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Winchester

Leaving their Mark: Studio Practice

Posted on June 15, 2023

Creativity takes many forms. Performing artists use their bodies, writers elucidate thoughts and put them on paper, and visual artists take their tools to a blank canvas or light sensitive paper. Artists, passionate about their craft are compelled to create exposing the invisible and engaging us in thought, emotion and narrative. We celebrate the tools artists surround themselves with as we create a studio visit through the works of two photographic artists, Chris Rauschenberg and Meggan Gould.

The intimacy of the studio and beautiful chaos of making is a visual feast. Chris Rauschenberg’s series Studio Views fills the gallery with color and creativity. These large scale composites engage us in the details and connection to the art practice of Rauschenberg’s friends and colleagues. Meggan Gould explores the darkrooms of fellow photographers, exposing the tools of the medium used in darkness.


About Chris Rauschenberg

Christopher Rauschenberg was born in New York in 1951, has practiced photographic art since 1957, and has a B.A. in photography from The Evergreen State College in Olympia, Washington.

He has had 127 solo shows in eight countries on three continents. His work has also been featured in group shows in six more countries. Available monographs of his work include three books, twenty print-on-demand books and a deck of cards. 

His work is held in the collections of 13 major museums.

In 1995, he organized a group of a dozen artists who joined him in a nine year long systematic photographic exploration and documentation of the city of Portland. (PortlandGridProject.com) His second group of a dozen artists completed a second nine year re-exploration and round four is now in progress. 

In 1997 and 1998, he took three trips to Paris and rephotographed 500 of the images made of that city by Eugene Atget between 1890 and 1927. (LensCulture interview) 

He is a co-founder and past president of Photolucida (a Portland photography festival formerly called Photo Americas). He is a co-founder, co-curator and Board Chairman of Blue Sky Gallery where, over the last 48 years, he has co-curated and co-produced 1024 exhibitions. He is a co-founder and current member of the co-op Nine Gallery. He’s edited and produced around 200 art and photography publications.  In 2003, he was the Bonnie Bronson Fellow.


About Meggan Gould

Meggan Gould lives and works in the mountains outside of Albuquerque, New Mexico, where she is a Professor of Art at the University of New Mexico. She received an MFA from the University of Massachusetts – Dartmouth, and a BA from the University of North Carolina at Chapel Hill. Her work has been exhibited widely in the United States and internationally, and is included in many private and corporate collections, as well as public collections including the DeCordova Museum, the New Mexico Museum of Art, Light Work, and the University of New Mexico Art Museum. Her multifaceted practice uses photography, writing, drawing, sculpture, and installation in an open-ended dissection of vision and photographic tools.

Wig Heavier Than a Boot

Posted on June 7, 2023

Wig Heavier Than a Boot brings together photography and video by David Johnson and poetry by Philip Matthews. As we reveal Petal—a persona as whom Philip writes, and whom David photographs—the project crosses art-making rituals with isolated performances in domestic spaces and pastoral landscapes. Taken together, the images and poems reveal surprising relationships between character, observer, and author. The photographs provide one record of Petal and Philip’s personalities, blurring art-historical feminine / masculine postures and gestures. The poems provide another which elaborates upon the lived experience of performing or, sometimes, obscuring or protecting the self from being seen. Thus, a continuous exchange between photographer and two subjects in one body reflects the complications of power and gender expression through the history of photography.

About the Collaborators

David Johnson is an artist, educator, and curator based in Conway, SC. He received an MFA in Visual Art from Washington University in St. Louis in 2007 and earned his BFA in Studio Art with an emphasis in Photography from Texas Christian University. In 2011, David was awarded the Great Rivers Visual Arts Award from the Gateway Foundation. This biennial award culminated with his 2012 exhibition institutional etiquette and strange overtones at the Contemporary Art Museum in Saint Louis. Wig Heavier Than a Boot, a collaborative project with poet Philip Matthews, was published by Kris Graves Projects in 2019 and was featured at the Fotofest Biennial 2020 in Houston. The University of Texas Press published Johnson’s second book It Can Be This Way Always: Images from the Kerrville Folk Festival in March of 2021.

Art Museum Saint Louis, Mildred Lane Kemper Museum, Fort Wayne Museum of Art, National Building Museum in Washington D.C. and Rathaus in Stuttgart, Germany. His work can be found in the collection at The Museum of Contemporary Photography in Chicago. Don’t Take Pictures, the Humble Arts Foundation, Lenscratch, Photo-emphasis and Fraction Magazine have featured his work online. David has curated exhibitions for Center of Creative Arts, Paul Artspace and the International Photography Hall of Fame and Museum in St Louis. Currently, Johnson is an Assistant Professor of Photography at Coastal Carolina University.

Philip Matthews is a poet from eastern North Carolina. He is the author of Witch (Alice James Books, 2020) and Wig Heavier Than A Boot (Kris Graves Projects, 2019), a collaboration with photographer David Johnson. Anchored by site-specific meditation and performance, his practice of the past decade has investigated spiritual, queer power, questions of home and ecological shift. He is curious about what happens next.

Philip is the recipient of fellowships and residencies from the Fine Arts Work Center in Provincetown, the Peaked Hill Trust and Hemera Foundation. He has taught at Washington University in St. Louis and Kansas City Art Institute, and from 2013-16 he organized public programs at the Pulitzer Arts Foundation, emphasizing artist-driven thinking, cross-disciplinary collaboration and community-directed action.
In two 6-month phases over the past three years, he returned to North Carolina to de-hoard his grandmother’s home and repair the physical and energetic infrastructures of a shared family place. This collaborative work with his mother has laid ground for new writing to take root.

He currently directs programs at Wormfarm Institute, a nonprofit in Sauk County, Wisconsin dedicated to integrating culture and agriculture across the rural-urban continuum. He holds an MFA Writing from Washington University in St. Louis and BA English from Tulane University.

The Other Stories

Posted on June 4, 2023

About Cody Bratt

Cody Bratt (b. 1982) is a San Francisco-born and based artist. His father, a photoengraver, and his mother, a multimedia artist, inspired his love of photography and book making, in particular. He holds a BA in Rhetoric with a formal concentration in Narrative and Image from the University of California, Berkeley (2005). Shying away from a literal approach, Cody’s photography employs primarily non-linear emotional or psychological approaches to exploring subjects and concepts. Unreliable memories, displacement, loss and coming of age feature centrally in Cody’s work.


He has exhibited internationally at Athens Photo Festival, Berlin Art Week, Month of Photography Los Angeles, Griffin Museum of Photography, Colorado Photographic Arts Center, ICP Museum, Brighton Photo Fringe, Filter Photo Festival amongst others. Cody is a 2016 LensCulture Emerging 50 Talent, 2018 PDN 30 nominee and 2019 Review Santa Fe attendee. His most recent series, THE OTHER STORIES, was honored with a 2020 CENTER Awards Director’s Choice Award and a 2020 Photolucida Critical Mass Top 50 distinction. Cody’s first monograph, LOVE WE LEAVE BEHIND, debuted by Fraction Editions in 2018. That series was awarded a 2018 Photolucida Critical Mass Top 50 distinction, named as a finalist for the 2016 Duke University CDS/Honickman First Book Prize and had images selected and published as winners in American Photography 34 (2018).


His work is in public and private collections in several states across the US, as well as Europe. Cody’s work has been published worldwide in print and online venues including PDN, LENSCRATCH, LensCulture, Lomography Magazine, iGNANT, Gente Di Fotografia, Blur Magazine, Aint-Bad, and Float Magazine amongst others.

Ville Kansanen | Arid Harbingers

Posted on June 1, 2023

A series of site-specific installations and photography by Finnish artist Ville Kansanen creates windows into the fragility of our planet’s aquatic resources. Through his work he creates a mythical connection to the demise of Earth’s bodies of water and the devastating effects of saltwater intrusion.

There are two outdoor installations: ‘Mojave Portals’ offers glimpses of desertification as arid fragments of the Mojave Desert. Tiles of desert earth and rocks are linked together, extending from inside the museum onto the surface of Judkins Pond. ‘Salting the Earth’ is a 24-foot-long mosaic of earthen tiles representing soil salinization. The tiles create a visual gradient out of local soil, calcium, limestone, and sand from the Mojave Desert.

Within the museum, a series of photographs titled ‘Airut (Harbinger)’ captures a makeshift tripod suspending an elongated stone, utilized as a mystical instrument for measuring water levels. It is transported to five lakes at succeeding stages of life, creating a solemn procession of the gradual death of lakes. 

In totality, Ville Kansanen’s work encourages viewers to contemplate on the fragility and impermanence of water; and the arid forces that lead all landscapes to their unavoidable terminus – the desert.

MOJAVE PORTALS

‘Mojave Portals’ is a mythical representation of the eventual depletion and demise of Earth’s bodies of water. By employing the concept of portals, it visually transports viewers to a time when all bodies of water have dwindled and disappeared. Small tiles of rocks and desert sand are integrated into the surrounding landscape and linked together. They extend from inside the museum out onto the surface of Judkins Pond in the form of earthen rafts. These “portals” subvert our sense of time and place by projecting into the future and the faraway Mojave Desert simultaneously.


SALTING THE EARTH

‘Salting the Earth’ is a simulacrum of the effects of saltwater intrusion on the Eastern Seaboard. A 24-foot mosaic of earthen tiles creates a visual gradient out of local soil, calcium, limestone, and sand from the Mojave Desert. This simulation of soil salinization visualizes the devastating process of desertification and points to the inevitable future of Judkins Pond – and all bodies of water.

AIRUT (Harbinger)

‘Airut (Harbinger)’ portrays the gradual death of lakes in a solemn procession. In a series of five photographs, an installation takes shape by echoing primitive well boring. A makeshift tripod suspending an elongated stone is seen as a mystical instrument for measuring water levels. As the rock is submerged in five different lakes in succeeding stages of life, it transforms into an aniconic object that forebodes rather than measures.

About Ville Kansanen

Ville Kansanen (b.1984) is a Finnish multidisciplinary artist based in California. He works with photography, video, installation- and land art.

His work has been featured in several print- and online publications such as American Photo Magazine, GUP Magazine, SFAQ and Diffusion Magazine. Ville’s awards include a Lucie Award and IPA Fine Art Photographer of the Year. His first monograph was released by Datz Press in 2022. He has exhibited internationally with non-profit and private galleries.

Ville Kansanen is a 2023 Cummings Fellow, and we are grateful to the Cummings Foundation for their support of the Griffin Museum and the artists they exhibit.

Arid Harbingers has also received financial support from the Mass Cultural Council, Winchester Cultural District and Winchester Cultural Council

Mass Cultural Council
https://winchesterculturaldistrict.org/index.html
Winchester Cultural Council Logo

Dawn Watson | Conjuring Alchemy

Posted on May 31, 2023

I am a seeker. My curiosity drives discovery. My photographs are found through exploration, wandering with my intuition, guided by a sense of play, discovering my source material. I blend unconnected images of the natural elements that are at the core of the ancient art and practice of Alchemy: fire, water, air, and earth, to create a fifth element. I seek a new, a never before.

Transfiguration is a process, an evolution that requires mess and mistakes, misdirection and misinterpretation. It leads to unknown or unimagined manifestations. Is this manifestation the fifth element, or am I?

My photographic work is performative. It is an energetic, kinetic alchemy, a collaboration between physical material and an intuitive conversation with a vibrant presence to engage and provoke.

These pieces explore the elemental, the body, the suspension of belief, forces of nature, higher realms, and the world of symbolic meaning. I lean into light and shadow. I am open to the entire spectrum of experience, while remaining grounded. I hold in my heart both the dark and the light. The vivid hues of color allow me to develop a more dynamic translation of the world beyond the world.

I am drawn to our primal sensibilities, the suspension of belief, forces of nature, higher realms, and the symbolic, in all things.

In Conjuring: Alchemy, I pull from work both old and new, layering one over the other, top over bottom over top, watching and waiting with bated breath for creation to reveal itself.

About the Artist –

After a successful career as a professional dancer/choreographer, Dawn Watson shifted her artistic practice to fine art photography, finding affinity in the visual storytelling offered by both live performance and the photographic image. Watson’s photographic renderings continue to explore transformation through form, space, light, movement and storytelling, as she did as a performer. 

Watson’s solo exhibitions include the Griffin Museum of Photography and The Los Angeles Center for Photography. Her work has been seen in juried exhibitions in the United States and Europe, including the Center for Fine Art Photography, Davis-Orton Gallery, Tilt Gallery, Tang Teaching Museum. Features online and in print include amongst others Diffusion X Magazine, Elizabeth Avedon Journal, Lenscratch, SXSE Magazine and What Will You Remember. Her work is held in private collections and is on permanent display at The Lodge at Woodloch.

Watson graduated with Honors in Dance from Skidmore College and has studied photography at ICP, Maine Media and Santa Fe Workshops among others. She was a member of Find Your Vision/Sandi Haber Fifield critique workshop from 2012-2022. Based in Hastings on Hudson, NY, Watson continues her long association as board member of regional environmental organization Scenic Hudson.

Janice Koskey | Illuminating the Archive

Posted on May 26, 2023

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  • © Janice Koskey
  • © Janice Koskey
  • © Arthur Griffin
  • © Janice Koskey
  • © Arthur Griffin
  • © Janice Koskey
  • © Arthur Griffin
  • © Janice Koskey
  • © Arthur Griffin
  • © Janice Koskey
  • © Arthur Griffin
  • © Janice Koskey
  • © Janice Koskey
  • © Janice Koskey
  • @ Arthur Griffin
  • © Janice Koskey

Illuminating the archives of Arthur Griffin

I was delighted to have been invited by Crista Dix to study the archives of Arthur Griffin, choose works from among his nautical photographs, and match them to my own.

To begin this process, I repeatedly scrolled through Mr Griffin’s varied array of photographs of beach, wharf, and waterfront. As I perused these images, certain ones would jump out at me as if there were some thing familiar about them that connected his vision to mine. 

One image that I was particularly drawn to was a young child looking out over the beach from the shore. It reminded me of my childhood years spent on Lynn beach and how much the ocean is a part of me. As it turned out, that image was made by Arthur’s wife, Claire Griffin. I feel that it holds the heart of a mother within it.  

Once I had chosen my six images, I kept each one in mind while I took a stroll through my own shoreline archives. From there it was easy to zero in on one or two of my images that seemed to dance with theirs. I truly enjoyed comparing and contrasting my subtle and vibrant-colored, contemporary digital photos with the monochromatic photos made in the dark room of the past. 

During this process I learned that though cameras and methods of development may have changed, each photograph produced then and now contains beneath the surface a deep love and appreciation for the ocean as well as the moods and gestures of the vessels and humans depicted nearby. These feelings will be held permanently in the souls of the photographers as well as within each photograph we have made. 

I hope you enjoy the connections that link past and present in this exhibit and share our gratitude for Arthur Griffin, founder of the Griffin Museum of Photography. 

About Janice Koskey

Janice Koskey has lived a lifetime with a camera close at hand. She was given her first Brownie as a child, worked in a dark room in college, and during her long career in the Lynn Public Schools utilized photography in her classroom before taking up digital photography upon her retirement in 2008. More recently she has focused her study on what lies behind the photograph, the connection between individuals and their art. 

Though she has attended dozens of photographic workshops and classes, Janice’s favorite source of learning and encouragement comes from the Greater Lynn Photographic Association where she received a NECCC service award has led an Artistic Vision group. 

Janice has published articles in the Journal of the Photographic Society of America on contemplative and travel photography and through PSA she makes presentations in person locally and via Zoom around the country and the world. 

As a member of the Griffin Museum of Photography, the Galleries at Lynn Arts, Marblehead Arts Association, and Rockport Arts Association and Museum, Janice exhibits her work regularly, has won various awards, and her photographs have found their place in many comfortable homes. 

Our Town 2023

Posted on May 18, 2023

The Griffin is celebrating the beauty of Winchester in Summer of 2023.

In the insightful “Preface” for a collection of his Three Plays, renowned playwright Thornton Wilder  advocated for finding “a value above all price for the smallest events in our daily life.” Inspired by the profound themes explored in Wilder’s play of the same title, the Griffin Museum of Photography is thrilled to present, Our Town, a public art installation and community exhibition. Echoing Wilder’s poignant reflection on beauty found in the simple places, we invited the residents of Winchester to discover the extraordinary moments within the ordinary spaces we call home.

Arthur Griffin, Winchester, [ca. 1935–1955]

Combining landscapes, still-lifes, portraiture, and more, Our Town invites you to witness individual moments woven into a broader community narrative of Winchester.

The photographers included in the exhibition are (in alphabetical order)

Alex Li, Amanda Cobbold, Amy Murgatroyd, Andrea Zampitella, Bill Chapman, Christine Fratto, Danielle Marquardt, Deborah Johnson, Frank Tadley, Hope Pashos, Janice Eyden, Katalina Simon, Mario Moreira, Mark Flannery, Michael Burka, Patty Mihelich and Thomas Hardjono.

Our Town is made possible by the generous support of our sponsors: the The Winchester Cultural District, Winchester Cultural Council and the En Ka Society.

Photography Atelier 37

Posted on May 18, 2023

We are pleased to present the portfolios of the Photography Atelier 37 creative artists.

Photography Atelier is a portfolio and project building course for emerging to advanced photographers taught by Jennifer McClure and Emily Belz. Participants engage in supportive critical discussions of each other’s work and leave with a better understanding of the industry and an 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 2022 to Spring 2023 and we are thrilled to see their work in the main gallery at Winchester.

Students of Jennifer McClure:

Betsy Banks | David Brown | Judith Donath | Laura Ferraguto | Jami Goodman | Donald P. Johnson | Margaret Lampert | Jena Love | Lyn Swett Miller | Chelsea Silbereis

Students of Emily Belz:

Anthony Attardo | Diane Bennett | Frank Curran | Cassandra Goldwater | Michael King | Becky Behar | Nancy Nichols | Diana Nygren | Gordon Saperia | Linda Wolk

Fern Nesson | E=mc²

Posted on April 20, 2023

Roland Barthes asserts that “a photograph is a witness [to] what has been. Every image is an image of death.” But Barthes is wrong. A photograph may speak to a moment now past if that is what is desired. But a photograph can create its own energy as well. Like Cezanne’s paintings, it can live; it can breathe.

I use my camera to create life and to defy death. My goal is create living works of art that embody the moment when mass becomes energy. They are never constructed. Everything in them is real.

These images capture a moment of transcendence. In that moment, we know ourselves to be infinite, inextricably a part of the universe. We perceive that, when we die, we will merely change in form. Nothing is ever lost. The energy of those we loved exists forever all around us. And we will too.

E=mc²

About Fern Nesson –

Fern L. Nesson is a fine art photographer who lives in Cambridge, Massachusetts. She received her MFA in Photography from Maine Media College (2018), a J.D. from Harvard Law School (1971.) She has had solo exhibitions abroad at the Politecnico University in Torino, Italy, Les Rencontres de la Photographie in Arles, France, Ph21 Gallery in Budapest, Hungary, the University of The West Indies in Jamaica and in the United States at the MIT Museum Lab, The MetaLab at Harvard, the Beacon Gallery in Boston, Massachusetts, the Pascal Gallery in Rockport, Maine, and Through This Lens Gallery in Durham, NC.

Nesson’s solo show, Tilt!, will open in September, 2023 at the Beacon Gallery in Boston, Massachusetts. Additionally, Nesson’s work has been selected for numerous juried
exhibitions in the U.S., Barcelona, Rome and Budapest. Her photobooks, Signet of Eternity and WORD, won 10th and the 12th Annual Photobooks Awards from the Davis-Orton Gallery.

Rolls & Tubes Collective

Posted on April 20, 2023

The commodification of the commonplace became a running theme of the COVID-19 pandemic. Having made homebodies of us all, COVID-19 created absurd rolling shortages, of flour, hair dye, and of course, toilet paper. This was the genesis of the work by the Rolls & Tubes Collective. In this work, each of the four artists reinterpreted a known photograph in the arc of contemporary, and the history of photography, utilizing toilet paper as an element of the image.

The artists who comprise the collective –

Colleen Mullins is a photographer and book artist. She has garnered numerous grants and fellowships, including two McKnight Fellowships, four Minnesota State Arts Board Grants, and in 2020, she was a nominee for the Leica Oskar Barnack Award for her project “Expositions are the timekeepers of progress”. Additionally, she has been an artist in residence at the Vermont Studio Center, the Penland School of Crafts Winter Residency, and In Cahoots Residency. Mullins’ work is in the collections of the US Embassy in Moscow, Ogden Museum of Southern Art and Southeast Museum of Photography, among others. Her publications include Photo District News (PDN), The Oxford American Eyes on the South, The New York Times Lens Blog, and numerous textbooks. She has authored articles for Afterimage and PDNedu. Recent exhibitions include Griffin Museum of Photographic Art, the North Carolina Museum of Art, and Tilt Institute for the Contemporary Image with the Rolls & Tubes Collective.

Jenny Sampson was born and raised in San Francisco and currently resides in Berkeley, California. She earned a B.A. in Psychobiology in 1991 at Pitzer College and has since dedicated her time to her photographic endeavors: wet plate collodion, traditional black and white photography and commissioned portraits. Sampson is a member of The Rolls and Tubes Collective. Her first monograph, Skaters, was published in October 2017 by Daylight Books and Jenny’s Skater Girls in September 2020.

Nicole White is a Bay Area artist and curator. White uses historical and contemporary photographic processes to examine the medium’s varied functionality while looking at the American cultural landscape. She holds a BFA from Massachusetts College of Art (2002), a MA in Art History from the University of Connecticut (2010) and a MFA in Studio from the School of the Art Institute of Chicago (2012). She is a Professor of Art (Photography) at Diablo Valley College in Pleasant Hill, CA. In 2021, she published a book, Rolls & Tubes: A History of Photography, in collaboration with Christy McDonald, Colleen Mullins, and Jenny Sampson.

Christy McDonald uses photography as a way of engaging with the world and exploring the varied cultural and social conditions she encounters. Based in the San Francisco Bay Area, Christy holds a B.A. in Art (photography) from UC Berkeley, is a member of the Rolls and Tubes Photographic Collective, and has ongoing personal projects in parts of the Middle East and the California Central Valley.

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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.

Fran Forman RSVP