• Skip to primary navigation
  • Skip to main content
  • Skip to primary sidebar
  • Skip to footer

Griffin Museum of Photography

  • Log In
  • Contact
  • Search
  • Log In
  • Search
  • Contact
  • Visit
    • Hours
    • Admission
    • Directions
    • Handicap Accessability
    • FAQs
  • Exhibitions
    • Exhibitions | Current, Upcoming, Archives
    • Calls for Entry
  • Events
    • In Person
    • Virtual
    • Receptions
    • Travel
    • PHOTOBOOK FOCUS
    • Focus Awards
  • Education
    • Programs
    • Professional Development Series
    • Photography Atelier
    • Education Policies
    • NEPR 2025
    • Member Portfolio Reviews
    • Arthur Griffin Photo Archive
    • Griffin State of Mind
  • Join & Give
    • Membership
      • Become a Member
      • Membership Portal
      • Log In
    • Donate
      • Give Now
      • Griffin Futures Fund
      • Leave a Legacy
      • John Chervinsky Emerging Photographer Scholarship
  • About
    • Meet Our Staff
    • Griffin Museum Board of Directors
    • About the Griffin
    • Get in Touch
  • Rent Us
  • Shop
    • Online Store
    • Admission
    • Membership
  • Blog
  • Visit
    • Hours
    • Admission
    • Directions
    • Handicap Accessability
    • FAQs
  • Exhibitions
    • Exhibitions | Current, Upcoming, Archives
    • Calls for Entry
  • Events
    • In Person
    • Virtual
    • Receptions
    • Travel
    • PHOTOBOOK FOCUS
    • Focus Awards
  • Education
    • Programs
    • Professional Development Series
    • Photography Atelier
    • Education Policies
    • NEPR 2025
    • Member Portfolio Reviews
    • Arthur Griffin Photo Archive
    • Griffin State of Mind
  • Join & Give
    • Membership
      • Become a Member
      • Membership Portal
      • Log In
    • Donate
      • Give Now
      • Griffin Futures Fund
      • Leave a Legacy
      • John Chervinsky Emerging Photographer Scholarship
  • About
    • Meet Our Staff
    • Griffin Museum Board of Directors
    • About the Griffin
    • Get in Touch
  • Rent Us
  • Shop
    • Online Store
    • Admission
    • Membership
  • Blog

Critic's Pick

Radius

Posted on January 21, 2021

Statement
For just over a year I photographed as many people within a 5-mile radius of my home in Poughkeepsie, NY as would let me. Many declined my request, but over 750 acquiesced with kindness, support and good humor. Some also shared bits of information about themselves that reveal the strength, diversity and uniqueness of the community that I call home.

Bio
A native of Cleveland, Ohio, Julie Mihaly attended Vassar College before earning a BFA & MFA in photography from The San Francisco Art Institute. After teaching photography for more than a decade at schools such as NYC’s School of Visual Arts & Mason Gross School of Art at Rutgers University, Mihaly contributed her talents as a photo director, editor & researcher to magazines such as Vanity Fair, Entertainment Weekly & Garden Design. She also wrote for Martha Stewart Living, Budget Living & Organic Style, et al. before returning to the full-time pursuit of her photography. Mihaly has exhibited her work in the U.S. & Europe winning inclusion in a number of juried exhibitions. She is one of four 2018 recipients of a Working Artists Organization Grant, & won first prize in the SoHo Photo Gallery 2019 Open Competition. Eight books of Mihaly’s work have been published. She currently lives & works in the Hudson River Valley.

View Julie Mihaly’s web site.

11th Annual Self-Published Photobook Show

Posted on December 19, 2020

This year the 11th Annual Self-Published Photobook Show is virtual due to the Covid-19 Pandemic. There was one call for entries which resulted in two online exhibitions. Plus an online catalog. The Davis Orton Gallery & Griffin Museum of Photography are each holding a virtual exhibition on each of their venues’ websites.

The jurors were Karen Davis and Paula Tognarelli. Karen Davis is the Curator/Co-owner of the Davis Orton Gallery. Paula Tognarelli is the Executive Director & Curator of the Griffin Museum of Photography. All chosen photobooks are exhibited online at Davis Orton Gallery (2020) and the Griffin Museum of Photography (January 7, 2021) and the photobooks are all in the Online-Catalog.

PHOTOBOOK, an annual competition, was open to photographers in the United States and abroad who have self-published a photobook.  There are growing options available for self-publishing a book such as on-demand (blurb, lulu, magcloud, etc.); small run offset or web printing/publishing firms, binderies. If they have been hand-made/bound, they must be available in multiples of at least 25.

Entrants were able to submit up to three different titles that are self-published photobooks of any size, format, or style.

The photobooks were  juried by their PDFs. They were judged on the basis of: book design including page layouts, text, cover; strength of the photography;  and emotional impact of the overall book. All judging was at the complete discretion of the gallery/museum and all decisions of the gallery/museum were final.

All submissions had to be original works of authorship created by the photographer who submitted the submission.

Here is a link to the online catalog.  The link will open in a new window.

The 37 books listed below and in catalog are alphabetically listed by artist’s first name. All proceeds from the sale of the books go directly to the artist. Click “artist’s website” in catalog or first and last name of the photographer listed below to learn more about each artist. Click “To Purchase” in the catalog for purchase info or to be directed to the purchase site. Photographer is responsible for all aspects of his/her book except when others are credited. Prices listed in the catalog do not include shipping or taxes, if applicable.

The exhibiting photobook authors in the exhibitions are listed below.

Photographer / Book Title
Amy Shapiro / Covid Woman
Ananeya Abebe / Through the Prism of Humanity
Andrew Child / Cape Cod and the Islands
Arnold Clayton Henderson / The Oakland Flats
Betty Press  / Services Offered
Brandon Movall / Dark Spectrum
Brian Rose / Monument Book
Britland Tracy  Kellye Eisworth/ Pardon My Creep
Bruce Berkow / Street Views
Carolyn Norton / Wild Grace – The River Stour
Cristina Fontsare / Night Years
David Comora / In the Footsteps of Alfred
Douglas Johnson / This is Not a Sawtooth Hanger
Jakub Sliwa  / The Silent Mantra
James Mahoney / Wipers Book
Janet Sternburg  / CITY OF SHRINES Los Angeles
Jay Boersma / Simple Truths and Complex Lies
Jeff Larason / Sonder
Judith O’Dell / Goose River Field Notes
Judy Brown / Weatherbury Farm
Julie Mihaly / When We Weren’t Watching
Karen Olson  / Between Two Worlds
Ken Hawkins  / Jimmy Carter: Photographs 1970-2010
Laura Migliorino  / HLB: James Weldon Johnson
Lee Kilpatrick  / Covid 9 Zine
Loda Choo  / Photos: 2018-2020
Louis Foubare / The New Yorkers
Mark Farber  / Water’s Edge
Michael Callaghan / You Made No Effort
Mireille Ribiere / On Standby
Roslyn Julia / Uncovering the Motion of Stillness
Ruth Lauer Manenti / Alms
Samuel Spear, Jr / So Much to See, So Little Time
Sandra Matthews / Present Moments
Stephen Petegorsky / The Meadows
Tim Trompeter / Dragon Swallows Moon
Tricia Neumyer / The Pennsic War

Crossroads

Posted on October 23, 2020

Statement

“We hold these truths to be self-evident, that all men are created equal, that they are endowed by their Creator with certain unalienable Rights, that among these are Life, Liberty and the pursuit of Happiness.”

We know this phrase from the Declaration of Independence quite well. For most of us Americans growing up, we learned this phrase and it’s meaning in our early days of school. As a kid, there was little reason to question it’s meaning. It was clear and I liked it. I liked this American Dream and the idea this was a country where everyone could be treated as equals and pursue the life of their choosing. I quickly learned that phrase wasn’t meant for people of color. You see, in order for this to be true, this country would have to see all people as human and hold the same value for everyone. History has proven time and time again this simply isn’t the case. This country has failed all non-white people from the beginning and instead of acknowledging the truth and building a bridge toward healing, the United States government finds more elaborate and insidious ways to continue inflicting damage to marginalized communities and avoids being held accountable for it’s actions and crimes against humanity. The communities most in need never get to heal much less ever have their needs addressed. What can we do if our government will not protect and provide for us?

Crossroads asks us to look toward something new to find the answer to that question. This series comprised of ten portraits of people of color look away from the camera. They are strong and determined in their posture and suggest they are ready to look for life, liberty, and happiness elsewhere. In this context, facing away from the camera is an act of defiance. It is a protest. We do not have to acknowledge this government if it will not acknowledge us. If we are ever to have a life as stated in the Declaration of Independence, we will need to create it for ourselves.

The weight of the finished pieces symbolize the heavy burdens people of color have to carry around from one generation to the next. The depth given to the portraits covered in UV acrylic resin can make the figures look as if they are drowning. The cold and rust of the metal frames surrounding them symbolizes the way our country treats us. With cold indifference and put in boxes.

Crossroads does not offer any solutions. I wish I had them to share. Instead, it is meant to start a conversation of what it would look like if we were to unify and look toward something new.

Bio

Questioning generalized stereotypes and the lack of fair and equal representation of people of color in art spaces has led artist Alanna Airitam to research critical historical omissions and how those contrived narratives represent and influence succeeding generations. Her photographic series The Golden Age, Crossroads, White Privilege, and individual works such as Take a Look Inside and How to Make a Country ask the viewer to question who they are and how they choose to be seen.

Airitam’s portraits and vanitas are photographed in studio with minimal lighting rendering a painterly quality to her photographs. The archival pigment prints from The Golden Age series are hand-varnished while those in the Crossroads, Take a Look Inside and How to Make a Country series are archival prints encased in resin and placed in hand-welded frames. All works are produced by the artist in limited editions.

Alanna is a 2020 San Diego Art Prize winner, 2020 Top 50 Critical Mass Finalist, and recipient of the 2020 Michael Reichmann Project Grant Award. Her photographs have been exhibited at Catherine Edelman Gallery in Chicago, Quint Gallery in San Diego, San Diego Art Institute, Art Miami with Catherine Edelman, Athenaeum Art Center in San Diego, and Candela Gallery in Richmond, Virginia. Born and raised in Queens, New York, Airitam now resides in Tucson, Arizona.

CV
Exhibitions & Shows

San Diego Art Prize 2020, Bread & Salt Gallery, San Diego, CA, September 5 — October 24, 2020

Photography &____, Catherine Edelman Gallery, Chicago, IL, July 10 — September 4, 2020

How to Make a Country, Athenaeum Art Center, San Diego, CA, March 17 — May 9, 2020

The Golden Age, Candela Books & Gallery, Richmond, VA, January 2 — February 22, 2020

Crossroads, Quint Gallery, July 20 — Sept. 14, 2019

Xquisite Corpse, Bread & Salt, January 12 — March 30, 2019

The Art of Belonging, You Belong Here, November 29, 2018 — January 26, 2019

Art Miami, Catherine Edelman Gallery, December 4-9, 2018

How Do You See Me?, Catherine Edelman Gallery, Chicago, IL, Sept. 7 — Oct. 27, 2018

About-Face, San Diego Art Institute, San Diego, CA, April 21, 2018 — June 3, 2018

Once Upon a Body, Art Produce, San Diego, CA, November, 2017

Speaking/Lectures

SF Camerawork, Portraiture as Activism, October 14, 2020

Medium Photo REMIX, August 22, 2020

Museum of African Diaspora (MoAD). In the Artist’s Studio. July 1, 2020

San Diego State University, February 14, 2019

Art Institute of California, San Diego, February 11, 2019

Open Show, San Diego #7, February 8, 2018

Documentary

Salt and Sugar Productions From Haarlem to Harlem (short film about The Golden Age)

Media

Don’t Take Pictures, Issue 15: The Fiction Issue: Alanna Airitam Remakes the Golden Age, Essay by Gordon Stettinius

Commonwealth Times: BHM profile | ‘The Golden Age’: Photos present an empowering narrative for African Americans

VICE!: These Photographers Make Surprisingly Fresh Photos of Flowers

BBC News: Chicago: Three artists challenging African-American stereotypes

Chicago Tribune: Exhibition stares down portrayals of blackness in art history, corporate environments

Catherine Edelman Gallery Artist Talk: Artist Talk: How do you see me? 2018

Catherine Edelman Gallery Cyclops: Alanna Airitam answers James Lipton’s 10 questions

The Huck: Rewriting the History of Black Women in Photography

Feature Shoot: Celebrating Harlem’s Legacy with Portraits of “The Golden Age”

Range Finder: A Portrait Photography Show Confronting Racial Stereotypes in Various Industries

More in Common Podcast: Alanna Airitam. There is Fear or There is Love. Episode 26

Diffusion Annual: Poignant Portfolios no. 7: Alanna Airitam

Lenscratch, June 29, 2018: Alanna Airitam: The Golden Age

Passion Plan Podcast: Episode 21 Interview with Fine Art Photographer, Alanna Airitam

Don’t Take Pictures: July 12th, 2018

San Diego Union Tribune: Inspired by people and a need to see herself represented

Keep The Channel Open: Podcast Episode 65

Humble Arts Foundation: Alanna Airitam Reframes The Golden Age

San Diego CityBeat: Alanna Airitam Shines in The Golden Age

#Photography: 5th Anniversary Women’s Edition

Upworthy: One photographer gave women who feel silenced the chance to be heard

Afropunk:  Artist Alanna Airitam’s Black Bodies in The Golden Age

View Alanna Airitam’s website.

A House with No Walls

Posted on August 18, 2020

Statement
“I come from here.  Here, meaning the grass and stones beneath a person’s feet, the ground upon which they are raised. Because that will never change, regardless of who happens to be ruling at any particular moment. Here pins each person to something solid against which they can always reference themselves, no matter how weird or confusing things get, the way a drunk puts his toes on the floor beside the bed to try to stop the swirls.”

Inara Verzemnieks: Among the Living and the Dead: A Tale of Exile and Homecoming on the War Roads of Europe

The historian Eagle Glassheim describes the region where I grew up as an area with “crossroads, a liminal space filled with ends, beginnings, and crossings.” Once called the Sudetenland when inhabited by German-speaking population, later the Borderlands although the borders remained shut, the narrow stretch of land along the Czech-German frontier has changed names, forms, and identities throughout history. Left depopulated after the 1945 expulsion of people with German roots; the traditionally agricultural area was left open to the communist vision of modernization through heavy industry. Newcomers from other parts of the country and the Eastern Bloc were encouraged, or forced, to move in. Among them was my maternal grandfather who settled his family in a house left empty by the fleeing Germans – the house where I grew up. Several decades after the destruction of Czech-German settlements and records, more towns and villages were demolished to make way for lignite coal mining. Today, the land still carries the scars of environmental exploitation, depopulation, displacement, and erasure of memory.

Driven by a need to re-familiarize myself with the landscape of my childhood after years of absence, I explore locations connected to familial past and discover that many of them have transformed beyond recognition. Guided by contemporary and historical maps, personal narratives, and above all, by the landscape and architecture itself, I search for clues that reveal what is no longer there. In an overgrown forest, I seek wrinkled and twisted fruit trees that point to a long-lost human presence. I scan the landscape for vast meadows that cover past fields or trace the bed of a stream that used to meander through the town where my father grew up. In towns and cities, I examine the walls of old buildings that carry layers of forgotten history.

Intended to be a book that combines text and images, A House with No Walls explores the Czech Borderlands as a real and an imaginary place, a repository of memories, a place that speaks of its changing identities and histories otherwise lost.

Bio
Anna Mikušková grew up in the Czech Republic and is currently based in Maine and upstate New York. Before turning to visual arts, she received an MFA in English literature from Masaryk University in Brno. Mikušková studied photography at Maine College of Arts and Maine Media Workshops. For six years, she apprenticed silver gelatin printing with Paul Caponigro – a cooperation that culminated with several group and two-person exhibitions. Currently, she is an MFA candidate in the Photography and Related Media program at the Rochester Institute of Technology.

Her work is held in private collections in the United States and the Czech Republic and has been exhibited in galleries across Maine and New York. In 2020, she was awarded the  RIT William A. Reedy Memorial Scholarship and the Pfahl/Richard Stanley Scholarship. Her essays were published in Maine Arts Journal and in the British journal On Landscape.

CV

Education      

Rochester Institute of Technology, Rochester, NY
Photography and Related Media, 2021 MFA candidate

Independent study with master printer Paul Caponigro, Cushing, ME, 2013 – 2019

Maine Media Workshops & College, Rockport, ME
Professional Certificate Class with Elizabeth Greenberg, 2014- 2015
Workshops with Lydia Goetze and Neil Parent, 2010-2013

Maine College of Art, Portland, ME
Traditional Black and White Photography, 2013

Masaryk University, Brno, Czech Rep.
MA, English Language and Literature, 1999 – 2005

Experience

RIT Wallace Library, Rochester, NY
Library assistant, 2020-present
Promoting library resources, services, workshops and events focusing on the School of Photography Arts and Sciences

RIT William Harris Gallery, August 2019-January 2020
Gallery Assistant
Installation and deinstallation, gallery preparation, reception and tear down

Immigrant Resource Center of Maine, Lewiston, ME, 2018 – 2019
Coordinator
Program was an anti-bias program aimed at increasing trust and understanding between long time Americans and immigrants

Steve Wessler, Human Rights, Education and Advocacy, MDI, ME
Assistant
Responsible for research, editing and proofreading, 2012-2019

The Little Dog Coffee Shop, Brunswick, ME
Food Program Director, Baker, Barista 2010 – 2019

Douglas Payne J Attorney at Law, Brunswick, ME
Office assistant 2011

111 Maine, Café & Catering, Brunswick, ME
Breakfast Chef, Server, Caterer, 2006 – 2010

Language School “Slune”, Brno,  Czech Republic
Teaching ESL 2005


Volunteering Positions

Immigrant Legal Advocacy Project, Portland, ME
Assisting clients with completing immigration forms.  2014-2015

Harbor Works Gallery, Harpswell, ME
Greeting and guiding visitors, exhibition installation and tear down, 2011

UBECI, Quito Ecuador
Helping an NGO run childcare center provide care, 2010
attention and basic education to street children

Languages
Czech, English, Spanish

Selected Exhibitions

The Light We Share
: Paul Caponigro, Ni Rong, Eleanor Owen   Kerr, Dirk McDonnel and Anna Mikušková, Cove Street Arts,  Portland, Maine, November 2019 – February 2020

RIT Art Out, Bevier Gallery, juried by Margot Muto Rochester Institute of Technology, Henrietta, NY, November 2019

Collective Work II: Paul Caponigro, Ni Rong, Eleanor Owen Kerr, Dirk McDonnel and Anna Mikušková, Gallery at 162 Russell Avenue, Rockport, Maine, July 2019

Kennebunk River Club 63st. Annual Art show,  Kennebunk, Maine, August 2018

Reflections on Silver:  Paul Caponigro and Anna Mikuskova, Frank Brockman Gallery, Brunswick, Maine, April 2018,

Migration Experience: April 2018, UMVA Gallery, Portland, Maine

Arrival: Work by and about New Mainers: September-November 2017, Waterfall Arts, Belfast, Maine

Kennebunk River Club 62st. Annual Art show,  Kennebunk, Maine, August 2017, Honorary mention

 Kennebunk River Club 61st. Annual Art show, Kennebunk, Maine, August 2016, Honorary mention

 3artists, 3visions at 3fish: Heath Paley, Kim Stone, Anna Mikuskova,  curated by Susan Porter, 3Fish Gallery, Portland Maine, 2016

A House With No Walls: Kerry Michaels, Anna Mikuskova, and Mary Woodman, Elizabeth Moss Galleries, Falmouth, Maine, 2016

Open Regional Photography Show: juried by Bruce Brown, Barn Gallery, Ogunquit, Maine, 2015

Connections: Solo Exhibition, Curtis Memorial Library, Brunswick, Maine, 2015

Structures: Group Exhibition with Maine Traditional Film Photographers, Ballard Center, Augusta, Maine, 2015

Art 2015:  juried by Britta Konau, April 2015, Harlow Gallery, Hallowell, Maine

Black & Whites and Tones of Gray: juried by Tina Ingraham, February, 2015, River Arts Gallery, Damariscotta, Maine

Selected Scholarships, Awards and Publications

RIT William A Reedy Memorial Scholarship,  2020
RIT  Pfahl/Richard Stanley Scholarship, 2020

Kany, Daniel. “Former CMCA space fills need for photo shows,” Maine Sunday Telegram, August 4, 2019.

Kany, Daniel. “In Brunswick, two gifted practitioners of the art of gelatin silver printing,” Maine Sunday Telegram, April 15, 2018. 

Anna Mikuskova; “Origin Stories,” April 2018, Maine Arts Journal: The UMVA Quarterly, 

“New Mainers Speak,” March 2018, WMPG 90.9 and 104.1 FM,

Anna Mikuskova: “The Northern Exposure,” November 2017, On Landscape

“Kennebunk River Club 62st. Annual Art show,” Kennebunk, Maine, August 2017, Honorary Mention

 “Kennebunk River Club 61st. Annual Art show,” Kennebunk, Maine, August 2016, Honorary Mention

“Art 2015” juried by Britta Konau, April 2015, Harlow Gallery, Hallowell, Maine, Best Traditional Photograph

 

 

PhotoSynthesis XV

Posted on June 13, 2020

PhotoSynthesis XV is a collaboration of the Burlington High School and Winchester High School facilitated by the Griffin Museum of Photography.

By creating photographic portraits of themselves and their surroundings, students from Burlington High School and Winchester High School have been exploring their sense of self and place in a unique collaborative program at the Griffin Museum.

In its fifteenth year, the 5-month program connects approximately 20 students – from each school – with each other and with professional photographers. The goal is to increase students’ awareness of the art of photography, as well as how being from different programs and different schools affects their approach to the same project.

The students were given the task of creating a body of work that communicates a sense of self and place.  They were encouraged to explore the importance of props, the environment, facial expression, metaphor, and body language in portrait photography.

Their presentations are below

Rory Golden – BHS

Piper Ladd – BHS

Kacey Pustizzi – BHS

Bridget Conceison – BHS

Amanda Tsai – WHS

Anna Robinson – WHS

Audrey Fitzgerald – WHS

Beaujena Stoyanchev – WHS

Kaitlin Collins – WHS

Kathryn Degnan – WHS

Lulu Girotti – WHS

Mackenzie Murray – WHS

Molly Bannon – WHS

Nicole Mazzeo – WHS

Seamus Slattery – WHS

Sophie Farnhill – WHS

Valerie Ngo – WHS

Vivian Zander – WHS

Students met with mentors Suzanne Révy in November and Bill Franson in February.

After graduating from high school in Los Angeles, Suzanne Révy (b. 1962) moved to Brooklyn, NY and earned a BFA in photography from the Pratt Institute where she was immersed in making and printing black and white photographs.  She studied with Phil Perkis, Bill Gedney, Ann Mandlebaum, Christine Osinski, and Judy Linn among others. Following art school she worked as a photography editor for U.S.News & World Report magazine in Washington, DC and later as acting picture editor for Yankee magazine in Dublin, NH.With the arrival of two sons, she left the world of publishing and began to make pictures of her children, their cousins, and friends rekindling her interest in making and printing black and white pictures in a traditional wet darkroom. The resulting monochrome series, Time Let Me Play is an exploration of the nature and culture of childhood and childhood play. A second portfolio, To Venerate the Simple Days, was made using a simple plastic camera with color film; it pictured the time spent during the summers with her pre-teen aged children. The images represent an emotional response to that brief moment between childhood and adulthood. She continued to work with color film in the final series of visual family diaries, I Could Not Prove the Years Had Feet. This last portfolio was begun while earning her MFA in photography from the New Hampshire Institute of Art, and it chronicled the shifts and changes of her growing boys as they navigated their teen years.

While pursuing her MFA, she was mentored by photographers a Cheryle St. Onge, a former professor Christine Osinski, Edie Bresler, Stephen Dirado, and independent curator Francine Weiss. Anticipating the imminent departure of her children, she also turned her attention to the mundane in a series of mobile phone images featured in A Certain Slant of Light, which led to an interest in making landscape diptychs and triptychs using medium format and color film seen in a work in progress tentatively titled A Murmur in the Trees.

 Her work has been shown at the Newport Art Museum in Newport, RI, the Griffin Museum of Photography in Winchester, MA, the Fitchburg Art Museum in Fitchburg, MA, the Danforth Art Museum, and the Garner Center Gallery at the New England School of Photography among others. She is on the faculty of the Institute of Art and Design at New England College and the Associate Editor for the online magazine What Will You Remember?

Bill Franson worked as a staff photographer at several production houses in the Boston area until going out on his own in the mid 90s. Clients include Johnson & Johnson Innovations, Polaris Venture Partners, Paul Russell and Co., Classic Cars Magazine UK, Childrens’ Hospital-Boston, Brigham and Womens’  Hospital, Dana Farber Cancer Institute, Harvard Pilgrim Healthcare, Lahey Clinic, Massachusetts General Hospital, The Peabody Essex Museum, The Boston Globe, Genuine Interactive, and The Governors Academy. He’s exhibited in numerous solo and group shows in Massachusetts, Michigan, New York and NYC, New Hampshire, Vermont, Virginia, Texas, and Toronto Canada.  Personal highlights have been the Danforth Museum New England Photographers Biennial in 2015, 2011, and 2003, Strange Days at Philips Exeter in 2015, A Nickel and a Kopek at the NESOP Center for Photographic Exhibitions in 2008, Calvin College in 2011, and Panopticon Gallery in 2013. His work resides in various institutional and private collections.

In 2006 New England School of Photography offered Bill a teaching position. He never looked back. Teaching has reconnected him with those who are passionate about image making and actively exploring its possibilities. He taught his last class at NESOP in their 2019 Spring semester, finishing up two days before the school announced that it will close in 2020.

He is currently a professor of photography at Gordon College in Wenham, MA. and is represented by Gallery Kayafas in Boston.

Alison Nordstrom, the former curator of the George Eastman House in Rochester, N.Y., and photographer Sam Sweezy usually gather with students for a one-on-one discussion of their work and a final edit was created for the exhibition at the museum. This year the critique and the exhibition were cancelled due to the pandemic and social distancing requirements. As student couldn’t access the darkrooms the teachers Robert Gillis and Lexi Djordjevic worked independently from home with students and developed projects and created powerpoint presentations. These have been created as reduced pdf’s to present on-line for our public. Our regrets to these students that they have had such losses this school year. I hope they know we are still watching out for them.

“In collaboration and through creative discourse these students have grown,” said Paula Tognarelli, executive director of the Griffin Museum. “We are very pleased to be able to share this year’s students’ work. We thank the mentors and teachers for providing a very meaningful experience for the students. We also want to thank the Griffin Foundation and the John and Mary Murphy Educational Foundation, whose continued commitment to this project made learning possible. To paraphrase Elliot Eisner, the arts enabled these students to have an experience that they could have from no other source.’’

Saba Sitton: Journeys in Between and Distances Near Away

Posted on April 26, 2020

Artist Statement
My work explores the transitory instances of time when one’s awareness is threaded between the present and a similar moment remembered from the past. At times, these threaded moments have hard juxtapositions due to differences from the change of context, the passage of time, or a change of place. Other times, they blend and fuse a sense of continuity that are more fluid and often share a moment of contemplation. Oftentimes my work is a reflection on the poetics of migration and the stories of exile. As an Iranian-American artist, my work is informed by idealized landscapes and intricate designs of early Persian art. Persian miniature paintings are adorned with intricate depictions of flowers, plants, and tightly woven patterns of imaginary gardens. In Persian poetry, a flower often symbolizes a fleeting moment, a poetic remembrance of life’s transience and fragility. In my work, a flower becomes a visual metaphor for a sense of connection with a remembered past. I often include poems in my work. These poems become an accompanying voice within the work. Sometimes the poems echo a sense of hope or longing, other times they evoke a sense of disorientation or doubt, as might be felt by an immigrant or an exile, on a life’s journey, of being in-between.

Image list Journeys in Between

Image list Distances Near Away

Bio
Saba Sitton is part of the present day Persian diaspora. Her work explores transitory instances of time, either shared or solitary, visceral or recalled. Originally from Tehran, and having lived in Asia, Europe and the United States, Saba has firsthand experience living between cultures, languages, and traditions. Her work is often influenced by Persian art and literature as experienced and shared in a modern multicultural society. Saba studied art and design at the California Institute of the Arts and the University of Oregon where she received her MFA. She has worked on art and design commissions, and has exhibited her work in solo and group exhibitions. Most recently, Saba’s work was on exhibit at the Ten by Ten: Ten Reviewers Select Ten Portfolios from the Meeting Place 2018, FotoFest 2020 Biennial, and will be a part of the upcoming exhibition The Blue Planet, at H2 – Center for Contemporary Art, Glass palace, Kunstsammlungen und Museen, Augsburg, Germany. Saba lives in the United States and spends her time between California and Texas.

View Saba Sitton website.

Westlands

Posted on November 24, 2019

Statement
Showcasing California’s Central Valley, Westlands uses documentary photography to examine the danger drought and water policies represent to farming. The valley has been a productive food-growing region for decades, but water shortages and complicated laws have placed the region’s farms—and subsequently its communities and culture—in precarious conditions. Moving beyond simplified narratives of environmentalist versus farmer or government versus worker, Westlands reveals the complex story of fragile ecosystems, a growing population, and the need for social responsibility and sustainable solutions. The lessons suggested in these breathtaking photographs apply not just to California but to worldwide conversations about water usage and rights.

Bio
Randi Lynn Beach came from Brooklyn, NY. She migrated west after receiving a B.A. from New York University. Along the way, she lived in Albuquerque, Tucson, Denmark, San Francisco and travels extensively to pursue projects she is passionate about. 

An award-winning photojournalist, she has had her photography featured in everything from Rolling Stone, to the Washington Post, to People, to the New York Times. Her documentaries have been featured in A Photo Editor, Popular Photography, NPR and the Huffington Post as well as being recognized by the Webby Awards. Most recently she finished Westlands, a water story which was featured internationally in film festivals and recently won a Telly for Social Responsibility. Westlands, a Water Story was published by UNM Press. 

View a link to the book. 

View Randi Lynn Beach’s Instagram.

View Randi Lynn Beach on Behance. 

View Randi Lynn Beach’s Website.

Dames of Anatomy

Posted on August 4, 2019

Statement
I am a collector.  Among the treasures I discover are old glass negatives, photographs, scientific ephemera, botanical prints and medical books. Many of the glass negatives are of women.I scan and combine them with scientific ephemera to form new environments.The women command attention, almost as if to ask the viewer to enter their world – a place that might feel vaguely familiar to some. They are bold, unafraid and yet somehow still vulnerable. Every one of these women existed at one time.  They stood on solid ground and looked up at the clouds, perhaps dreaming of a better life. Some had children and some lost children, and maybe some chose not to have children. Some perhaps fought diseases or dealt with mental disorders. These women may have hidden in silence from an abuser, or maybe even took their own lives. They laughed, wept, wondered and dreamt, but eventually they all fell into memory. We all fall into memory.  Perhaps our own photographs will be left behind to be gathered by the hands of strangers.  Some of the images have a satirical edge, but there is an underlying presence of struggle and submission.  My experience as a woman is a far cry from the fairytales I read as a child. I tell my daughters, “you are your own prince charming, so saddle up and find yourself.”

The first three Dames I created wereexhibited in the 2008 exhibition titled Thrive,curated by Mary Ross Taylor and reviewed by Lucy Lippard. Thrivetook placeat Diverse Works Gallery in Houston in conjunction with the University of Houston’s conference, titled Gender, Creativity and the New Longevity.  Dames of Anatomywon the 5thAnnual Julia Margaret CameronAward, as well as the first Annual National Photography Awardthrough the Texas Photographic Society.  In addition, the Dames of Anatomy won the SoHo Photo International Portfolio Competition in 2018.   – LJB

Bio
As a mother of nine children, Laura Bennett spent many years moving to the rhythm of others and keeping order in a chaotic world. During that time she earned B.A. degrees in Journalism and Studio Art from Humboldt State University in California. Her MFA in Photography/Digital Media is from the University of Houston. Bennett has an extensive exhibition record and has received numerous awards. Her work can be seen online at Rfotofolio and Strange Fire Collective. She has been published in View Camera, SHOTS, The Hand, Woven Tale Press and The Book of Alternative Processes by Christopher James.  She has taught all levels of photography, photojournalism and photo history at colleges in Texas, California and Nevada. Bennett offers occasional workshops and individual instruction out of her studio in Auburn, California. She uses an old 8 x 10 Korona Gundlach as well as an early Hasselblad. In addition to traditional gelatin silver and alternative processes, Bennett enjoys scanning antique glass negatives, film, objects and ephemera for transformation in the computer and for creating digital negatives.

CV

Education
2007 MFA Photography / Digital Media, University of Houston, Houston, TX summa cum laude

2003 BA Journalism, Humboldt State University, Arcata, CA magna cum laude

2001 BA Studio Art, Humboldt State University, Arcata, CA magna cum laude

Professional Experience
Adjunct Fine Art Faculty: Sierra College Rocklin CA

Adjunct Fine Art Faculty: Sierra Nevada College, Incline Village NV

Adjunct Design Faculty: Sacramento State University, Sacramento CA

Project Specialist-Education Camp Leader: Blue Line Gallery, Roseville CA

Full Time Director: Boys & Girls Club of Auburn Rock Creek Elementary Site, Auburn CA

Full Time Faculty: Media Arts, Episcopal High School, Bellaire TX

Adjunct Fine Art Faculty: University of Houston TX

Adjunct Art Faculty: Houston Community College Central

Adjunct Art Faculty: Houston Community College Southwest

Instructor of Record: University of Houston, TX

Art Instructor: Art League of Houston Summer Art Program for Children, TX

Selected Awards / Residencies / Grants
Artist Residency: Stiwdio Maelor, Wales Fall 2019

Rfotofolio 2018 Portfolio Winner for Laura’s Garden: The Botanical Plates

 Second Place: Woven Tale Press 2018 Second Annual Literary & Fine Art Hamptons Prize, for Umbilicus

 Shortlist: 2018 Hariban Award, Kyoto Japan, for Umbilicus

 Top 200 Finalist: Photolucida Critical Mass 2018, for Laura’s Garden: The Botanical Plates

 Winner: Soho Photo International Portfolio Competition, for Dames of Anatomy

 Winner: C4FAP Portfolio Showcase 2018, for Umbilicus

 Top 200 Finalist: Photolucida Critical Mass 2017, for Umbilicus

 Director’s Honorable Mention: C4FAP Illuminate Juried Competition, Juror Peggy Sue Amison

Winner: Texas Photo Society Nat’l Photography Award, Jurors Martina Lopez & Andrew Kensett

SÌM Artist Residency September 2017, for Elsa Johanna , Reykjavik, Iceland

Honorable Mention: Viewpoint Photographic Center Twelve  Exhibition, Juror Chris Fraser

Grant Recipient: 2015 Mylio Grant, Luminous Endowment for Photographers, for Elsa Johanna

 Honorable Mention: It’s All Here in Black & White, Terri Bell Photo Gallery, Denver CO

First Place: NYC4PA Black & White 2013, Juror Mark Sink

First Place: Worldwide Photography Gala 5th Annual Julia Margaret Cameron Award, Malaga Spain 2012

Finalist: Worldwide Photography Gala 2012 Portrait Award, Juror Steve McCurry, York, UK

Winner: New Orleans Photo Alliance, Four by Five Competition, Juror Steve Simmons. New Orleans, LA

First Place: Women In Photography Int’l 2009 Self-Portrait Competition

First Place: SoHo Photo 5th  Annual Alternative Process Competition, Juror Robert Schafer Jr. NY

Honorable Mention: Women In Photography Int’l 2009 Family Gathering Juried Competition

Nominee: 4th  Annual Black & White Spider Awards, Amateur Abstract Category

Honorable Mention: Texas National Competition 2009, S.F. Austin State University, Nacogdoches, TX

Grant Recipient: Barbara Deming Memorial Fund 2008 for Infectious Myth , Wilton NH

Finalist Award of Excellence: Photographer’s Forum Magazine 28th Annual Spring Photography Contest

Honorable Mention: CENTER Vision 2001 Singular Image (Formerly known as The Santa Fe Center for Photography)

Selected Exhibitions
2019

Solo Exhibition: Umbilicus, Viewpoint Photographic Center, Sacramento, CA

Self-Portrait: Photo Place Gallery Group Exhibition, Juror Aline Smithson, Middlebury, VT

Member Exhibition: Center for Fine Art Photography, Juror Cecily Cullen, Fort Collins, CO

2018

Solo Exhibition: Umbilicus, C4FAP, Carnegie Creative Community Center, Fort Collins, CO

Solo Exhibition: Dames of Anatomy, Red Maple Gallery-Fotofest Participating Venue, Houston, TX

Solo Exhibition: Dames of Anatomy Solo Exhibition, LHUCA, Lubbock, TX

Solo Exhibition: Dames of Anatomy, SoHo Photo Gallery, NY

Celebrating Women: Photo Place Gallery Online Group Exhibition, Juror Joyce Tenneson

Illuminate: C4FAP Group Exhibition, Juror Peggy Sue Amison

In Focus Current Photography: Richmond Art Center, Richmond, CA Juror Judy Dater

Portfolio Showcase Exhibition: C4FAP, Carnegie Creative Community Center, Fort Collins, CO

The Golden Mean: Sparrow Gallery, Photography Month Sacramento

2017

UnBound6!: Group Exhibition, Candela Books & Gallery, Richmond VA

Yixian 2017 International Photo Festival, photography + science, Huangshan City, China

Black & White: Photo Place Gallery, Juror Jennifer Schlesinger, Middlebury, VT

2016

C4FAP: Black & White Juried Competition, Juror Rodney Smith, Fort Collins, CO 2015

Artspan Online Group Exhibition: When Night Falls

Artspan Online Gallery & Article: What a Strange World We Live In

 2014

Worldwide Photography Gala Biennial, Julia Margaret Cameron Award Malaga, Spain

Sierra Nevada College Faculty Exhibition, Incline Village, NV

2013

NYC4PA: Black & White Competition, Juror Mark Sink,

TPS 22: The International Traveling Exhibition Texas Photographic Society, Juror Blue Mitchell

It’s All Here in Black &White: 20 x 13, Terri Bell Photographic Studio, Denver CO

Placer Arts 30th Jubilee: Placer Arts Open Juried Exhibition, Placer Art Gallery, Auburn, CA

2012

Not Another Damn Fairytale Ending: Caroline Collective Gallery Fotofest 2012 Participating Venue, Houston, TX

2011

SoHo Photo 40th  Anniversary Exhibition, SoHo Photo Gallery, NY

2010

Four by Five: New Orleans Photo Alliance, Juror Steve Simmons, New Orleans LA

How I Will Die: Annex Gallery Houston Community College SW, Stafford, TX

Photo Place Open: Juror Keith Carter, Middlebury, VT

2009

Idea of Self: C4FAP, Juror Susan A. Zadeh, Fort Collins, CO

Houston Center for Photography Print Auction Exhibition, Houston, TX

Texas National Juried Competition, Juror Mel Chin, S.F. Austin State University, Nacogdoches, TX

Strange Figurations: Group Thematic Exhibition, Slow Art Productions, Limner Gallery, Hudson NY

Women In Photography International Juried Competition Online Gallery

SoHo Photo 5th  Annual Alternative Process Exhibition, SoHo Photo Gallery, New York, NY

Dreams and Fantasies, Vermont Photography Workplace Juried Competition, Middlebury, VT

2008

Thrive : Curated by Mary Ross Taylor, Diverse Works, Houston, TX

Edgy Photography Exhibition: C4FAP, Juror Michael Itkoff, Fort Collins, CO

Infectious Myth, Photographic Exhibition by Laura J. Bennett, Hungry’s Gallery, Houston, TX

Texas Photographic Society 16: The National Competition Travelling Show, Juror Michelle Dunn Marsh

2007

Bay Area Photography Club 10th  Annual Juried Exhibition, Juror Madeline Yale, TX

Texas Photographic Society 16: The National Competition Travelling Show, Juror Michelle Dunn Marsh

Texas Photographic Society 15: Annual Juried Traveling Exhibition, Juror Harris Fogel

Visual Edge 3: Handcrafted: Viewpoint Photographic Art Center, Juror Kerik Kouklis and Mary Swisher, Sacramento, CA

TPS 22: Annual Members Only Show, Juror Kathy Vargas, San Antonio, TX

30 Years / 30 Cakes: National Juried Exhibition, Urban Institute for Contemporary Art, Grand Rapids, MI 2006

Soho Photo Juried National Alternative Process Competition, Juror Christopher James, SoHo Photo Gallery, NY

The Art of Digital International Juried Exhibition: Juror Hugh Davies, Lyceum Theatre, San Diego

Selected Publications
INPHA 7 for Laura’s Garden: The Botanical Plates

 The Hand Magazine Issue 23, January 2019

The Woven Tale Press Vol.VI #9

Portfolio Showcase VI Catalogue, The Center for Fine Art Photography

Luminous Landscape Online Article Elsa Johanna , January 20, 2018

SHOTS Magazine No. 131 Spring 2016

SHOTS Magazine No. 112 Summer 2011 25th  Anniversary Issue / Cover Shot

View Camera Magazine / Four by Five Competition

The Book of Alternative Photographic Processes by Christopher James 2nd  & 3rd  Editions

Best of Photography Annual, 2008 Photographer’s Forum Magazine

SHOTS Issue No.101 Autumn 2008

 

Website

The Rug’s Topography

Posted on March 13, 2019

Statement
“The Rug’s Topography” began with me photographing my intimate partner of six years. Simultaneously, we were facing an internal conflict: how we identified as individuals differed from the roles we occupied in our partnership. As we began to grow apart romantically, our anxieties rose in response to the distance widening between us. Our individual identities within a romantic context stemmed from the commonality of both having witnessed predominantly cisgender roles during our formative years. Our performance of those expectations was perpetuated by inexperience and an impulse to adhere to, or in my case “correct,” our potential family structure. Recognizing a shared inherent foundation opened our dialogue and together we began unpacking our preconceived notions regarding societal norms. Collaborating visually to express our reflections served as a catalyst for the reconciling of our emotional intimacy in the midst of separation. It is through the juxtaposition of gaze and gesture we create blended self-portraits, expressing our emotions in relation to who we were and who we’ll become.

My photographs employ themes of tension, voyeurism, and transition to represent interpretation of self. I construct images that balance organic intimacy and cinematic theatricality by implementing symbolism, color theory, and seductive lighting. Using a directorial approach and a single subject allows me to create an environment that transforms viewer into voyeur. The singular vantage point and lack of reciprocal gaze invites one to silently observe an unfolding narrative. However, the personal account is never fully described and the viewer must bring their own history, biases, and prejudices to interpret the imagery. Transition within this work is highlighted through the notions of gender and time. Though the viewer is privy to feminine interventions placed upon the male figure, faint physical changes sequentially manifest in the subject. Rigid musculature and posture is overcome by delicate and poetic gestures; the manicuring of body also becomes a form of sublimation. The ambient photographs, which signify fleeting moments, mark points of personal evolution. Emphasis is placed on the threshold between public and private, as well as the implied or literal mirror embodying introspection. Life comprises moments navigating both the literal and psychological space; my intention is to render that dichotomy.

Bio
Rana Young is an artist and educator based in Fayetteville, Arkansas. Rana holds an MFA in Studio Art from the University of Nebraska–Lincoln where she was an Othmer Fellow and a BFA in Studio Art from Portland State University. Her work has been exhibited nationally and internationally, as well as published online by Hyperallergic, VICE, Huffington Post, British Journal of Photography, and The New York Times, among others. Recently, Rana was selected as a winner of Magenta Foundation’s Flash Forward 2018 and LensCulture’s 2017 Emerging Talent Awards. Rana launched PHOTO–EMPHASIS, an online platform for highlighting contemporary works made by photography educators, students, and practitioners, with Alec Kaus in June 2017. In collaboration with Kris Graves Projects, Rana released her first monograph, The Rug’s Topography, in January 2019.

Website

Paul Szynol: Solitude of Travel

Posted on March 3, 2019

Statement
“Solitude of Travel” documents a period of persistent travel: in the space of a decade, I passed through some 60 countries on 4 continents, often repeatedly and for prolonged periods of time.  I traveled without any overarching reason or direction, but I think even then I suspected that the pressing impulse to board yet another flight had to do with confronting a stubborn (and maybe endemic to immigrants) sense of displacement.

Steady movement through national boundaries gave me an illusion of global familiarity: new places seemed immediately recognizable upon arrival, if only by virtue of sharing features and characteristics with somewhere else I’d visited. But, at the same time, each location felt distant and inaccessible. And the sense of separation spread to places where I had lived for years, so that my connection to any one spot weakened and faded. It was a liberating sense of disorientation, and a disorienting sense of liberty. It was also deeply isolating: paradoxically, as I grew attached to new places, I simultaneously felt connected to everywhere and nowhere.

The photographs I took during this time are a testament to the constant sense of remove.  I think of them as a set of anti-postcards: whereas the typical travel photo celebrates arrival at recognizable destinations, usually in saturated color, most of the black and whites in this series document places that aren’t on the tourist map.  Moreover, though the pictures ostensibly document places, in reality they capture my own sense of steady separation: they are invariably framed from a distance, and, in all of them, the ultimate destination I might have longed—that is, the elusive sense of home and immersion—remains unreachable.

Bio
Paul is a filmmaker as well as a media and tech lawyer. His films have been featured on the New York Times Op-Docs, the Atlantic, and the New Yorker, and have been shown at festivals internationally, including AFI Docs, Big Sky, Clermont-Ferrand, Doc NYC, Slamdance, and TIFF. His photos have been exhibited in the US and Europe, including ICP in New York City and the Leica Gallery in Warsaw.

Paul was born in Warsaw, Poland, and moved to NYC at the age of 12, the year that the city’s transit fare rose from 75 cents to 90 cents; 33 previously unknown Bach pieces were found in an academic library; and Canon demoed its first digital still camera. Besides New York City and Warsaw, he’s lived in San Francisco, Los Angeles, Alexandria (VA), Berkeley, New Haven, Philadelphia, NJ, DC, and, for shorter periods, Kampala and Berlin. During his seven drives across the US, he’s visited the vast majority of the contiguous states, and, by train, plane or automobile, he’s also visited some 60 countries. He likes stray dogs, fair use, depressing movies, trains, Greene and Kundera, Uganda, open source software, the Oxford comma, and occasionally translating Polish poetry to English.

Paul is a graduate of Columbia University, where he studied history and philosophy, and Yale Law School, where he focused on free speech and intellectual property, and watched a lot of reruns and depressing movies.

Website

 

  • « Go to Previous Page
  • Page 1
  • Page 2
  • Page 3
  • Page 4
  • Page 5
  • Go to Next Page »

Primary Sidebar

Footer

Cummings Foundation
MA tourism and travel
Mass Cultural Council
Winchester Cultural District
Winchester Cultural Council
The Harry & Fay Burka Foundation
En Ka Society
Winchester Rotary
JGS – Joy of Giving Something Foundation
Griffin Museum of Photography 67 Shore Road, Winchester, Ma 01890
781-729-1158   email us   Map   Purchase Museum Admission   Hours: Tues-Sun Noon-4pm
     
Please read our TERMS and CONDITIONS and PRIVACY POLICY
All Content Copyright © 2025 The Griffin Museum of Photography · Powered by WordPress · Site: Meg Birnbaum & smallfish-design
MENU logo
  • Visit
    • Hours
    • Admission
    • Directions
    • Handicap Accessability
    • FAQs
  • Exhibitions
    • Exhibitions | Current, Upcoming, Archives
    • Calls for Entry
  • Events
    • In Person
    • Virtual
    • Receptions
    • Travel
    • PHOTOBOOK FOCUS
    • Focus Awards
  • Education
    • Programs
    • Professional Development Series
    • Photography Atelier
    • Education Policies
    • NEPR 2025
    • Member Portfolio Reviews
    • Arthur Griffin Photo Archive
    • Griffin State of Mind
  • Join & Give
    • Membership
      • Become a Member
      • Membership Portal
      • Log In
    • Donate
      • Give Now
      • Griffin Futures Fund
      • Leave a Legacy
      • John Chervinsky Emerging Photographer Scholarship
  • About
    • Meet Our Staff
    • Griffin Museum Board of Directors
    • About the Griffin
    • Get in Touch
  • Rent Us
  • Shop
    • Online Store
    • Admission
    • Membership
  • Blog

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