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Tokie Rome-Taylor: Reclamation

Posted on January 25, 2024

Tokie Rome-Taylor: Reclamation

Challenging the norms of portraiture, Tokie Rome-Taylor’s work centers themes of ethnography, identity, and representation, as well as their intersections with photography’s influence on perception and public history. In these works, Rome-Taylor photographs children of color as her subjects, calling attention to previous hegemonic histories of the Western gaze. Against opulent backgrounds and adorned in regal attire, her subjects radiate an unwavering majesty, confronting biases and addressing racial gaps in traditional art-historical representation. Rome-Taylor’s work explores the perception of self and belonging, and how these begin in childhood.

Rome-Taylor’s work requires thorough ethnographic and historical research, specifically on the material culture and spiritual practice of enslaved individuals in the 19th century. A distinctive aspect is the depiction of children posing with their family heirlooms. These heirlooms bridge the present to the past, connecting viewers to ancestral stories and traditions. Rome-Taylor’s art becomes a multilayered narrative, not just about individual subjects but a broader exploration of cultural and historical contexts. Through meticulous research and thoughtful composition, she crafts visual stories that transcend time, inviting viewers to reflect on the intricate tapestry of identity and heritage.

As you navigate through these images, ask yourself: how often do you see children of color in historical portraiture? And why -or why not- might that be?

About Tokie Rome-Taylor

Interdisciplinary artist Tokie Rome-Taylor explores themes of time, spirituality, visibility and identity through the foundational medium of photography.

Portraiture, set design, and objects all are a part of Tokie’s photographic practice. Through both digital and alternative processes of image making, textiles, and assemblage, she explores the layered complex relationship African Americans in the diaspora have with the western world.

Rome-Taylor’s work has been exhibited nationally and internationally with an exhibition record that includes the, The New Gallery at Austin Peay University, The Hammonds House Museum, The Atlanta Contemporary, the Fralin Museum, The Southeastern Museum of Photography, The Griffin Museum of Photography, SP-Foto SP-Arte Fair in São Paulo, Brazil, and the Zuckerman Museum of Art, amongst others. Her work is held in multiple public and private collections including the Museum of Contemporary Art of Georgia, The Fralin Museum at University of Virginia, and the Southeastern Museum of Photography.

Rome-Taylor is a 20+ year veteran educator and working artist.

To see more of Tokie’s portfolio log onto her website and find her on Instagram @tokietstudio

Mark Peterson | Political Theatre

Posted on January 14, 2024

Over the past ten years I have been photographing the presidential candidates as they lead rallies, meet with voters and plead for their votes. I started just before the government shutdown in 2013 at a tea party rally at the U.S. Capitol. Politicians railed against the president and the Affordable Care Act — a show to get a sound bite into the next news cycle.

Joseph Biden greets supporters
at the BidenFest Pre-Steak Fry 9.21.19

Since then I have followed the political spin as it tilts its way to November. Donald Trump’s entrance into the race, taking control of TV talking heads, making the media his press agent, is true Political Theater.

After a Trump rally in Lowell, Mass., a father said to his sons, “Now that was entertaining.” His sons agreed, chiming in with their favorite lines from Trump’s speech. In New Hampshire after Bernie Sanders gave a speech, he walked down the stage stairs, and when he saw photographers there he stopped and raised an arm in a power salute.

The Honorable Pete Buttigieg, Mayor, South Bend, Indiana
Rev. Al Sharpton and the National Action Network in NYC

I want to pull back the curtain and show these politicians as they really are. Even though they are in plain sight, they can hide behind words and carefully arranged imagery to project their vision of America. I am using my camera to cut through the staging of these moments and reveal the cold, naked ambition for power.

About Mark Peterson –

Mark Peterson is a photographer based in New York City. His work has been published in New York Times Magazine, New York Magazine, The New Yorker, Geo Magazine and other national and international publications. In 2018 he was awarded the W. Eugene Smith grant for his work on White Nationalism. He is the author of two books Acts Of Charity published by Powerhouse in 2004 and Political Theatre which was published by Steidl in the fall of 2016.His work is collected in several museums including The National Gallery of Art in Washington DC. In 2024 Steidl will published his book The Fourth Wall.

The US Capitol reflected in a puddle in Washington DC 4.4.2021

Mark Peterson’s monograph Political Theatre, published in 2016 by Steidl Verlag Publishing can be found on their website alongside his upcoming book The Past is Never Dead. Find him on Instagram @markpetersonpixs

Arthur Griffin: Winter in Winchester

Posted on November 9, 2023

Arthur Griffin: Winter in Winchester

The Griffin Virtual Gallery – November 9 – December 31, 2023

Happy winter from the Griffin! In honor of the holiday season (and our upcoming Winter Solstice exhibition), we’ve put together this online exhibition spotlighting some of our founder, Arthur Griffin’s works shot in Winchester during the wintertime. Please (virtually) put your hands together for: Winter in Winchester.

Named after the Black Horse Tavern (that still exists today), the town we now know and love as Winchester started its humble origins as the Black Horse Village, emerging around the Converse Mill Pond. William Parsons Winchester, for whom the town was named, never actually stepped foot in his geological namesake, for he passed away before its incorporation as a town in 1850. Arthur Griffin, the namesake of our museum, on the other hand, had the pleasure of calling Winchester home from 1903 to 2001.

Since its incorporation, Winchester has grown substantially both in population and in tradition. From the Epiphany’s annual Christmas Fair to Midnight Madness to the Winchester holiday tree lighting celebration to ice boating (depicted in Griffin’s works below), Winchester is full of winter traditions for all to enjoy.

A winter tradition we hold dear to our hearts at the Griffin is the Winter Solstice Exhibition. This is an annual event where members can submit their own images to be displayed at the museum! (Click here for more information).

Combining some of Arthur’s works, Winter in Winchester captures the history, tradition, and charm of the town. To view more of Arthur Griffin’s works, explore his digital archive here, and in the meantime, take a scroll through past winters in Winchester as you await for this year’s to befall.

Written and researched By: Candy Li, Fall intern 2023

Sarah Sense: Hinushi

Posted on October 28, 2023

“Hinushi is a series of landscape photographs from ancestral homelands woven through colonial maps of the Mississippi River, Gulf of Mexico, and Choctaw allotment land. The blue allotment maps of McCurtain County, Oklahoma (1902, courtesy of the Choctaw Cultural Center) were created after the United States Indian Removal Act (1830). Each drawn parcel indicates allotted land for individual Choctaw Tribal members and includes their name, blood quantum, and age, serving as a government document and form of assimilation into the colonial structure of land ownership, further displacing cultural values and land connectivity. After removal from their ancestral land, Choctaws suffered a long walk to “Indian Territory” or what is now called Oklahoma. Woven together are maps from Oil News (1920, from my research at the British Library, London, England) woven through Broken Bow landscapes, where our family was relocated. Choctaw basket patterns from my Grandma Chillie’s basket of sun and stars are woven through these maps, joining the land with the colonial maps as an act of reclamation. The journaling and mapping are photographs of Lewis and Clark journals taken during my archive research at the St. Louis Historical Society. The Lewis and Clark Corps of Discovery Expedition (1804-1806) was funded by the United States government and initiated by Thomas Jefferson after the Louisiana Purchase (1803). These colonial forms of exploring, discovering, and mapping are constructed to manage land and people. The colonial mapping and government allotment structures represent established spaces. Weaving Chitimacha and Choctaw patterns through the maps reclaims space.

The trunks of Coastal Redwoods from California and Live Oak Trees from Avery Island, Louisiana, sit on top of the roots with maps from Lewis and Clark’s journals laid over the trunks and are woven together with a Chitimacha basket pattern. Louisiana maps merge with Oklahoma maps as the two weaving styles collide. My son, Archie, is discretely woven into some of the pieces as he stands in the Broken Bow landscape and is then woven into Tahoe, reflecting on connection after relocation. Maps and archives from the past woven into contemporary landscape photography close a gap of time. Similarly, placing a figure into a landscape can also blend time and represent Indigenous futurism by reclaiming space and re-implementing self into a land of ancestry that was otherwise taken from the ancestors. This process of weaving together past, present, and future broadens the visual experience to something that is felt and not seen, bringing spirituality into the works.” – Sarah Sense

Hinushi Details

About the Artist:

Sarah Sense (b. 1980) lives and works in California. Sense has traveled extensively through the Americas, Europe, United Kingdom and Southeast Asia. Her landscape photography is an essential part of her travel and visual art practice. Sense’s weaving practice began in New York while a master’s student at Parson New School for Design (2003-2005). While director and curator of the American Indian Community House Gallery, New York, Sense catalogued the gallery’s thirty-year history, inspiring her search for Indigenous art internationally. Her world travels were charged with archive research, photo-weaving project that expanded to community programming, international Indigenous artist interviews and the book, Weaving the Americas, A Search for Indigenous Art in the Western Hemisphere.

Stephen L. Starkman: The Proximity of Mortality

Posted on October 6, 2023

In Memoriam

In 2021, Toronto-based photographer Stephen L. Starkman was diagnosed with small-cell lung carcinoma. After a series of radiation and chemotherapy treatments, the artist learned the disease had spread to his brain and was incurable. During and after his treatment, Stephen documented his illness in service of his book, The Proximity of Mortality (2022). Combining landscapes, hospital scenes, and self-portraiture with poems and quotes by other cancer patients, the book offers a glimpse into both the physical and psychological ramifications of terminal illness.

The images are vast and moving. They tell a frank and beautiful story, each showing a quiet confrontation with what does -or does not- come after life’s end.

The Griffin Museum is deeply saddened by the passing of this amazing photographer and wonderful human in September of 2023. To honor his legacy and this deeply important volume, we have displayed just some of the images from the book here.

Thank you, Stephen, for all you have given to the world.

Arnold Newman Prize for New Directions in Photographic Portraiture 2023 | Honorable Mention

Posted on September 27, 2023

The Arnold Newman Prize for New Directions in Photographic Portraiture is a $20,000 prize awarded annually to a photographer whose work demonstrates a compelling new vision in photographic portraiture. The Prize is generously funded by the Arnold & Augusta Newman Foundation and proudly administered by Maine Media Workshops + College.

The Griffin Museum is pleased to present an online exhibition to honor the finalists for the Newman Prize.

Matt Eich – Bird Song Over Black Water

The song contained many songs. . .

Help me to lie low and leave out, Remind me that vision is singular, that excess Is regress, that more than enough is too much, that compression is all

from Meditation on Song and Structure

by Charles Wright

Bird Song Over Black Water is an ongoing body of work made in my home state of Virginia that will span a decade when complete. The series incorporates portraiture, still lives, and landscapes, but at the emotional core of the work is my desire to share small intimacies with people. While photography is limited to light on surface, I am interested in what lies below the surface of an individual and strive to make images that evoke a psychological space. To achieve this, I often work in a collaborative manner, engaging with individuals to visually represent themselves as they wish to be seen.

The way I make work is largely intuitive. My subconscious only a few steps ahead of my conscious mind on a path to the questions I seek. I trust the images to guide me toward a clear vision one-to-the-next. While my faith in the photographic medium is frequently tested, I still believe it can expand our capacity for empathy. Belief alone rescues me from despair.

Depicting those I encounter with intimacy and respect, I consider the weight of our troubled colonialist past, and how it has led to the isolation and division of the present, while trying to illuminate our collective hopes for the future. The encounters I have, and the resulting images, reflect my own search for moments of human connection, and desire to extend this moment of communion.

– Matt Eich

Sarah Mei Herman – Solace

In response to my long-term Touch series, I was approached by Emerson & Wajdowicz Studios (EWS) to produce a related project about the LGBTQ+ community in China. Specializing in socially-conscious multimedia design and art, EWS runs a photobook series devoted entirely to LGBTQ+ themed stories – showcasing the diversity and complexity of queer communities around the world.

In September 2019, I returned to Xiamen to portray 14 queer individuals and couples, all of whom I found through my existing network in the city. Alongside portraits of each person, and images of the private spaces they inhabit, Solace features interviews with each subject about life, love and their personal fears. Unable to return to Xiamen during the pandemic, I continued the project in the Netherlands, photographing young members of China’s LGBTQ+ community who had relocated to Europe. The book was published by New York’s The New Press in December 2022.

– Sarah Mei Herman

Lee-Ann Olwage – The Right to Play

Portrait of Florence Wantiru Kenywa (11 years), a student at Kakenya’s Dream school in Enoosaen, Kenya. The flowers are used to create a playful world where girls are shown exuding pride and joy and in this way the flowers are also used to reclaim their futures and dreams and to re-imagine the narrative of child marriage.

What do girls dream of? And what happens when a supportive environment is created where girls are empowered and given the opportunity to learn and dream? The Right To Play creates a playful world where girls are shown in an empowered and affirming way.

Every day, girls face barriers to education caused by poverty, cultural norms, and practices, poor infrastructure and violence. For this project, I’m working with school girls to show what the world could look like when girls are given the opportunity to continue learning in an environment that supports them and their dreams.

Worldwide, 129 million girls are out of school and only 49 percent of countries have achieved gender parity in primary education with the gap widening at secondary school level. From a young age, many girls are told what their future will look like. The expectation is: you grow up, you get a husband and you have children. And that’s your life.

For this project, I worked with the girls from Kakenya’s Dream, a nonprofit organisation that leverages education to empower girls, end harmful traditional practices including female genital mutilation (FGM) and child marriage, and transform communities in rural Kenya. Their goal is to invest in girls from rural communities through educational, health, and leadership initiatives to create agents of change and to create a world where African women and girls are valued and respected as leaders and equal in every way.

By using flowers to create a playful world where girls are shown exuding pride and joy I aim to re-imagine the narrative of child marriage and in collaboration with the girls to reclaim their futures and dreams.

– Lee-Ann Olwage

Angelika Kollin – Mary’s Children

My entire focus in my artistic practice revolves around exploring the essence of humanity, with a particular emphasis on womanhood. The human experience can be incredibly isolating on this expansive planet without functional inter-human connections or a life driven by profound passion. Ultimately, we all seek love, a sense of belonging, and a purposeful existence.

My new project (2023-), “Mary’s Children,” pays homage to individuals who demonstrate unwavering strength and courage in the face of tragic events and challenging life circumstances. The name carries importance, as it symbolizes the genuine heroes and heroines (Everyday Saints) whom I find truly deserving of admiration amidst a world consumed by the pursuit of fame and wealth.

In a society where celebrities and the affluent often take center stage, these remarkable individuals embody the true essence of heroism and strength. They radiate a light of the Spirit and possess a remarkable strength of Faith, demonstrating courage and openness of heart that surpasses that of many self-proclaimed spiritual leaders and gurus. Unfortunately, their stories often remain untold, overshadowed by the noise of mainstream media.

I want to bring attention and visibility to these extraordinary human beings. The inspiring journey with “Mary’s Children” serves as a confirmation of the boundless capacity for growth and courage within each of us.

– Angelika Kollin

Irina Werning – Las Pelilargas

Women in South America wear their hair longer than in most Western countries due to its hybrid culture and influence of Indigenous traditions. In most indigenous communities the cutting of hair represents cutting their thoughts.

Since 2006 I have been searching and photographing women with long hair in Argentina. A leader of the Kolla community once told me: “Your hair is important; that’s your connection to the land. it’s the teaching that’s been passed down from generation to generation”.

As a woman from south America I sometimes struggle with the idea of having to adopt masculine traits to be successful or equal to men, a notion at the very core of machisimo. Gender equality can also be promoted by telling stories that highlight femininity and aspects that unite women in their communities.

I hope that my pictures celebrate this ancestral tradition that connects us to our land, and also honor the beauty and power of womanhood.

– Irina Werning

Kiana Hayeri – Loss Piles on Loss for Afghan Women

KABUL | KABUL | AFGHANISTAN | 20220907 | Najia (28) – Radio journalist in hiding

Walk around the capital, Kabul, and it often feels as if women have been airbrushed out of the city. There are fewer women on the streets these days than even a few months ago. More and more, those who still venture out — once in jeans and long blouses — are covered head-to-toe in concealing robes, their faces obscured behind masks. Female shop mannequins have been beheaded or their heads wrapped in tinfoil. Photos of bridal models outside of the beauty salons are spray painted. But the most profound change is invisible: It is the storm of loss, grief and rage that has enveloped the city’s women, they say.

Some women went into hiding, fearing retribution after the Taliban seized power. Others began protesting on the street. Grandmothers in dusty villages walked out of their mud brick homes with relief, free for the first time in 40 years of the fear of stray bullets or airstrikes raining down. Some teenage girls began attending schools in secret, echoing the stories from their mothers’ childhoods that once felt like grim folklore.

For the longest time, I have been so distraught by weaponizing women’s rights in Afghanistan that I can not help but to wonder how has the West actually improved the lives of Afghan women? Conversely, how has it impoverished them? What actions have Afghan women themselves taken to resist their oppression? And what hope is there for their future?

When the Taliban returned to power in Afghanistan in August 2021, women were among the most profoundly affected. While the end of fighting offered a welcome respite, particularly for women in rural areas, others’ lives have been severely constricted. Many watched 20 years of gains made under Western occupation unravel as the new government issued edict after edict scrubbing women from public life. While, evidently the Islamic Emirates has been trying to eliminate women from society and shutting down their voices, over several months last year, I spoke to 96 women across the country and from all walks of life to understand how their lives and Afghan society have changed since Taliban came back into power. The result was turned into an interactive piece for The New York Times.

Today, Afghanistan is among the most restrictive countries in the world for women, according to human rights monitors. Girls are barred from secondary schools. Women are prohibited from traveling any significant distance without a male relative, and from going to public spaces like public baths, gyms and parks. Women are banned from attending universities and from working for aid organizations, some of the last hopes left for professional or public lives. In the most recent move, Ministry of Vice and Virtue have ordered all beauty salons in the country to close up shop before the end of the month, putting an estimated 60,000 women out of jobs.

The tone of the portraits was set to resemble the confined spaces that women are bounded to, like “an encaged bird”; a metaphor that many of the women I interviewed used to describe how their frustration, rage and sadness. All of the portraits are set up in the comfort of their personal spaces and naturally lit with a warm light, often through the sun on the verge of setting. The lighting symbolizes the beam of hope the women once had and now is disappearing fast. Every one of the women who agreed to be photographed for this project is incredibly audacious and courageous. They wanted to be heard. Let us not forget them; remember their faces, their names and their stories.

– Kiana Hayeri

Joy Bush: Waiting

Posted on July 2, 2023

Artist Statement

“You can wait here in the sitting room, or you can sit here in the waiting room.”—Firesign Theater

Much of our lives is spent waiting. We wait on lines to buy coffee, a ticket to a movie, to use a bathroom. We will wait in a restaurant for a table to be cleared so we can wait for our food to be served. We sit in a waiting room to see a doctor. We wait for the school year to start and then wait for summer vacation. We wait for a friend to show up for a walking date. A return phone call. A special event. We wait for a connection. We wait for love.

I am always waiting for something to happen. Or waiting to piece together what just happened. Even waiting to figure out what could have happened. And as I wait, I photograph places that reveal nothing clearly, or something just out of reach. I search for moments that evoke the feelings inherent in the discomfort of waiting. My intention is to capture the ironic, amusing, and suspenseful. I hope to capture a sense of curiosity about what could be or could have been.

I wait. And in that waiting, I act.

About

Joy Bush is a photographer based in Connecticut. She grew up near New York City and as a child she loved family excursions to NYC museums and theater productions. After graduating from college she discovered the magic of photography, and bought herself a Pentax Spotmatic. Eventually employed as a university photographer, she documented life on college campuses while developing personal bodies of work.

Joy’s fine art photographs grow out of her interest in social landscapes. In her images there is an echo of human presence: a sense that people have recently left with no certainty of when, or if, they will return.

Bush’s work was recently featured in UNBEATABLE WOMEN at the Lyman Allyn Art Museum, CT (2022) and HOME VIEWS at the Griffin Museum of Photography in Massachusetts. (2021). Her photographs have appeared in Fraction Magazine, The Village Voice, The New York Times, Connecticut Review, and many other publications. She has exhibited in solo and group exhibits nationally and internationally including the International Center for Photography (NYC), Mattatuck Museum, (CT), Lyman Allyn Art Museum, Copley Society (Boston, MA), Garrison Art Center (NY), and Umbrella Arts (NYC). Bush is represented in the permanent collections of the Cincinnati Art Museum, Mattatuck Museum, Montefiore Hospital (Bronx, NY), the Baseball Hall of Fame, the Rock and Roll Hall of Fame, Yale Medical Group Art Place, and private collections.

JoyBushPhotography.com

@joybushphotography

Jake Benzinger: Like Dust Settling in a Dim-lit Room (Or Starless Forest)

Posted on July 1, 2023

June is photobook month at the Griffin Museum! To celebrate, we’re hosting an online exhibition of Like Dust Settling in a Dim-lit Room (Or Starless Forest) a book project by artist Jake Benzinger. jakebenzinger.com/monograph

Artist Statement

Like Dust Settling in a Dim-lit Room (Or Starless Forest) constructs a liminal world that explores the intersection of reality, dream, and memory. Through photography, this body of work functions as a mirror, a reflection of my inner psyche and an investigation of identity, relationships, the domestic, and the natural world.

This process, with its focus on the self, is rooted in an attempt to heal. The exploration of ordinary locations, places devoid of people and often characterized by the presence of flora, have functioned as a refuge in my personal life. By frequenting these places, I began to see them as sets, utilizing them to construct my visions. I imbue them with fragments of the people, places, and memories that inhabit my subconscious.

I fail to find stability in the societal constructs of home and family; so I seek to create it in the natural world. Through the dislocation of these places and the infusion of nature into the domestic, this work constructs a fleeting world that lives in ambiguity. This space is familiar yet still foreign; it is a constructed world that visualizes my deepest desires and greatest fears.

About

Jake is a photographer and book artist based in Boston, MA; he received his BFA in photography from Lesley University, College of Art and Design in Cambridge, MA. His work explores the intersection of dreamscape and reality. Through the dislocation of spaces, in both nature and the domestic, he weaves together imagery to create a world that exists in the liminal, investigating themes of duality, longing, identity, and the natural world.

Jake is currently a teaching assistant at Maine Media College and Workshops and has recently had work featured by Lenscratch and Fraction Magazine, alongside exhibiting in the greater Boston area. His most recent body of work, Like Dust Settling in a Dim-Lit Room (Or Starless Forest), was recently self-published as an edition of 50 hardcover books.

Dust Settling in a Dim-lit Room (Or Starless Forest) can be purchased at jakebenzinger.com/monograph

Perfect bound, hard cover, self-published monograph

Spring 2023
1st Edition of 50
56 pages

A Summer with Arthur Griffin

Posted on June 29, 2023

Reflecting on the Griffin Museum of Photography’s archive of Arthur Griffin’s work, this exhibition highlights the work of the museum’s founder and the beautiful New England scenery with which he was so enamored. The clear skies, ocean views, and portraits of local families show a clear lifetime commitment to photographing and documenting the joy of New England summers in this online exhibition, A Summer with Arthur Griffin.

Life Magazine names Arthur Griffin as one of New England’s earliest photojournalists “known for his landscape photography of the region.” Originally trained to be an illustrator, Arthur Griffin became a photographer after picking up a second hand folding Brownie, launching a lifelong passion and career in photography. He became the exclusive photographer for the Boston Globe Rotogravure Magazine and a photojournalist for Life and Time Magazines.

Arthur’s legacy lives on at the Griffin Museum of Photography, founded in 1992 to promote an appreciation of photographic art and foster a broader understanding of its visual, emotional, and social impact. The museum honors Arthur Griffin as its founder by maintaining his legacy through the visual archive. Here are just a few examples from the archive, highlighting his work and celebrating the spirit of summer.

Written By: Maeve Kydd, Curatorial summer intern, 2023

Research By: Kaitlyn Hughes, Archive summer intern 2023

Amber Crabbe | I Dreamed We Could Stand Still

Posted on June 23, 2023

Exploration of the natural world and my desire to document its dynamism drives my photographic practice and draws me to volcanic and geothermal areas. There I can celebrate places of resilience that continue to reject human manipulation, in spite of the dramatic changes currently being imposed on our climate. Although it’s possible to build a boardwalk across a steaming hot spring or construct a roadway that facilitates access to an active volcanic area, the elements in these places refuse to be constrained. Their stubbornness soothes me and represents small victories in the face of massive global change. My moving photographs exemplify how I escape into these otherworldly places and bear witness to their ultimately unknowable power and beauty.

Amber Crabbe holds a Master of Fine Arts in Photography from the San Francisco Art Institute and received a Bachelor of Science in Art and Design from the Massachusetts Institute of Technology. In 2018 she was awarded a position in the Yerba Buena Center for the Arts Fellows Program and in 2012 she received the Jack and Gertrude Murphy Contemporary Art Award. She has participated in numerous curated and juried exhibitions at venues throughout the U.S., including the San Francisco Arts Commission Gallery, the Berkeley Art Center, SF Camerawork, SomArts, the Pacific Film Archive, Gallery Route One, Rayko Photo Center, the Smith Anderson North Gallery, the Gray Loft Gallery, and the Whatcom Museum. She lives and works in San Francisco, California.

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