Winchester

Winter Solstice 2024 – 4

Posted on September 29, 2024

In the darkness of winter, we search for the light. Our Winter Solstice Members Exhibition brings together our community, lighting up the museum with images, ideas, and boundless creativity, celebrating the works of our photo community in all of its splendor.

This annual celebration highlights the medium of photography in all of its forms. We love sharing your vision with the world, and look forward to our annual gathering of images, ideas and vision.

This exhibition is also an online showcase, with multiple pages. Take a look at all of the talented artists and images that will fill the walls of the museum in December.

Edition 1 | Edition 2 | Edition 3 | Edition 4 (this page)

This year’s Annual Winter Solstice Members Exhibition will be held in the main gallery from December 13, 2024 — January 12, 2025.

Participating Artists (Listed Alphabetically by First Name):
Adele Quartley Brown, Adrien Bisson, Alan Richards, Alexandra Frangiosa, Alison Lake, Allyson Ely, Amanda Heck, Anastasia Sierra, Angela Rowlings, Ania Moussawel, Ann Boese, Anna Litvak-Hinenzon, Audrey Gottlieb, Austin Bryant, Becky Behar, Beth Luchner, Betty Stone, Bill Clark, Bonnie Newman, Bremner Benedict, Brynne Quinlan, Caren Winnall, Cassandra Goldwater, Catherine Panebianco, Cathy Cone, Charles Maniaci, Charlotte Toumanoff, Chen Gao, Cheryl Clegg, Christopher Weikart, Connor Archambault, Corinne Adams, Cyd Peroni, Cynthia Smith, Dafna Steinberg, Dale Niles, David Donnelly, David Rabkin, Dawn Watson, Diana Cheren Nygren, Diana Nicholette Jeon, Diane Hemingway, Diana Noh, Donna Dangott, Donna Gordon, Donna Tramontozzi, Douglas Lutz, Duygu Aytaç, Edie Clifford, Elizabeth Corcoran-Hunt, Elizabeth Hopkins, Elizabeth Wiese, Ellen Feldman, Eric Luden, Erik Gehring, Erin Menatian, Fruma Markowitz, Gail Fischer, Gary Beeber, George Imirzian, Grant Halsey, Heather Pillar, Holly Worthington, Hope Schreiber, Jack Doerner, Jaimie Ladysh, Jaina Cipriano, James Collins, Jamie Hankin, Janice Koskey, Jane Waggoner Deschner, Janet Smith, Janis Hersh, Jaye Phillips, Jeanette Pivor, Jeanne Carey, Jeff Larason, Jessica Cardelucci, Jeffrey Mark Dunn, Jen Bilodeau, Jennifer Erbe, Jessica Burko, Jesus Rios Cozzetto, Joan Kocak, Joe Greene, John Brenton, Jonathan Sachs, Jose Ney Mila Espinosa, Joseph S. Lieber, Joy Bush, Judi Iranyi, Judith Montminy, Julia Arstop, Julia Buteux, Julia Cluett, Julianne Snow Gauron, Julie Broderick, Karen Elizabeth Baker, Karen Hosking, Karen Matthews, Karin Rosenthal, Kay Mathew, Kaya Sanan, Kelly Conlin, Ken Rothman, Kermit Lehman, Kevin Belanger, Khim Mata Hipol, Kiyomi Yatsuhashi, Larry Smukler, Laura Ferraguto, Law Hamilton, Lauren J Piper, Lawrence W. Osgood, Leann Shamash, Leanne Trivett S., Lee Cott, Lee Rogers, Lidia Russell, Liliana Caruana, Linda Hammett Ory, Linda Haas, Linda Plaisted, Lisa Liberetto, Lisa McCarty, Lisa Paulette Silberman, Lisa R. Reisman, Lisa Redburn, Lisa Spencer, Lisa Tang Liu with J. David Tabor, Laurie Peek, Lucia Ravens, Lynn Saville, Lynne Breitfeller, Marcy Juran, Meg Birnbaum, Marcie Alkema, Marky Kauffmann, Margaret Rizzuto, Mari Saxon, Marilyn Canning, Marjorie Gillette Wolfe, Mark Eshbaugh, Mark Levinson, Martha Volcker, Martha Wakefield, Mary Pat Reeve, Mary Presson Roberts, Matthew Herrmann, Maura Conron, Megan Riley, Michael Brown, Michael Burka, Michael Lynch, Michael Stepansky, Nadira Gupta, Naomi Soto, Natalie McGuire, Neelakantan Sunder, Nicholas T. Jones (TEEJ), Nikita Mash, Nina Menconi, Pamela Pecchio, Parrish Dobson, Pat Corlin, Patricia Scialo, Peter J Baumgartner, Tony Loreti, Pip Shepley, Rachel Portesi, Ralph Mercer, Rebecca Skinner, Ricardo Pontes, Robert Morin, Bob Reasenberg, Robin Radin, Robin Z. Boger, Rohina Hoffman, Ronald D. Butler, R. Lee Post, Ryck Lent, Sally Ann Field, Sally Bousquet, Sally Chapman, Sally J. Naish, Sandra Pike, Sandra Chen Weinstein, Sandy Hill, Sara Silks, Sarah Christianson, Sarah Hughes, Sasha Fino, Scott Ludwig, Sean Sullivan, Shaheen Lakhani, Shara Hall, Sharon Schindler, Sheila Bodine, Sheri Lynn Behr, Síle Marrinan, Simone Brogini, Stefanie Klavens, Stephen Schmidt, Steve Dunwell, Steve Genatossio, Steve Jacobson, Steve Levin, Sue Anne Hodges, Suki Hanfling, Susan Collins, Susan Lapides, Susan Lirakis, Sue Michlovitz, Susan Moffat, Susan Rosenberg Jones, Suzanne Reasenberg, Suzanne Theodora White, Suzanne Williamson, Teresa Camozzi, Teri Figliuzzi, Terri Unger, Terry Rochford, Thomas E. Janzen, Thomas McCarty, Vicky Stromee, Wenda Habenicht, William Betcher, William P Feiring, William Steinfeld, William Zinn, Yat Chun Chan (Marco Yat Chun Chan), Yorgos Efthymiadis, Zoe Perry-Wood

Illuminating the Archives | Arthur Griffin

Posted on September 28, 2024

The Griffin Museum of Photography invites you to take a glimpse into the archives of Arthur Griffin. This collection of Griffin’s photographs, primarily taken throughout Greater Boston during the 1940’s, connects us with a past generation of art enthusiasts, budding scientists, and dreamers. From museums, galleries, observatories, and libraries to the beauty of the natural world – engagement with the arts and sciences has nourished our minds and our souls throughout time. The little moments of awe on display here demonstrate that a collection is only truly illuminated when it ignites wonder in its audience. This exhibit was curated by Griffin Museum intern Samantha Snow.

About the Curator

Samantha Snow is a Museum Education master’s student at Tufts University and the Education and Programming Intern at the Griffin Museum of Photography. She previously worked as a museum educator at the Petersen Automotive Museum in Los Angeles and as a museum evaluation contractor with Kera Collective. Currently, she works in visitor experience and science communication at the Broad Discovery Center in Cambridge. Her primary interests lie in the connections between the arts and sciences and the intersection between museums and the public – topics she is enthusiastic to explore as an emerging museum professional.

Artificial Intelligence : Disinformation in a Post Truth World

Posted on August 9, 2024

With great power comes great responsibility.

The power of visual images and the unregulated dynamic of AI have created a world untethered from reality. Disinformation and misinformation in this election year is at an all time high. The ability to think critically is challenged. The general public being swayed or falling into rabbit holes or the digital abyss is not only possible but probable. Artificial intelligence, taking data sets to perform complex tasks to mimic human behavior including the various virtual assistants like ChatGPT or Gemini, or art generators Mid-Journey, Dall-E all scrape data in a large feast, learning, growing, expanding. The programs complex computations become better at anticipating behaviors and inevitably rewrite our history based on the information exchange.

This exhibition, focused on Artificial Intelligence, includes five artists all looking at the complexities of the visual image as truth, fiction, muse and outlier. All use technology to inform their work, stretch their truth, follow myths and legends, rewrite history and manufacture new realities.

Josh Azzarella

I create still images, video, and objects from important cultural images by altering or removing the punctual event in the image. The works explore the power of authorship in collective memory. This multidisciplinary studio practice is rooted in the scrutiny of popular historiography and the indexical document. Through various methods I seek to interrupt, displace or interfere with the images that make up our personal and shared histories. This practice of arrogation allows me to confuse, append, or create a new memory for the viewer. In this way I interrupt the stream of information and imagery that is disseminated, filtered, and collected. The works find context in our personal memory and in the larger postmodern conversation about what is real. We often note, in trying to understand our own history, that the photographs which signify the events we experience come to replace or complicate our own memories. In this way, I intend the works I produce to further alter those collective memories. Moreover, the works often seek a meditative or still moment during which the viewer can stand transfixed. This contemplative moment is an opportunity to introduce the larger context in which we collect and chronicle our communal history. — Josh Azzarella

Rashed Haq — Plausible Presidents

“Plausible Presidents” explores the complex interplay between perception, imagery, and history, underscored by the pervasive contemporary issue of disinformation in our digital era. This project presents a series of digitally crafted photographs of the first sixteen US Presidents, covering a time period from before the invention of photography until photography was fairly prevalent. The portraits, while visually plausible, are intellectually known as fabrications, challenging viewers to confront their immediate acceptance of photographic information as factual — sometimes allowing critical thinking to be overlooked in the face of compelling imagery

Each photographic portrait is crafted using generative AI, drawing from historical textual descriptions,
paintings, sculptures, and where available, photographs, to resonate with the persona and epoch of the respective presidents. Generative AI is adept at creating images with perceptual realism using multimodal input of text and images. This process, blending historical accuracy with artistic interpretation, aims to materialize the unseen and question the seen. The text descriptions are also created with generative AI, with its potential for bias and inaccuracy in the captions.

In an age where digital manipulation is seamless and widespread, “Plausible Presidents” serves as a mirror reflecting our vulnerabilities in discerning truth from fabrication, including mine. It reminds us how easily our perception can be swayed by images with perceptual realism, and a call to critically evaluate the authenticity and implications of the visuals we encounter.

Hayley Lohn — Capital Gains

Hayley Lohn was born in Vancouver, Canada. She is an artist, photographer, and videographer currently based in Vancouver. She holds a bachelor’s degree in Political Science and Psychology from the University of Western Ontario and graduated from the International Center of Photography’s Documentary Practice and Visual Journalism program in 2021. Her work explores topics related to technology, nature, and psychology.

Orejarena & Stein — American Glitch

American Glitch examines the slip between fact and fiction and its manifestation in the physical landscape of the United States, the duo’s adopted home. Orejarena & Stein lead us to examine that amidst an overwhelming sea of unending information available in an instant, society is left asking what is real and what’s fake. What can the world trust, and what is a ‘glitch’?

To Orejarena & Stein, screen dominance, conspiracy theories, fake news, and the advent of the Metaverse call to question our reality and our potential existence in a ‘simulation,’ a term employed as a satirical collective protest against late-stage capitalism and an increased dependence on technology. To exist in an online community is to bear witness to the ‘simulation’, where images are posted as personal evidence of spotting a ‘glitch in our reality.’ A concept initially explored in films such as ‘The Matrix’ and ‘The Truman Show,’ a ‘glitch’ reflects a generation’s collective experience wherein the digital and physical worlds have merged; a world in which five senses seem inadequate against campaigns of conspiracy.

The artists spent years treating the internet as our collective subconscious, collating posts on social media and Reddit threads of ‘evidence of glitches in real life’. These threads and images become a place for a new form of community and connection across time and space. Orejarena & Stein then photograph sites around the US which remind them or people on the internet of real-life glitches. Such locations include California City – the blueprint of a perfect town – replete with ‘paper roads,’ avenues, and cul-desacs, which were never completed; or a staged Iraqi village at Fort Irwin, the U.S. Army base in the Mojave Desert.

About the Artists
Orejarena & Stein (b. Colombia, 1994 & UK, 1994) are a multimedia artist duo based in New York. Their work examines the intersection of technology, memory, and the duo’s desire to explore American mythologies and narratives. Fascinated with the emergent properties inherent to photographing as a pair using only a single camera, their practice explores collaboration in an individualistic medium. Orejarena & Stein conduct extensive research into collective image production within a world saturated by visual images. Their work has been exhibited internationally and can be found within public and private collections.

Phillip Toledano — Another America

Another America is an invented history of New York City from 1940-1950, with accompanying short stories by New Yorker writer John Kenney.

Truth in America has been slowly dying over the last decade. The country is consumed with conspiracy theories. For millions, facts are a choice. For millions, history is a choice. The arrival of AI is the next stage in the demise of truth. We can recreate the world as it never was. For every conspiracy theory, there can be visual proof. Convincing evidence that makes the lie real.

Another America takes this idea and creates a history that never existed. A world complete with people, events, and disasters, couched in the veracity of the past. Did this really happen? Is this real history? The images are simultaneously familiar and strange, much like the world in which we live.

Atelier 38

Posted on August 1, 2024

We are pleased to present the portfolios of the Photography Atelier 38 creative artists.

Photography Atelier is a portfolio and project-building course for emerging to advanced photographers taught by Emily Belz and Jennifer McClure

Participants engage in supportive critical discussions of each other’s work and leave with a better understanding of the industry and the ability to edit and sequence their own work.

Instruction in the Atelier includes visual presentations based around an assignment which is designed to encourage experimentation in both subject matter and approach. Students learn the basics of how to approach industry professionals to show their work and how to prepare for a national or regional portfolio review. There is discussion of marketing materials, do-it-yourself websites, DIY book publishing and the importance of social media. Students learn the critical art of writing an artist’s statement and bio.

The students here were part of our year long portfolio development program from Fall of 2023 to Spring 2024 and we are thrilled to see their work in the main gallery at Winchester.

Students of Jennifer McClure

Students of Emily Belz

Marcus DeSieno | Privacy is a Myth We Tell Ourselves to Sleep

Posted on July 22, 2024

In the 21st century, with the ubiquity of digital imaging, the omnipresence of the internet as a means of exchange, and the rise of artificial intelligence, we face a new era where the camera is now an active participant in the role of seeing. Imagery and photography are being significantly used to control our lives. Yet, this massive ideological paradigm shift in image-making and interpretation remains invisible to most.
My work investigates the various ways in which visual technology transforms, commodifies, and regulates our lives – with specific attention devoted to the notion of privacy. The average person is largely unaware of the ways in which image-based technology is invading their private sphere; actively dismantling any reasonable expectation of privacy. If these systems remain unseen than how will this average citizen begin to understand how they are affected?
These invisible technological systems are turned visible through my work for the viewer so they can understand the constraints placed on their lives. My work uses image- making in a performative way to interact with these technological tools of control to make the viewer aware of the convoluted architecture and infrastructure of machine vision and the authority embedded within. I intentionally misuse, re-imagine, and repurpose a variety of surveillance technology to create my photographic work. I actively subvert the original intention of this technology through my art as an act of protest.
Algorithms, neural networks, and the language of the computer are transformed into artwork that relies on pictorial traditions for the viewer to more easily grasp the information they are receiving. My work turns the abstract and intangible into something material for the viewer to recognize and interpret. This process of transformation is central for the viewer to understand the politics entrenched in this technological battleground.
Ultimately, at the core of my work is an interrogation of the reliance on this visual technology as a mechanism of power and what this means for our future as we rely on automated computer programming. There are irreparable consequences surveillance technology has on us as a global society and the 21st century requires a new form of visual literacy to understand what is at stake.

About Marcus DeSieno —

Marcus DeSieno is a visual artist interrogating institutions of power through the language of photography. DeSieno is particularly interested in documenting the continued legacies of American Empire and how visual technology is used as a tool of oppression by the State. DeSieno often uses specific historic and experimental analog photographic processes to create conversations between power and history. He received his MFA in Studio Art from the University of South Florida and is currently Associate Professor of Photography at Central Washington University in Ellensburg, Washington.

DeSieno’s work has been exhibited nationally and internationally at the Aperture Foundation in New York, Paris Photo, The Benaki Museum in Athens, Greece, The Finnish Museum of Photography in Helsinki, Finland, Photo Access in Canberra, Australia, Center for Fine Art Photography, Candela Gallery, Center for Photography at Woodstock, and various other galleries and museums. His work has also been featured in a variety of publications including The British Journal of Photography, The Boston Globe, FeatureShoot, GUP Magazine, Hyperallergic, Huffington Post, National Geographic, PDN, Slate, Smithsonian Magazine, The Washington Post, and Wired. DeSieno was named a selection for Photolucida’s Critical Mass 50 and an Emerging Talent by Lensculture. His first monograph, No Man’s Land: Views From a Surveillance State, was published by Daylight Books.

Sheri Lynn Behr | And You Were There, Too

Posted on July 22, 2024

Using a camera or my smartphone to record the events I attend, I capture images of the people around me. Photography these days is so ubiquitous, who even notices? Software then extracts the faces for me, and connects them to a location, date and time, which is used as a title.

I manipulate the images, crop and enlarge the faces, and create a layer of digital glitches and errors to exaggerate the degradation of image I often see in surveillance photos on the news. I also add a custom facial recognition grid. All of this plays with perception and identification. Under the digital noise there is still a person, but reality has been altered on a screen. Size also matters, and these faces are more recognizable when small, so I enlarge the final images for print. (If you can’t see the face in the photograph, try looking at it on your cellphone) Sometimes my subjects don’t even recognize themselves.

My work shifts back and forth between highly manipulated, computer-enhanced imagery and recognizable documentary-style photographs. I know how easily technology can be used to transcend truth, distort reality and produce unintended consequences. Facial recognition seems inescapable, but it is not always accurate, especially with women and people of color. The misuse of these tools is all too possible.

About Sheri Lynn Behr –

Sheri Lynn Behr is a photographer and visual artist with an interest in perception, photography without permission, and the ever-present electronic screens through which we view the world. Her project on surveillance and privacy, BeSeeingYou, was exhibited at the Griffin Museum of Photography and released as a self-published photo book, selected by Elizabeth Avedon as one of the Best Photography Books of 2018. She was invited to participate in A Yellow Rose Project, a photographic collaboration of over a hundred women photographers in response to the 100th anniversary of the 19th Amendment.

Behr’s work was exhibited at the Amon Carter Museum of Art, MIT Museum, Center for Creative Photography, Musée McCord, and the Colorado Photographic Arts Center, among others. Her photographs have appeared in publications world-wide, including Harper’s Magazine, People’s Photography (China), Orta Format (Turkey), Toy Camera (Spain), and The Boston Globe. She received a Fellowship in Photography from the New Jersey State Council of the Arts, a grant from the Puffin Foundation, and, most recently, a New York City Artist Corps Grant in 2021.

And back in the day, she used to shoot rock-and-roll. And Polaroids.

30th Annual Juried Members Exhibition

Posted on June 2, 2024

We are pleased to showcase the artistry of our community in the 30th Annual Members Juried Exhibition. This exhibition showcases the wide diversity of our creative community in style, craft and vision. Juried by Mazie Harris, Assistant Curator of Photographs at the J. Paul Getty Museum, sixty-one photographs chosen from over 1,300 submitted images were selected to be exhibited in this show.

Join us in Saturday June 22nd at 6pm Eastern in Winchester for a celebration of the artists showcased in this exhibition.

An exhibition catalog of images from our in person exhibition, and our online showcase is available here.

Arthur Griffin Legacy Award: Barbara Peacock, “Cai and Claire”

Griffin Prize: Elizabeth Stone, “Negative / Positive NS44”

Directors Prize: Alina Saranti

Exhibition Award: Francisco Gonzalez Camacho

Honorable Mentions: Jennifer Bilodeau, “Perspective”, Sally Chapman, “Wave”, Francisco Gonzalez Camacho, “Diced”, Susan Moldenhauer, “Implosion, June 23, 2023”, Lisa Tyson Ennis, “Dontavius Williams, Public Historian“

Artists featured here:

Paul Adams, Mariette Allen, Robert David Atkinson, Mark Bargen, Donna Bassin, William Betcher, Jennifer Bilodeau, Philip Borden, Ronald Butler, Teresa Camozzi, Sally Chapman, Jo Ann Chaus, Fehmida Chipty, James Collins, Maura Conron, Seth Cook, Roy Crystal, Sharon Draghi, Amy Durocher, Yorgos Efthymiadis, Carol Eisenberg, Andrew Epstein, Laura Ferraguto, Teri Figliuzzi, Monique Fischer, Fran Forman, Andrew Foster, Suzanne Gainer, Hank Gans, Francisco Gonzalez Camacho, Amy Heller, Douglas Hill, Eric Kunsman, Margaret Lampert, Patricia Mcelroy, Susan Moldenhauer, Amy Montali, Hunter O’Hanian, Jane Paradise, Barbara Peacock, Linda Plaisted, Allison Plass, Robin Radin, Mary Reeve, Katherine Richmond, Karin Rosenthal, Angela Rowlings, Mari Saxon, Alina Saranti, Carla Shapiro, Anastasia Sierra, Frank Siteman, Elizabeth Stone, Lisa Tyson Ennis, Terri Unger, Carrie Usmar, Larry Volk, Babs Wheelden, Joan Wolcott, Holly Worthington and Andrew Zou.

Suzanne Theodora White | Dry Stone No Sound of Water

Posted on June 2, 2024

2023 Members Juried Exhibition Director’s Prize Winner Suzanne Theodora White’s series Dry Stone No Sound of Water is a deeply layered, textured look at how we see the landscape. Her constructions beg us to look deeper, to explore the frame, finding something familiar, yet seeing the world differently. Her still life images combine pieces of nature and photography to create new landscapes for us to transit.

I have a profound connection to the natural world and the human impact on our environment has been an overriding theme in my work throughout my years as an artist. The farm that I live on and have worked for decades, is my muse, where I record changes linked to climate disruption, time, and memory. Through an inter-disciplinary practice including photography, video, and site-specific installations, I explore issues of life, death, grief, and our cultural disconnect from nature. With my work I am asking, can art carry the burden of remembering the past, while confronting what the future may hold? From a fixed point on the map, I am a traveler through the Anthropocene.

About Suzanne Theodora White

Trained as a painter, Suzanne studied at the School of the Museum of Fine Arts, Tufts University, and has an MFA from Maine Media College. She was a two-time winner of fellowships awarded by the Boston Museum of Fine Arts. After receiving the first of these awards, she spent over a year on the road traveling alone, overland, through Europe, the Middle East, Asia, and the Far East. In the 1980’s and 90’s she made extended trips to South America to study birds in the Amazon basin and Central America.

Suzanne has had many solo exhibitions and has been included in group shows over her long career including Yale University, New Haven, CT; Cove Street Arts, Portland, ME; Museum of Fine Arts, Boston; The De Cordova Museum, Lincoln, MA; Newport Art Museum, Newport, RI; Art Institute of Boston; Thomas Segal Gallery, Boston, MA; and Colby College, Waterville, ME.

Suzanne lives in Maine with her two dogs and a large flock of chickens.

Lynne Breitfeller | After the Fire: Water Damaged

Posted on June 2, 2024

A 29th Annual Member’s Juried Exhibition prize winner, Lynne Breitfeller mesmerized us with her haunting black and white images, engaging in us the mystery of what is and what was. Learning the story behind them engaged us more, bringing technical process, along with emotion and loss and renewal as new objects to the conversation we have with these images. We are thrilled to fill the Griffin Gallery with this work, and produce a catalog of the images and text to be available during the exhibition.

After the Fire: Water Damaged, explores photographs as memory by examining the shape-shifting potential of altered images. As a result of a fire above my studio, water impacted my negatives destroying a third of my archive. Much was discarded, but I retained a collection of the work.

During the pandemic, I rediscovered the kept artifacts. Water on emulsion transformed their compositions and morphed the remains into new forms and meanings shaped by happenstance.

By working with the damaged pieces, I came to terms with the loss of my photographic legacy and saw the images anew. The memory of what was had shifted into something different. Our experience of remembering the past can change each time it is revisited, it is elastic.

This series made me consider ideas of transience and new incarnations, the impermanence of possessions, and memory.

About Lynne Breitfeller

Lynne Breitfeller is a photographer who explores human relationships, memory, loss, transience, and humor in her work. In the series After the Fire: Water Damaged, she examines the shape-shifting potential of altered images. The title refers to the fire that occurred above the artist’s studio, which destroyed her archive. The photographs were forever altered by water on emulsion and transformed into new forms and meanings through happenstance. The physical alteration of these images reflect the idea that our experience of remembering the past can change each time it is revisited. Lynne Breitfeller states, this series made her “consider ideas of transience and new incarnations, the impermanence of possessions, and memory.” The exhibition invites the viewer to reconsider the elasticity of memory and discover new meanings out of “damaged” photographs.

Lynne Breitfeller lives in New Jersey. She received her B.A. in English from William Paterson University and studied photography at the International Center for Photography (NY), Los Angeles Center for Photography (CA), and Maine Media College (MA). After a two-decade career in text book publishing, she returned to the visual arts. Her work has been exhibited at The Griffin Museum of Photography (MA), Center for Fine Art Photography and Colorado Photographic Arts Center (CO), Vermont Center for Photography (VT), Los Angeles Center for Photography, and Marin Museum of Contemporary Art (CA), and Montclair Art Museum (NJ) amongst others. She was recognized in Photolucida’s 2023 Critical Mass Top 50, received first place in Soho Photo National Competition 2023, and was a finalist 2022 Lucie Foundation’s Open Call 2022, Portrait Category. Her work has been featured in Lenscratch, Fotofilmic, Analog Forever, Silvergrain Classics, SHOTS, and All About Photo magazines.

14th Annual Photobook Exhibition

Posted on May 18, 2024

The Griffin Museum is pleased to present its 14th Annual Photobook Exhibition. Curated by Karen Davis, Director of Davis Orton Gallery and Crista Dix, Executive Director of the Griffin Museum, the team selected 50 self-published photobooks to showcase during this summer exhibition.

Artists included in the exhibition (in alphabetical order)

Robert David Atkinson, Paul Baron, Adrien Bisson, Sarah Bossert, Anna Clem, Pamela Landau Connolly, Lee Cott, Barbara Dombach, Andrew Epstein, Joanna Epstein, Kevin Flynn, Steve Genatossio, Bill Gore, Joe Greene, Rohina Hoffman, J.W.Johnston, Helen Jones, Kevin B. Jones, Gregory Jundanian, Marky Kauffmann, Kay Kenny, Seymour Leicher, Susan Lirakis, Arrayah Loynd, Mara Magyarosi-Laytner, Fruma Markowitz, Larry Merrill, Ney Jose Mila, Colleen Mullins, Fern Nesson, Nancy Nichols, Camilo Ramirez, Mary Pat Reeve, Irene Reti, Sarah Salomon, Elliot Schildkrout, Lauren Shaw, Francine Sherman, Marc Sirinsky, William Mark Sommer, Sean Sullivan, Donna Tramontozzi, Lori Van Houten, Terri Warpinski, Thomas Whitworth, Caren Winnall and Eric Zeigler & Aaron Ellison.

About Karen Davis –

Karen Davis is a teacher, curator, photographer, and photobook artist. For over fifteen years,
from 2009 to 2024, she was co-owner/director of Davis Orton Gallery, Hudson, NY, where she exhibited photography, mixed media, and photobooks of emerging, mid-career, and established artists. She has been an invited reviewer of portfolios for the New England Portfolio Reviews (NEPR), Photolucida in Portland, OR, FotoFest in Houston, TX, and Critical Mass (online/Photolucida).
Karen taught “Photography Atelier,” a portfolio development course at Radcliffe Institute, Lesley University, and the Griffin Museum of Photography from 1999 to 2014 and co-taught “Making Art in Two Languages: Word and Image” at Radcliffe Institute, New England School of Art and Design, Lesley Seminars, Tufts ExCollege, and the Griffin Museum. Since 2015, she has taught online for the Griffin Museum, “Portfolio Development and Marketing Your Fine Art Photography” (PDMFA), and “The Self-Published Photobook Workshop” (SPPW).
Karen’s photographs are in the collections of CPW, Kingston, NY, the Lishui Museum of Photography (China), and the Houghton Rare Books Library, Harvard University, and can be seen at the Massachusetts Museum of Contemporary Art (MASS MoCA). Her photobook, “Still Stepping: A Family Portrait” was featured in the photoblogs, “What Will You Remember?”, Lenscratch, and Elizabeth Avedon’s Journal. Her photobook, “The McCann Family,” was selected by blurb as a “Staff Pick.”