior to my intervention so I connected deeply with this horse I photographed.

Has there been a Griffin Museum exhibition that has particularly engaged or moved you?

I really love the Griffin Member Artist exhibits because its a whirlwind of incredible creativity and thought. Its so inspirational. I am obsessed with “Flight” by  Anne Piessens because it represents so clearly to me the dreams I had as a child.

girl with wing
© Anne Piessens, Flight

My [other] choice would be “Among the Aspen Trees” by Mary Aiu. It inspires me because not only does it capture the spirit of this horse but utilizes so many other sensory elements and techniques.

What is your favorite place to escape to?

That’s an easy one. Alone with my horse, to groom him, to feel the wind in my face riding him. No other thoughts can get into my mind at that time. The nicker, the nuzzling, his dependency of knowing where I am for his security – healing for me that can not be described.  

What is a book, song or visual obsession you have at the moment?

Tina Turner “Simply the Best”  Timeless creation and there is even a horse in it!

If you could be in a room with anyone to have a conversation, who would it be and what would you talk about?

My mom who caught covid two weeks before her first vaccination was scheduled and passed many months later from post covid complications. To be sure she heard me tell her how much she was loved by all. Please get fully vaccinated and encourage others.

Filed Under: Blog, Exhibitions, Griffin State of Mind

Griffin State of Mind | Home Views – Roberta Neidigh

Posted on November 26, 2021

Roberta Neidigh grew up on a farm in the rural Midwest. Her current work “explores the ways in which we cultivate our public and private spaces”. Her exhibition Property Line looks at the visual dialogue between two plots of suburban land: “This point of contact,
on the property line, reveals communication between neighbors through landscape as
an extension of the self. There is no margin here. Are we connected or divided by the
place our land touches the land of another? How is this line drawn? In this body of
work, I explore the way we protect our boundaries by creating a buffer in a place that
has none, and how we cling more strongly to our own identity as our space nears
its edge. “

Property Line is part of the Griffin’s Home Views exhibition. You can find Roberta’s work on the walls of our Main gallery until December 5th. We asked Roberta some questions about her inspirations and artistic processes, and here is what she had to say:

1. Tell us how you first connected to the Griffin Museum.

house with pink car and line of stones

© Roberta Neidigh

Property Line was juried into the Brooklyn and Boston Fence exhibition Paula Tognarelli was one of the judges. I was then able to meet her in person at the Center Santa Fe portfolio review. I had been aware of the Griffin Museum but after meeting with Paula, I followed it more closely.

2. How do you involve photography in your everyday life? Can you tell us about any images or artists that have caught your attention recently?

Recently I enjoyed reading and viewing Aline Smithson’s piece in Lenscratch on Douglas Stockdale’s work, “Middle Ground”. I was taken with his ability to see something new in the landscape while he was trapped in bumper to bumper traffic.

On a daily basis I am recording, making images of what I encounter and using these studies to further understand what it is about the person, place or thing that resonates with me.

It is a daily practice.

3. Please tell us a little about your series Property Line, and how it was conceived.

line of trees

© Roberta Neidigh

My interest in this project began close to my home while I was on walks. Soon I began scoping out other neighborhoods by car, and if I found an interesting pattern of expression or a sense of inherited design in the choice of house color or method of grooming the landscape, I would park and walk the streets. That is when the compositions started to reveal themselves.

These designs seem like a reflection of the owners’ identity, often in a charming or humorous way, and I began to see property lines as quiet visual punctuation between the statements made by each homeowner. I’d driven by many of these homes near my own for years, not really seeing them and their borders until I started exploring on foot. I discovered that we tend to edit out the property line when we observe suburban landscapes; we’re focused on our own space, mostly ignoring the place it intersects with another. Because of this, I’ve found great delight in discovering what goes mostly unseen despite being in plain sight.

My background in the fiber arts definitely influences how I see. The groomed, well cultivated landscapes I’m drawn to are made of careful arrangements of color, texture, and pattern. Where things get really interesting is when these patterns collide in the property line space. I think of the images as portraits — of place, community, and of the residents themselves.

The public self we project in our own property is often carefully cultivated, but we don’t spend nearly as much time considering how it touches our neighbor’s yard. We don’t really scrutinize the property line, and by giving it less consideration, we allow for unexpected — and often humorous — interactions to take place.

4. Has there been a Griffin Museum exhibition that has particularly engaged or moved you?

I would say most recently, “Spirit: Focus on Indigenous Art, Artists and Issues”, and “Balancing Cultures”, Jerry Takigawa

5. What is your favorite place to escape to?

cactus with a white flower

© Roberta Neidigh

Either the California coast or my own garden, immersing myself in the open air surrounded with my favorite plants feeds my soul. In fact I’m sitting on the protected terrace now with the heater during our first major rain storm of the season. I love experiencing a good drenching rain after so much drought. The colors and textures of my cactus and succulents with the quality of light and rain is intoxicating!

6. What is a book, song or visual obsession you have at the moment?

cactus with little red flowers

© Roberta Neidigh

I’m very interested in how we use our own outdoor spaces, no matter how small or large. In California we are facing extreme weather conditions with drought and fires taking place. For my own space I am focusing on a hybrid type of planting, drought tolerant succulents and cacti combined with California natives. There is so much to know about the land, plants, insects and wildlife and how they are all interdependent. It keeps me intellectually stimulated while engaging in physicality. It’s a perfect marriage for me. I also use photography to help me explore this environment and all it’s magical secrets.

The work of Entomologist Doug Tallamy, “Homegrown NationalPark”, is of great interest to me. It’s an initiative to create conservation corridors that provide wildlife habitats on private property across the U.S. with a goal of 20 million acres of native planting in the U.S., which represents approximately ½ of the green lawns of privately-owned properties.

And the work of artist Fritz Haeg and his book, “Edible Estates: Attack On The Front Lawn.”

The idea of restructuring the concept of the front lawn.

Filed Under: Exhibitions, Griffin State of Mind

Griffin State of Mind | Home Views – Ira Wagner

Posted on November 26, 2021

After working on Wall Street for more than 25 years, Ira Wagner began studying photography in 2008, with specific focus on the urban landscape. Currently the Executive Director of the Montclair Art Museum in Montclair, NJ, Ira has been evolving his photographic practice through various projects including Superior Apartments and Houseraising. Featured in our Home Views exhibition, Ira’s interest in urban history and design marks his Twinhouses of the Great Northeast as a powerful addition to the show. Exploring themes of a common border, the American Dream, and the human inclination to mark and delineate one’s space, Ira’s series is a must see. To learn more from Ira about his art-making practice and source of inspiration, we asked him a few questions.

Tell us how you first connected to the Griffin Museum.

I connected with the Griffin Museum through meeting Paula at Review Santa Fe in 2019.   She is a wonderful and responsive reviewer and it was a pleasure to speak with her.  I was thrilled that she had an immediate response to my project and wanted to include it in an exhibition at the Griffin.

How do you involve photography in your everyday life? Can you tell us about any images or artists that have caught your attention recently?

Photography has been very important to me since I retired from Wall Street in 2008.  Actually, I had been interested in photography since I was young.  I delivered the newspaper in junior high school and saved my nickel and dime tips and bought my first camera.  But after retiring, I began classes at ICP in New York which led me to get an MFA degree in the Limited Residency Program at the University of Hartford, graduating in 2013.  From there, I continued working on my own projects and also taught at Monmouth University.  At the same time, I made frequent expeditions as part of my exploration of the urban landscape.   Since Covid, staying closer to home, I’ve focused on frequent walks in the woods in my neighborhood.  My experience with photography also led me to my current position as the Executive Director of the Montclair Art Museum.  Through that, I recently had the experience of looking through a large archive of prints by Joel Meyrowitz which was being offered to us as a donation – it was an incredible experience.  I’ve also been able to participate in acquisitions of photographs for the Museum’s collection.

Please tell us a little about your series, Twinhouses of the Great Northeast and how it was conceived.

I was photographing in Philadelphia as part of an exploration of the area around the Northeast Corridor rail line between New York and Washington and wandered into Northeast Philadelphia, also known as the Great Northeast.  I noticed the twinhouse structures and how each side had slight variations; I was particularly struck by one where the lawn was carefully mowed on one side but overgrown on the other.  As someone who is interested in urban history and development I began to look further into this area and this type of housing and found that it was a common form of housing built for people moving out of center city Philadelphia.  It became clear that these houses were built over an extended period of time, some pre-WW II and all the way through the 1970s.  They had varying materials, sizes and architectural styles.  I made numerous trips to the area and walked around many different neighborhoods, noticing the distinguishing characteristics of each.  I looked for the best examples of how one side contrasted with the other.  Some of my favorites include one where the entire front yard of the house is blocked by a tall hedge while on the other side, the front yard has a patio table, umbrella and chairs.  In another, a huge motorboat is parked in one of the driveways.  How people demarcate their own space is an underlying theme of this work.

Has there been a Griffin Museum exhibition that has particularly engaged or moved you?

I quite like the current exhibition A Place I Never Knew by Tira Khan.  The images create a compelling portrait of a place in which few travelers would stop.   I feel connected to that urge to photograph places like that.  I had one opportunity to travel to India and would love to spend more time photographing there.  I spent one day photographing art deco apartment buildings in Mumbai – a surprising find.  For my MFA thesis, I included art deco buildings on the Grand Concourse in the Bronx, another place that not many travelers explore!

What is your favorite place to escape to?

I don’t really have a favorite single place to escape to.  Instead, my escape is traveling some place new and getting to explore.  I like getting beyond the sights that most travelers see and find a place off the beaten track that feels like I’ve discovered the essence of the location; then I love capturing it with a photograph.

What is a book, song or visual obsession you have at the moment?

Visually, I love ruins of any sort.  I recently acquired the book Ruins by Koudelka which I frequently return to.  I also love the work of German photographer Ursula Schulz-Dornburg.  She has several projects focusing on ruins in the Middle East and Asia; one I particularly like is a series of photographs of a rail line built by the Germans in Saudi Arabia.   A few years ago, I used a grant from the New Jersey State Arts Council to visit the Anasazi ruins at Chaco Canyon in New Mexico.  Although it is a National Park Service site, it is quite remote with no food or services; the road to the site is unpaved.  I stayed in a rented RV and got to explore and photograph for several days – it was truly magical.

If you could be in a room with anyone to have a conversation, who would it be and what would you talk about?

I would love to have had the opportunity to meet and study with the Bechers.  It was exciting for me when I first learned about their work and then all the photographers that learned from them, including one of my favorites, Elger Esser.

 

Filed Under: Exhibitions, Griffin State of Mind

Griffin State of Mind | Home Views – Joy Bush

Posted on November 19, 2021

“The series Places I Never Lived is an exploration of the way that people put their mark on the world. While photographing the facade of each house in a sleuth-like fashion, I fantasize about who lives there and what life is like on the inside. It is not spying or voyeurism. It is about imagining my life in a different place.”

Joy Bush is a fine arts photographer based in Hamden, CT. She finds that she is drawn to photographing the echoes of the presence of people rather than people themselves. Her series Places I Never Lived will be exhibited in the Main gallery as part of the Griffin’s Home Views Exhibition until December 5th. We asked Joy a few questions to get a feel of her artistic process and inspirations, and we are excited to share the answers she gave us. 

Tell us how you first connected to the Griffin Museum.

The Griffin Museum was off my radar until an art critic in my home state of Connecticut asked me what I knew about the museum. From that time forward, I stayed on top of what was going on there. Although I don’t make frequent trips given its distance from my home, I watch what is happening there and have been a member for many years.


How do you involve photography in your everyday life? Can you tell us about any images or artists that have caught your attention recently?

I always have my camera or my phone with me so that I can document an image. It is my

pine tree

© Joy Bush

practice to make a photograph every day. On my daily walks I find images that grab my attention. It’s a way of recording my life, paying attention to those things that most of us overlook, giving things a chance to be seen. This is very different from simply going out and shooting randomly. I post a daily picture to Instagram: it is a practice that keeps me aware of the world as well as a game that appeases the frustrated writer in me. Putting a title to the work
demands that I be more thoughtful about what I am doing and stretches my imagination, bringing humor and insight to the picture. Combining the images with words feels like a meditative process.

I would be hard put to name all the artists who have attracted my attention. I find them mostly on Instagram and especially through #flakphoto (Andy Adams does an amazing job of posting images of photographers). There are images that seem similar to mine and so many that aren’t. It is a great network to open your eyes to other people’s vision. Lenscratch also is a place that does an excellent job of introducing photographers to each other. A plus side of the pandemic was having access to online exhibitions and seeing the work of photographers I might have otherwise missed.


Please tell us a little about your series Places I Never Lived, and how it was conceived.

wall

© Joy Bush

The series is an exploration of the way that people put their mark on the world. While photographing the facade of each house in a covert fashion, I fantasize about who lives there and what life is like on the inside. It is not spying or voyeurism. It is about imagining my life in a different place. At the same time what draws me to these places is the echo of a human presence, even though people themselves are absent. Inevitably, a barrier exists between each house and me. Carefully groomed landscaping and fencing can block my way as completely as a cluster of trees or untrimmed hedges. This, however, only adds to the seductiveness of the place. And that only reinforces my questions: Who lives in these houses? And who would I be if I lived there?

How the series was conceived is not as simple as what I have written. It evolved from a long series of coincidences. Over many years I did a number of images of peoples’ yards paying particular attention to the landscaping. Then I started paying attention just to the shrubbery. Then to pools—in ground, above ground, children’s pools. And this was not simply a record-taking exercise; I made pictures. One day, on a walk with a friend, I saw this house that had a huge hedge around it, so tall, in fact, that all I could see from the street were two chimneys..and my heart took a leap. I knew then that a new series or direction was opening up to me. While the house is a facade, it suggests a story to me. And while I am photographing, the story more often than not begins “once upon a time.” These are real places but they transform into imaginary ones for me because I have no factual details on those people who live there.


Has there been a Griffin Museum exhibition that has particularly engaged or moved you?

I have not been to many exhibitions in person. I was delighted to see the Griffin exhibited
Isa Leshko’s “Allowed to Grow Old. I have been involved in animal rights for over 30 years
and was impressed and moved that the Griffin was giving exposure to this topic while not
compromising an aesthetic sense. While I did not see “False Food” by Jerry Takigawa in
person, I’ve been able to follow what he does to draw attention to social and environmental
issues in a completely compelling way. Again, that was an important issue that the Griffin did
not shy away from. Recently, I was able to see Lou Jones “distressed:memories.” The
mystery and fantasy work as visual realities was fascinating and multilayered.

What is your favorite place to escape to?

A tough question because the two places that come up for me are so completely

house with pool

© Joy Bush


different. New York City, absolutely. I never get tired of the city. Physically or visually or sensory wise. And the ocean..or any place near the water. The calm and the serenity. Just recently I came back from a brief trip to Maine. It was early morning and I was walking and photographing water and clouds. I turned in a circle and it felt like I was inside one of those snow globes. Three hundred and sixty degrees all around me…very few cottage or trees breaking the horizon. And I remembered hearing Sam Abell talk about a photo while he was on assignment for the National Geographic and how he spent a great deal of time getting a shot at sunset, paying attention to the setting first and then waiting for the subject. After he made his photo, he turned around and saw, as I recall the story, elephants walking across the horizon, and that was the photo that was used for publication. What I took away from this was that after making a picture, turn around, there is another, and often better, photo behind you. (No elephants on this trip—or ever—but always a picture.)

What is a book, song or visual obsession you have at the moment?

I wish I had an answer for this and am forcing myself to find something to write here. I
found it difficult to stay focused on reading anything other than mysteries this last year and a
half— and even that was hard for me. A song: anything by the Beatles. My friend, the folk
singer, Lara Herscovitch’s “Wingspan” keeps me moving along as does the sound of MaMuse’s
“Glorious.” Visually, well, whatever is in front of me.


If you could be in a room with anyone to have a conversation, who would it be and what would you talk about?

Teji Cole books

© Joy Bush

Teju Cole. I started reading his work about photography in the New York Times years
back, and I follow his books closely. I like the way his words and images work together. While I
don’t think of myself as a talker, I would want to talk about his take on words and images used
together or near each other. I want to know what he thinks about, how he approaches his world,
how he integrates what he knows about other photographers and artists and writers and how
they influence the way he interprets his world.
Mostly, though, I think it would also be nice to just be in his presence. And be quiet. I would learn a lot.

Filed Under: Exhibitions, Griffin State of Mind

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Floor Plan

Amy Rindskopf's Terra Novus

At the market, I pick each one up, pulled in by the shapes as they sit together, waiting. I feel its heft in my hand, enjoy the textures of the skin or peel, and begin to look closer and closer. The patterns on each individual surface marks them as distinct. I push further still, discovering territory unseen by the casual observer, a new land. I am like a satellite orbiting a distant planet, taking the first-ever images of this newly envisioned place.

This project started as an homage to Edward Weston’s Pepper No. 30 (I am, ironically, allergic to peppers). As I looked for my subject matter at the market, I found that I wasn’t drawn to just one single fruit or vegetable. There were so many choices, appealing to both hand and eye. I decided to print in black and white to help make the images visually more about the shapes, and not about guessing which fruit is smoothest, which vegetable is greenest.

Artistic Purpose/Intent

Artistic Purpose/Intent

Tricia Gahagan

 

Photography has been paramount in my personal path of healing from disease and

connecting with consciousness. The intention of my work is to overcome the limits of the

mind and engage the spirit. Like a Zen koan, my images are paradoxes hidden in plain

sight. They are intended to be sat with meditatively, eventually revealing greater truths

about the world and about one’s self.

 

John Chervinsky’s photography is a testament to pensive work without simple answers;

it connects by encouraging discovery and altering perspectives. I see this scholarship

as a potential to continue his legacy and evolve the boundaries of how photography can

explore the human condition.

 

Growing my artistic skill and voice as an emerging photographer is critical, I see this as

a rare opportunity to strengthen my foundation and transition towards an established

and influential future. I am thirsty to engage viewers and provide a transformative

experience through my work. I have been honing my current project and building a plan

for its complete execution. The incredible Griffin community of mentors and the

generous funds would be instrumental for its development. I deeply recognize the

hallmark moment this could be for the introduction of the work. Thank you for providing

this incredible opportunity for budding visions and artists that know they have something

greater to share with the world.

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