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Cloud Gallery

Atelier 2.2025 Online Exhibition

Posted on June 16, 2025

We are pleased to present the work of our inaugural class of Atelier 2 students. Instructor Traer Scott led the class through a year of portfolio development, critique and conversations with professional mentors, book designers, gallerists and editors.

We present the work of Tony Attardo, Judith Donath, Dena Eber, Tira Khan, Kay McCabe, Victor Rosansky, Gordon Saperia, and Li Shen.


Dena Eber: Echoes From the Land

©Dena Eber
©Dena Eber
©Dena Eber
©Dena Eber

When I moved onto new property in May of 2023, I encountered native ancient energy that at times reflected war and greed but also revealed spirituality and love. The only other time I experienced this was in Israel, the land of my heritage.  When I started this artwork, I sought to learn from the energies encrusted in the land; where I live as an inhabitant, my country as an American, and Israel as a Jew.  My larger project has each of these places as a part (where I live, my country, Israel), plus an epilogue with reflections for peace.  Included are samples from each part.

As the events in southern Israel and Gaza on October 7th, 2023 unfolded, my work took on new meaning, and I searched for parallels in time, at least 2000 to 3000 years in each place, to better understand human energy, behaviors, and their belief in God.  I began to think about my place in time, reflecting on whose land it is anyway. Even though I hold the deed to the land where I live, in my heart I know that I don’t own it.  My project is about uncovering the human conflict between wanting a place to call home that expresses one’s roots, and a perceived ownership of land.

My lens reveals small truths that lie in front of me, that a greater understanding of the past embedded in the land is entwined to ultimate peace. Each time I click the shutter, connect to the land, and converse with the spirits of the past, I am committing a political act.  As in prayer, I give thanks and ask forgiveness at once.


Judith Donath: Aesthetic Selection

©Judith Donath
©Judith Donath
©Judith Donath
©Judith Donath

Aesthetic Selection is a fine art series of layered flower images, each composition designed to interpose shape and texture,  creating a shifting portrait of floral form and botanical detail.

To make these images, I start by photographing living flowers outdoors in natural light.  I combine the chosen photographs as full frames, selectively blending the layers using a spatial-frequency-based process.

Every spring, after the long colorless New England winter, I am entranced by the emergence of green shoots, and find the successive waves of blossoms to be photographically irresistible. This attraction is not surprising, for flowers have evolved to be enticingly beautiful.  Rooted in place, plants must lure others to assist their reproductive process, to carry pollen from the stamens of one flower to the pistil of another.  The beauty and variety of floral forms is the evolutionary result of the competition to attract various pollinators—insects, birds, and now humans, too—with wildly differing sensory preferences and anatomical abilities.

I am far from alone in finding flowers to be an fascinating subject for art:  does the world need another picture of a rose or tulip?  Yet this familiarity can make us blind to really looking at them; we often simply recognize them, without really noticing the fantastic structure and detail of even the most common place blossom. My goal with this project is to create images that entice people to look afresh at these remarkable botanical solutions to the dual goals of pollinator attraction and sexual reproduction.


Kay McCabe: Inheritance

©Kay McCabe
©Kay McCabe
©Kay McCabe
© Kay McCabe

Inheritance is a photographic memoir that ruminates on family, culture and our relationship to the things we keep. 

We all have stuff that has been given to us from our ancestors. The question is, what do you with it all? Do you use it, store it, give it away? What began as an exercise in downsizing quickly became a reflection on my family’s ethos.  As I rummaged, I heard lessons from my parents and realized that each object had a story to tell. Creative, industrious and loving, my family was also bound by an oppressive social code. Some items I cherish and others are a burden to save, yet tossing them feels as if I am abandoning my past. 

I have found myself in a rush of memories, some crystal clear and some murky with time. The old green chair that belonged to my father as a boy, too small and too low to be practical, still sits proudly right by the woodstove. Broken sewing machines, used by my mother to dress her five children gather dust in the closet. Her paintings, his ruby red wine glasses, my grandfather’s ornate dishes from a lost generation, wedding photos, baby photos, outdated anatomical drawings and history books- the list of things goes on and on. Each object tells a story and connects the past to the present. 

My children are not going to want these heirlooms, yet purging is more difficult than I thought.  Like all good memoirs, I hope this reflection resonates. 


Li Shen: Into the Unknown

©Li Shen
©Li Shen
©Li Shen
©Li Shen

I believe that everyone carries an inner world—a personal, illogical gallery of subliminal life, veiled in dreams, shaped by experience, yet composed of more than memory. Most of the time, this world remains inaccessible, buried beneath waking consciousness. Perhaps it is what psychologists call the unconscious.

In my conscious mind, I sense the world teetering toward an uncertain future. Climate change, authoritarianism, and other looming crises threaten to unravel what once felt stable. My immediate response is to cling to normalcy, to suppress dread and despair. Yet, these anxieties continue to be processed beneath the surface, emerging in fleeting ways—through dreams, word associations, and slips of the tongue.

Lately, my artistic practice begins with collecting objects—not for their material value, but for their beauty, quirkiness, or quiet insistence. The images in this series are in-camera compositions of these found objects, arranged as small dioramas atop my bedroom dresser rather than assembled digitally. This hands-on approach is integral to my practice, – tactile, real-world constructions giving rise to images that depart from reality.

While I approach each arrangement with intention, often sketching ideas beforehand, the images themselves arise from a deeper place. Certain objects seem to demand inclusion, scratching at the surface of my inner world, insisting on their role within a scene. The resulting photographs feel dreamlike and irrational—fragments of the subconscious made visible. I do not doubt that they are oblique reflections of my suppressed fears, a way for my mind to process what I work so hard to ignore.

For now, my conscious gaze remains averted from the uncertainty ahead, but through these images, the unconscious speaks.


Victor Rosansky:

©Victor Rosansky
©Victor Rosansky
©Victor Rosansky
©Victor Rosansky

I create photographs that function like visual symphonies—images that don’t just capture moments but unfold like music over time. By translating rhythmic structures into visual form, I guide the viewer’s gaze much like a composer leads a listener through sound. Whether it’s the order of urban patterns or the vitality of natural chaos, rhythm shapes the emotional tone of my work. My goal is to transform the ordinary into the extraordinary; images that are not just seen but felt. 

Even before I press the shutter, I find myself “listening” to a scene—tuning in to its tempo, its dynamics, its emotional tone. Whether it’s the orderly cadence of urban architecture or the unpredictable pulse of nature, each image is crafted to evoke specific emotional responses. 

This cross-disciplinary perspective not only sharpens my visual intuition but also invites collaboration—where photographers and musicians can meet in shared creative space, building layered, immersive works that are full of metaphors. For me, rhythm is the connective tissue between image and feeling, sight and sound, stillness and movement—and it is through this rhythm that I find the heartbeat of my art.


Gordon Saperia: Threshold of a Dream

©Gordon Saperia
©Gordon Saperia
©Gordon Saperia
©Gordon Saperia

Threshold of a Dream is a series of nonrepresentational landscape images whose origins are deeply rooted in my desire to hold the joyful memory of a specific time and a place. These recollections are guided by imagery seen in my pre-dream state – a phenomenon referred to by scientists as “hypnagogia”. Drifting towards sleep, I often see dimly lit and vaguely familiar landscapes. These visions transform in content and in feel–sometimes quickly and sometimes more slowly. Upon awakening, I have unusually clear memories of them.

The digitally composited images in Threshold of a Dream are complex fusions of elements from my photographs of worldwide landscapes. The process involves replacing one section after another until the entire frame feels both mysterious and congruous. The final form, which can take hours of digital play, blurs the line between photography and painting. 

I have walked, photographed, and dreamt in these fantastic places. My hope is that the viewer will take a moment to pause and construct their own story.

Web-based, generative artificial intelligence (AI) was not used to create these images. 


Tony Attardo: A Portrait of Place

©Tony Attardo
©Tony Attardo
©Tony Attardo
©Tony Attardo

The American novelist John Steinbeck, reminds us, “You can only understand people if you feel them in yourself”.1 These words run deep, and bring me back to a very young age when the conversation at our family dinner table wasn’t about food, it was about respect; treating people with dignity and respect no matter what their station in life, what they looked like, where they came from, or where they lived. Today, at 71 years old, this powerful lesson is still the driving force of my photography.

In this body of work, I have created portraits of people’s surroundings and lives in the lesser known small rural and urban places in my home state of New Hampshire. The motivation behind this,  and all my work, is to inform, inspire, and to connect cultures and lives that help start conversations about dignity and respect.

These images, a combination of digital monochrome and black and white film, focus on the interplay of light and shadow and detail. They allow the viewer to concentrate on the subjects’ expressions and environment while enhancing an emotional connection.

In each photograph, there are signs of a calm, steady human presence-each with their own character.  The buildings serve as a tangible link to the past, offering us a sense of place and continuity, a story of quiet resolve – i.e. a century old granite church, the active brick factory buildings, and a small town hall on a country road.  Creating black and white images help transcend time,create emotional depth, and bring people directly into the present. 

All of these photographs extend the viewer an invitation into the spaces where one can easily enter and perhaps contemplate who might live here, feel their presence, and imagine their voices.  Each photograph, complete with its beauty and complexity, becomes a single thread in a much larger story.

1 From a recent public exhibit, Portland Museum of Art 2023

Jessa Fairbrother | Conversations with My Mother

Posted on March 1, 2023

This is my story of severance.

It explores the relationship I had with my mother and my own inability to become one. It is a photographic performance of being cut from the role of daughter while at the same time denied a maternal role to shape my future.

We had been tentatively making work together using a single disposable camera, taking photographs of our own lives. I would take one and send the camera to her in the post; she would do the same. We tried to communicate through this process.

Not long after my fertility began to unravel. I was unable to concentrate on my story because it was then we both found out she was going to die.

I dismantled my existing life to relocate and care for her, my second parent dying of cancer. In the immediate moment I was concerned with the gesture to record her as she was but felt the photograph’s inability to do this. I photographed myself responding to the surroundings, to negotiating space. Once or twice I asked my mother to photograph me, echoing the way we had used a camera only a few months before. I tried to make sense of things that had no sense except sadness.

I jostled with several personas during this period – wife, daughter, sister, artist. I gained new roles and became Carer. I became child-less…. or child-free. We strived to understand and love each other more completely; we looked at each other seeking resemblance, resentment, entanglement and reliance. I became Orphan. An orphan.

I put on her chemotherapy wig afterwards – it was the only thing that smelled of her. I burned, buried and embellished photographs of us. I performed my grief and began to stitch. I cried a lot for her. I cried for my loss of feeling the hug of her body, her touch, her laugh. I cried in sorrow at the abrupt suspension of future narratives, for the mother I would not hold again and for the child who would never hold me.

About Jessa Fairbrother –

Jessa Fairbrother is an award winning artist with a practice focussed on feelings and the body, using photography, performance, and stitch. Initially training as an actor (1990s) and completing an MA (Photographic Studies, University of Westminster 2010) underpins her knowledge of how artwork and audience collide. Her expanded use of stitch is underpinned by training in historical hand-embroidery at the Royal School of Needlework through a QEST scholarship received in 2019.

Solo exhibitions include The Photographers’ Gallery, London (The Print Sales Gallery, 2019, who represent her as an artist), and Birmingham City University (2017). In 2020 she was commissioned by Wellcome Collection, illustrating work for their Digital Stories section, and again in 2022.

‘Conversations with my mother’ (2012-16), her study of maternal grief, has been noted for significant contribution to understanding mourning with scholarship by art historian Jennifer Mundy published in Tate Papers (2020) and conference presentation at The Freud Museum, London (2018). A substantial amount of this work was exhibited at Bristol Museum and Art Gallery in 2021, presented as intervention in the main collection for Bristol Photograph Festival.  The artist-book of this work is held in UK / US collections (Tate Britain,  V&A, Yale Centre for British Art, Museum of Fine Art, Houston). Her work is also included in the extensive survey Body (2019) by curator and art historian Nathalie Herschdorfer.

Receiving a-n bursaries in 2016 / 2020, a 2020 Arts Council England (ACE) Emergency Grant, and most recently a Developing Your Creative Practice grant (2021), also from ACE, have supported ongoing research on her long-term work a Fencing Manual for Women.

Other notable mentions include shortlisting for Jerwood Open Makers (2017) and winner of the GRAIN portfolio prize (2017).

Jessa is based in Bristol, UK

New England Portfolio Review | October 2022

Posted on September 25, 2022

We are so pleased to highlight the work of the attendees of the New England Portfolio Review, happening on October 1, 2022.

Artists participating are –

Arthur Newberg, Benjamin Enerson, Bill Gallery, Bob Avakian, Carla Shapiro, Casey Hayward, Christopher Cummings, David Comora, David Mussina, David Ricci, David Sokosh, Dennis Roth, Drew Levinthal, Grace Hopkins, Howard Lewis, Jim Nickelson, Jamie Hankin, Jaye Phillips, Jessica Somers, John Bunzick, Julia Arstorp, Lauren Shaw, Lee Kilpatrick, Lyn Miller, Marcy Juran, Mike Slurzberg, Marcy Juran, Nancy Nichols, Paul Baskett, Paul Johnson, Richard Alan Cohen, Rebecca Clark, Sally Chapman, Sean Sullivan, Shaun O’Boyle, Steve Dunwell, Todd Balcom and Torrance York.

Jay Tyrrell | Post Consumer

Posted on March 27, 2022

Post Consumer

Perhaps like you, I love to shop online, a click away from gratification. A truck rolls  up and delivers your need, hardly having had to wait at all.

I recently moved to a semi-rural location, a brick and mortar store a drive away. All favorite things, endless imagined needs and desires are now ordered online. Suddenly the occasional package becomes a mountain of recyclables and I find myself trying to make sense of the pile. Packaging engineers have unlimited resources on shapes and materials designing a protective cocoon. Seeing these materials as inspiration to create sculptural objects to photograph and make art became the basis for this project.

Much can be said about this packaging’s effect on our environment, waste of resources and the strains it puts on our planet to cope with its aftermath. That has been and will continue to be the subject for other voices and work by other artists. I support that and have expressed my opinion many years ago.

However, my intent with this body of work is to make it playful, using bright colors as background including a sense of humor as I designed and titled these pieces. In this dark world we seem to orbit, a bit of whimsy seems important.Thank you to all those grade school art teachers for all the learned skills of gluing and cutting that were used to make the objects fly or hold them still.

Have you checked your recycling lately?

About Jay Tyrrell –

I finally got it. This curse that makes you see the world through your own lens and think you have to share it with others. That the only way out of a bad day is to make something and lose yourself in that expression. That the only reward worth noting is the joy of making art that pleases you and giving it away.

You can find Jay on Instagram @jay_tyrrell_studios and on his website at jaytyrrell.com

Deena Feinberg

Posted on October 13, 2021

Statement
I photograph places that I am familiar with in the Hudson Valley and that, over time, I have become emotionally, psychologically and physically intimate with. I find myself seeking out the nuances in everyday moments and compelled to make pictures of these shifting and uplifting elements. Generated by repeated encounters with place, the perspectives that I convey reinforce my connection and appreciation. I am particularly drawn to qualities of morning light and the shapes that appear at this time. As an aspect of my daily meditation practice, these works express a quietness and calm that provides a counterbalance to the stories in my mind.

Bio
Deena Feinberg is a photographer living in Rhinebeck, NY. She was first introduced to photography through her father, who was a practicing art photographer for much of her youth. Fascinated by the magic of the printing process, she was compelled by the photo as a medium for the imagination and its capacity to incite reverence through an ethereal depiction of the ordinary. Deena has been working photographer for the last 25 years in interior design, portraiture, editorial and fine art. She has exhibited at Davis Orton Gallery (Hudson, NY), PhotoPlace Gallery (Middlebury, VT) , The Center for Photography at Woodstock (Woodstock, NY) , A Smith Gallery (Johnson City, TX) Wired Gallery (High Falls, NY) Texas Photographic Society Coppell, (TX). Publications include The Wall Street Journal, Hamptons Magazine, Lenscratch, Edible Hudson Valley, Robb Report. Deena received her BA in Psychology with a minor in Photography from Southampton College, Long Island University. She is certified as a Therapeutic Riding Instructor and Equine Specialist in Mental Health and Learning and currently teaches children and adults with disabilities in Esopus, NY.

House on Fire

Posted on August 17, 2021

Statement
Spanning sculpture, assemblage, and photography, Kendall Pestana’s is an ongoing photographic series of constructed domestic spaces and internal landscapes that consider psychological space and the ways in which the body houses trauma. A response to the prevalence of American rape culture as well as recent backsliding of women’s rights, House On Fire is a deeply personal and visceral testament to feminine resilience. Utilizing the male-dominated visual language of surrealism in conjunction with the gendered implications of craft arts and domesticity, this ongoing body of work is a defiant reclamation of the home as an exploration of bodily space and autonomy through the lenses of gendered violence, illness and objectification.

Bio
Kendall Pestana (b. 1998) is an interdisciplinary artist based in Acton, Massachusetts. In May 2020, Kendall received her BFA in Photography from Massachusetts College of Art and Design with departmental honors. Spanning sculpture, photography, and animation, her work is an investigation of bodily space through the lenses of gendered violence, illness, and objectification. In July, she was featured in ArtConnect Magazine and was named among Lenscratch’s Top 25 Artists to Watch.

Kendall was a finalist for the Griffin Museum of Photography’s Chervinsky Award 2020.

CV

View Kendall Pestana’s website.

 

Coal Country

Posted on June 22, 2021

About Jon Chase –

I have been a staff photographer at Harvard University for the past 27 years. I got my start in photography by taking a six-week introductory course at Rochester Institute of Technology in 1973. Following that, I came to the Boston area and moved to Newton Corner, where I

began to photograph my neighbors in an old apartment building. This led to my obtaining a grant from the Mass. Foundation for the Humanities to produce a book of photos and interviews with people on all sides of what became a city-wide controversy when a developer bought the property. In 1987, The Fight for Newton Corner was published and distributed free of charge to every town and city planner in Massachusetts.

I subsequently moved to Cambridge and worked for several newspapers as well as Associated Press in Boston. In Cambridge I again photographed my neighbors, this time in a residential hospice on my block over a period of two years. Other projects include prison inmates at the Billerica House of Correction, coal miners and local people in Appalachia, and orphanages and flood victims in China. I have always felt an affinity for people living outside the mainstream, and that has been the focus of almost all my personal work.

I am a strong believer in combining words with photos, both to provide historical context and to add anecdotal information that personalizes the images. I have done that with my photographs of coal miners, which are mostly portraits, but which also document a specific time in the history, often violent, of coal mining in those areas of Kentucky, Virginia, and West Virginia known as Coal Country.

I live in Acton with my wife Louisa, with my adult daughter Maya living nearby. – JC

Statement
See photograph descriptions.

View Jon Chase’s website

 

 

 

 

Jenga

Posted on April 11, 2021

Statement
The Covid lockdown permitted me great deal of time in my garden and for long walks in the parks and Aqueduct trail near my home. I produced this series after observing the alarming decrease of the insect and small mammal population due to habitat changes. These observations made me want to celebrate nature and create Memento Mori to honor these endangered species.

During the Victorian era, photographs called Memento Mori were created to commemorate deceased loved ones. These photos, both beautiful and unsettling, exquisitely posed the dead in their finest clothes and surrounded by their favorite objects. The images were extremely popular in the mid 1800’s and were often the one opportunity to have a permanent likeness of a beloved family member.

For my series, Jenga, I’ve layered botanical and other materials, media and dyes on multiple sheets of glass that are separated by Jenga blocks. With each photo, created in camera, I feel that I too am creating Memento Mori to honor and memorialize insects and other small animals whose alarming decline due to habitat changes, pesticides, deforestation and global warming makes their recognition all the more poignant.  The series is named for the game of stacked blocks that ultimately collapse as supporting blocks are removed, one by one. It’s not hard to imagine our world crashing down like the Jenga blocks as the supports necessary to sustain us are removed.

All the insects or animals used in creating the photographs were either found in my neighborhood or purchased from a company that claims the specimens for sale were farm-raised and died of natural causes. – SR

Bio
Born in Washington, Pennsylvania, Richman now lives in Hastings on Hudson, a suburb of NYC. Her love affair with photography began her freshman year of college when she was forced to pick between art or math as a course elective. To the dismay of her parents who were hoping she would become a lawyer, she majored in Fine Arts with a focus on photography and upon graduation she began a successful career as a commercial photographer in Manhattan.

After years of photographing other people’s visions, she has evolved into an artist and educator. Prior to Covid, she was a teacher at The International Center for Photographer in NYC and is currently a member of the Upstream Gallery in NY.

Richman’s interests lay in observing what others overlook. Her photographs explore the link between existence, decay and loss, and they blur the difference between painting and photography. For the past decade, she has primarily focused on photographing images that explore the damage to our environment by creating images that capture and preserve the fleeting nature of our world. Through art she hopes to inspire people to look beneath the surface and to see something never seen before and to thereby inspire change.

Recent awards and recognitions include Finalist, 2021 Larry Salley Photography Award, ArtsWestchester; Best Of Show, 2020 Non Member National Juried Exhibition, Salmagundi Club; 2020 International Juried Exhibition Soho Photo Gallery. She was a Featured artist in 2021 in F Stop Magazine and in 2020 in Create Magazine. The New York Times and The Washington Post highlighted her work in an article in 2019 titled Elements Provide Inspiration at Architectural Digest Show.

Susan Richman CV
b. 1959, Washington Pennsylvania
Lives in Hastings on Hudson, NY

EDUCATION
George Washington University, Washington D.C. Bachelor of Art 1981
Art Center College of Design Pasadena Cal. Bachelor of Fine Arts 1983

EMPLOYMENT
Educator at International Center of Photography, NYC, NY 2011- present

SELECTED SOLO EXHIBITIONS
2020 Jenga, Upstream Gallery, Hastings on Hudson, NY

2018 Re>Formations, Upstream Gallery, Hastings on Hudson, NY

2017 Ephemeral, Upstream Gallery, Hastings on Hudson, NY

2017 Transient, Martucci Gallery, Irvington, NY

2017 Transient, Upstream Gallery, Hastings on Hudson, NY

2014 Under Glass, Upstream Gallery, Hastings on Hudson, NY

AWARDS
Larry Salley Photography Award; Finalist, ArtsWestchester. Award is for Hudson Valley based photographers with a significant body of work demonstrating outstanding artistic merit.

SELECTED GROUP EXHIBITIONS 
2021 30th Anniversary Exhibition, Upstream Gallery, Hastings on Hudson, NY

2021 National Juried Photography Exhibition; Soho Photography Gallery NY, NY

2020 Summer Exhibition, Susan Richman and David Barnett, The Lodge At Woodloch Gallery, Hawley, PA

2020 National Juried Photography On line Exhibition; Soho Photography Gallery NY, NY

2020 From A Seed…The World Of Botanicals 2020; Second Place,New York Center For Photographic Art, NY, NY

2020 Altered States, Pleiades Gallery NY, NY

2020 Female In Focus, The Center For Fine Art Photography, Fort Collins, CO.

2020 Water, International Juried Show; Honorable Mention, New York Center For Photographic Art, NY, NY

2019 Abstracted Reality, Atlantic Gallery, NY, NY

2019 Taking Pictures 2019, Black Box Gallery, Portland, Ore

2019 Glimpses of Our World Juried Exhibition, Salmagundi Club, NY, NY

2018 Abstract National Juried Photo Exhibition, SE Center, Greenville, SC

2018 Red, White and Blue, Upstream Gallery, Hastings on Hudson, NY

2018 Click Juried Photography Exhibition, Blue Door

2018 National Juried Photography Exhibition, Soho Photography Gallery, NY, NY

2017 Art In Our Time, Upstream Gallery, Hastings on Hudson, NY

2017 Ephemeral, Umbrella Arts Gallery, NY, NY

2017 Ephemeral, Affordable Art Fair, NY, NY

2016 River Art Exhibition, Dobbs Ferry, NY

2016 Conversation, Upstream Gallery, Hastings on Hudson, NY

2015 ICP Masters Class, ICP Education Gallery, NY, NY

2015 Hidden Yonkers, Blue Door Gallery, Yonkers, NY

2015 Show and Tell Seven, Blue Door Gallery, Yonkers, NY

2015 Influences, Upstream Gallery, Hastings on Hudson, NY

ART FAIRS
2019 Architectural Design Digest Show, Pier 94, NY, NY

2019 Art on Paper Art Fair, Pier 36, NY, NY

2018 Affordable Art Fair, Metropolitan Pavilion, NY, NY

PRESS
Constructed Images: Group Online Exhibition F Stop A Photography Magazine, February and March Issue

Jackie Lupo: Uncertainty Inspires New Artistic Direction, The Rivertowns Enterprise, vol 45 No#27 October 2, 2020

Kim Cook: Elements Provide Inspiration at Architectural Digest Show, AP, The New York Times, The Washington Post, Fox Business News, APNews.com, Foxbusinessnews.com, NWITimes.com, https://www.journalnow.com, March 2019 – Kim Cook March 30, 2019

Art Of Collage Art Of Collage, Nancy Nikkal, vol 1 No#1 October 2018

Jackie Lupo: Photographer Captures Grandeur of Derelict Buildings, The Rivertowns Enterprise, vol 40 No#33 November 2015

The Gallery Scene: Susan Richman, Blogfinger.net, Posted By Paul Goldfinger, October, 2017 On Line

Hillari Graff: Richman’s Photos Yield “Unnatural Beauty” The Rivertowns Enterprise, vol 39 No#2 April 2014

 

View Susan Richman’s website.

 

 

The Shelfie Exhibition

Posted on March 28, 2021

A “Shelfie” is a photograph of your photobooks on your bookshelves. We don’t think “Shelfie” is a real word. We just thought it was a good word to use for a portrait of your photobooks on shelves. Check out these Shelfies. We hope you enjoy!

See you at our photobook events May 11 through May 17, 2021. Here is the full list of the weeks events.

 

Motion/Still

Posted on December 25, 2020

The 68 photographs in this exhibition Motion/Still are culled from a selection of over 300 photographs submitted by 66 photographers of the Boston Camera Club (BCC). The photographers included in this exhibition are:

Ron Abramov, Nancy Ahmadifar, Richard Avis, Paul Baron, Bruce Barry, Kathy Barry, Erik Beck, Cliff Berger, Julie Berson, Hannah Cai, Susan Clare, Eldad Cohen, Matt Conti, Christopher de Souza, Alison Doherty, Thea Dougenik, Yair Egozy, Cindy Esposito, Ed Esposito, Laura Ferraguto, Fern Fisher, Marc Fogel, Erik Gehring, Murielle Gerard, Marc Goldring, Anna Golitsyna, Louise Halstead, Bert Halstead, Michael Hamilton, Suki Hanfling, Nadia Haq, Lucas Hill, Tom Hill, Moti Hodis, Eli Hollander, Christine Huvos, Yehuda Inbar, Diane Kaiser, Dan Koretz, William Korn, Linda Lacroix, Joni Lohr, Beth Luchner, Rob MacIntosh, Christina Maiorano, Morgane Mathews, Paul McLaughlin, Yair Melamed, Emory Petrack, Susana Rey Alvarez, David Roberts, Charlie Rosenberg, Andrea Rosenthal, Lisa Ryan, Gordon Saperia, Ilya Schiller, Roman Schwartz, Tony Schwartz, Erica Sloan, Andrea Stone, Matthew Temple, Wayne Troy, Elif Usuloglu, Ender Usuloglu, Jeffrey Weinstein, Bruce Wilson and Albert Zabin.

See Boston Camera Club’s Website.

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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