Griffin Main Gallery

 On January 11, 2018, the Griffin Museum opens with “Holly Roberts: 33 Years,” an exhibition of mixed media artwork by Holly Roberts.

“Holly Roberts: 33 Years” will showcase in the Main Gallery of the Griffin Museum of Photography in Winchester, MA from January 11 – March 4, 2018. An opening reception (Free for all) takes place on Thursday, January 18, 2018, 7 – 8:30 p.m. There will be a gallery walk/talk with the artist at 6 PM on January 18, 2018. The gallery walk/talk is free for members and is $10 for nonmembers.

Holly Roberts says, “I have been experimenting with different ways of making images for the past few years, but always with paint and photography as the driving forces.” Her work has continued to evolve, but she has reversed her original process of heavily overpainting the black and white silver print. She now works on top of a painted surface, developing a narrative scene with collaged photographic elements. Where earlier pieces reflected psychological or emotional undercurrents, newer works make use of familiar or iconic stories to address tougher questions about man’s effect on the land and the animals that inhabit it.

“My photographic imagery is widely varied, all the way from specific portraits of people or animals to photos of rocks, leaves, or even dead moths—material I can use to build textures and surfaces.”  She goes on to say, “I have also begun to work with transfers, something I have taught for years but never really integrated into my own work. I am seduced by the magic of taking something and making it live as something else.  And, most recently, I have gone back to working with oil paints, something I gave up 13 years ago in favor of acrylics.”

“What has resulted is a wide variety of images, still with my own view of the world at their core, says Roberts. “Animals, people, and people as animals are my most constant themes.  Portraits of men and women have become a larger part of what I do.  Horses, dogs, and birds are the animals I use predominantly since those are the animals I feel most connected to.  If I can find any one theme that runs through my work, it would be a subtle kind of loneliness or feeling of separateness, at times mixed with odd humor.”

Paula Tognarelli, executive director of the Griffin Museum says, “In the trilogy of shows opening in Winchester on January 11, 2018, if there is a common element that links each to the other, it is the ability of the artists to disclose personal psychologies without vulnerability. It is this show of openness that draws us to the artists and their art-making process.”

Holly Roberts, born in Boulder, Colorado, earned an M.F.A. from Arizona State University, Tempe, in 1981. Her artworks mixing photography with paint and other media are found in close to forty corporate and public collections, exhibited nationally and internationally, and have been published in three major monographs. She has twice received National Endowment for the Arts Fellowships. Holly currently lives and works in Corrales, New Mexico, with her husband, Robert Wilson.

Known for its Native American heritage, New Mexico, surrounded by desert, is a place where indigenous ideology and Western beliefs merge, creating a magical area filled with a sense of history and spirituality — elements essential to Roberts and her work. In 1980, while living on a Zuni reservation in New Mexico, Roberts quietly painted on photographs she had taken of her husband, children, animals and friends. The results of her efforts was startling, as her work was embraced across the country for its innovative style and psychological dramas which confront the anguish, joy, challenges and complexities involved in daily life.

Holly Roberts is represented by Tilt Gallery, Scottsdale, AZ, Craig Krull Gallery, Santa Monica, CA, Morpeth Contemporary, Hopewell, NJ, Turner Carroll Gallery, Santa Fe, NM and Catherine Edelman Gallery, Chicago, IL.

My website

My blog

Catalog for Holly Roberts: 33 Years

We have placed all of the jpgs we had on the web for all to see before the show comes down. There is no sequence. It will probably be in alpha order  based on name of files.

For the fifth year, The Griffin Museum has invited all of its current members to exhibit in the Winter Solstice Exhibition. From across the world, artists enter one piece to be on display for December 2017. Photographs will be presented in the Main Gallery of the Griffin and display a spectrum of genres and processes. The opening reception is Thursday, December 7, 2017 from 7-8:30 PM. Sales are encouraged and many artists have donated the proceeds back to the Griffin.

Prospectus

CALL FOR ENTRIES: WINTER SOLSTICE SHOW
Griffin Museum of Photography’s ALL Members Show

Exhibit dates: December 7 – December 31, 2017
Reception: December 7, 2017 from 7-8:30pm
67 Shore Road, Winchester MA 01890

ELIGIBILITY: This Call for Entries is open to all Member photographers. There is no entry fee.

Entrants must be members of the Griffin Museum of Photography (with expiration after 12/08/2017). The Griffin Museum invites photographers working in all mediums, styles and schools of thought to participate. Experimental and mixed techniques are welcome. We accept only one image that you’ve carefully considered. Artwork submitted must be original and by the submitter. Images must be no larger than 16×20 inches framed. Frame must be wired.

SUBMISSION DEADLINE: Work must ARRIVE at the Griffin between November 17, 2017- December 1, 2017.

We are not open on Mondays. Our hours are noon to 4 PM. If you need something outside of those hours, call us to see if we can handle your request.

HOW TO ENTER:
Use the digital portal on our website for submitting:

1. Submit jpg file of photograph. 300 dpi rgb. more or less 4×6 inches. Name your file: your last name_your first name.jpg. We will use images for website, to plan layout, for media and possibly for catalogue if found we can handle it in time.
2. Sale Price
3. Title of Photograph
4. Creation Date
5. Medium (i.e. archival inkjet print, silver gelatin print)
6. Size of framed print
7. Download loan agreement on website, read, sign and return to the Griffin Museum with framed piece. Any questions email: iaritza@griffinmuseum.org.
8. Download form and attach to back of framed piece filled out.
9. Will piece be dropped off or shipped?

Loan_Agreement_Winter Solstice Members’ Exhibition
Winter Solstice Form to go on back of framed print

If we do not receive submission before Dec 1^st (when work is due in museum) work will not be included.

IMAGE PREPARATION:

• Framed and wired to hang
• Framed piece may not exceed 16×20 inches
• Must include artist name on the back of your frame with form attached.
• Must include complete form sheet on the back of frame

 

MAILED SUBMISSIONS:

• Please include complete title sheet below and return to Griffin Museum to put on back of framed piece.
• Must include return shipping label with package

Mail to:

Griffin Museum Winter Solstice Show 2017
67 Shore Road
Winchester, MA 01890

We will ship immediately after show so please expect to receive the package soon after the exhibition is over. (See loan agreement for more information)

DROP OFF / PICK UP:
The museum does not have sufficient space to store work that has been dropped off. You are responsible to pick-up immediately after the exhibition is over. (See Loan Agreement for more information)

EXHIBIT PRINTS: All images submitted for exhibition must be printed and framed professionally with either glass or plexi. The Griffin Museum recognizes that some work is non-traditional and incorporates the framing as an integral part of the presentation. Artists will be responsible for shipping their framed images to the Griffin Museum in advance of the gallery show and for supplying a pre-paid return-shipping label. All must provide the signed Loan Agreement Contract. See link above.

SALES: All work accepted for the Winter Solstice gallery show must be for sale. The Griffin Museum will retain a 35% commission on the sale of any work with the option to give all proceeds to the Griffin Museum. Thank you so much if you choose this option.

USE RIGHTS: Artists maintain copyright on all of their work. By submission, artists grant the Griffin Museum the right to use their images for the purpose of marketing the exhibition and other Griffin Museum programs; and for reproduction online, social media and in a print exhibition catalogue. Artists grant the use of their image(s) as stated without further contact or compensation from the Griffin. Artist’s recognition is provided with any use. Submitting artists will be added to the Griffin Museum’s monthly newsletter subscriber list. They may opt out using a link on each newsletter at any time. Any questions, please email iaritza@griffinmuseum.org

We always look forward to our members show. You make our everyday happen!
Thank you for being a part of the Griffin community.

On October 11, 2017, the Griffin Museum opens with “Gray Matters,” an exhibition of photographs by Marina Font, Francie Bishop Good, Sandra Klein, J. Fredric May, Liz Steketee and Colleen Woolpert. This exhibition is shown under the overarching title called “Gray Matters” and opens during FlashPoint Boston. Six solo exhibits will be featured in the Main Gallery, Atelier Gallery and the Griffin Gallery of the Griffin Museum of Photography in Winchester, MA.

J. Fredric May, in the Atelier Gallery at the Griffin, will exhibit “Apparition: Postcards from Eye See You” and Liz Steketee, will exhibit “Sewn” in the Griffin Gallery. Francie Bishop Good exhibits “Comus,” Marina Font’s exhibit is called “Mental Maps, Colleen Woolpert exhibits pieces from her series “Persistence of Vision” and Sandra Klein exhibits photographs from her “Noisy Brain” series.

“Gray Matters” will showcase at the Griffin Museum of Photography in Winchester, MA from October 11 – December 3, 2017. An opening reception takes place on Wednesday, October 11, 2017, 7 – 8:30 p.m. There will be a gallery walk with the artists at 5:45 PM on October 11, 2017.  In SoWa Boston for FlashPoint Boston through January three 48″x48″ sidewalk color vinyls will be on view featuring Francie Bishop Good, Sandra Klein and Marina Font photographs.

“Assembling the “Gray Matters” exhibition came out of a personal realization that none of us escape the aging process,” says Paula Tognarelli, executive director of the Griffin Museum of Photography. “As an aging female and as the daughter of a parent with dementia, I’ve had first hand experience of how our culture regards its elderly. I wanted an exhibition that started conversations on the value of elders coupled with a focus on how the brain influences a quality of life. Gray matter includes the regions of the brain that are the nuts and bolts of muscle control, memory, speech, perception, hearing and emotions.”

In “Noisy Brain,” Sandra Klein examines her 21^st century brain that is constantly analyzing the world around her. She also hopes to understand the universal mind. She says, “As I watch my mother experience dementia, I am stunned by the changes in the aging brain.  In creating a narrative that focuses on layers of thinking, I ponder the noises that are yet to come.”

Sandra Klein was born in Elizabeth, New Jersey and received a BFA from Tyler School of Fine Arts in Philadelphia, PA and an MA in printmaking from San Diego State University. After working as a teacher, her art focus moved from printmaking into mixed media and fine art photography. Her practice involves conceptual imagery that explores memory and personal narratives. Her layered, often three dimensional photographs have been shown across the United States in venues such as the Center of Fine Art Photography in Colorado, Candela Gallery in Virginia, A Smith Gallery in Texas, Tilt Gallery in Arizona, Southeast Center of Photography in North Carolina, and Building Bridges, Arena 1 Gallery and the Los Angeles Center of Photography in Los Angeles. Her work has been featured on Lenscratch, A Photo Editor, Musee Magazine, What Will You Remember, and in Diffusion magazine, and is held in public collections. She will be in a four-person show at the California Museum of Art, Thousand Oaks in September 2017. She lives and works in Los Angeles.

Marina Font couples exploration of the human mind with female identity. Using metaphoric means she considers the biologic, psychological and social aspects of the female body and the intersections of these planes. She says, “With this series, I aim to approach what lies beyond control and reason, exploring, through the act of drawing with thread, embroidery, fabric and appropriated crochet pieces onto the photographic surface, the intricate mysteries of the psyche. Through these works I intend to shed imaginary light on the female experience in order to build idealized and fantastical connections to the forces of the unconscious.”

Born and raised in Argentina, Marina Font studied design at the Escuela de Artes Visuales Martin Malharro, Mar del Plata, Argentina. In the summer of 1998 she studied photography at Speos Ecole de la Photogrphie in Paris, followed by completing her MFA in Photography at Barry University, Miami in 2009. For the past ten years she’s has been working on photo-based works that explore issues of identity, gender, territory, language and the forces of the unconscious. Her work is held in several collections including the MDC Museum of Art + Design, Miami, The Lowe Art Museum at the University of Miami, The Boca Raton Museum of Art, The Girls’ Club Collection, Fort Lauderdale, The Bunnen Collection, Atlanta, FoLA, Fototeca Latinoamericana de Fotografia, Buenos Aires, Argentina and various important private collections around the world.

She has exhibited in numerous one-person and group shows in galleries, cultural institutions and museums including The Boca Raton Museum of Art (with RPM Projects), The Consulate General of Argentina in New York, The Deering Estate at Cutler, Miami The Appleton Museum, The Museum of Florida Art, The Nova South Eastern University, The Baker Museum, The Art Center South Florida and the Andy Gato Gallery at Barry University to name a few. She just had her fourth solo show at the Dina Mitrani Gallery, Miami. She lives and works in Miami Beach, Florida since 1997 and is represented by the Dina Mitrani Gallery.

Francie Bishop Good uses “a staccato of media” to create “a hybrid form of portraiture.” She begins with images from her mother’s and her yearbooks. She and her mother went to the same high school in Allentown, Pennsylvania. The artist says, “I cross-pollinate painting, photography, drawing, and collage with digital layering. The source material of photographs from yearbooks is something very personal yet universal. I am transforming the imagined. “Comus” was and still is the title of the yearbooks from Allentown High School.”

Born in Bethlehem, PA, Good lives and works in Fort Lauderdale, FL. Her work has been exhibited throughout the US, Europe and Latin America and is included in public and private collections in the US. Her work has appeared in publications, including The Miami Herald, Art in America, and ARTnews, among others. She is represented by David Castillo Gallery in Miami, FL. Francie Bishop Good did her undergraduate work at Philadelphia College of Art, received her BFA at the University of Boulder and her Masters at Florida Atlantic College.

In 2012 J. Fredric May experienced an aortic aneurysm. His sight was irreversibly altered losing 46% of his vision rendering him legally blind. His limited vision did not stop him from producing artwork. Independent curator J. Sybylla Smith says that May’s photographs are “a hybrid of analog and digital processes that are the result of his explorations.” Additionally she says, “May begins with vintage portraits which he scans and puts through data corruption software. He then creates layered composites and prints these as cyanotypes. He bleaches and tones his cyanotypes with a mixture of photo chemicals and tea. Ultimately, he digitizes the altered cyanotypes and creates an archival pigment print.”

Fredric May is a former photojournalist and filmmaker who has traveled all over the world, telling visual stories with a signature style of bold color and confrontational composition. He resides in Palm Springs, CA with his wife.

Liz Steketee uses family photographs to speak on identity and truth telling. She deconstructs, cuts and rebuilds photographs into personas with newly conceived histories, narratives and characteristics. Memories and truth become distorted with her use of threads, everyday moments from her life, photomontage and juxtaposition. She says of her work, “I break the rules of traditional photography by mixing elements and materials that do not necessarily belong together. I allow subjects to express emotions or information long repressed, causing a shift in expectations. Finally, I explore the traditions of sewing and photography colliding and establishing new ground. This work carries subtexts for me such as, the notion of truth in photography, the connection between photographs and memories, and the visual history and impact of the tradition of portraiture.”

A resident of San Francisco, Stekette lives with her husband and two children. She maintains her own art practice and teaches at the San Francisco Art Institute where she graduated with an MFA and received the prestigious John Collier Award. In 2011, Nazraeli Press published Steketee’s work in a One Picture Book, Dystopia.

Colleen Woolpert’s “Persistence of Vision” includes photography, video, and interactive objects and installations that explore how we visualize the unseen and navigate the unknown. The Griffin Museum chose to highlight three artworks from this series.

Colleen Woolpert is an interdisciplinary artist, designer, photo educator, and stereograph specialist based in Kalamazoo, Michigan. She creates still and moving images as well as interactive objects and installations that explore the nuances of vision—from visual perception itself to abstract concepts like imagination, wonder, and doubt.

Recipient of both an Individual Artist Grant and a Community Arts Grant from the New York State Council on the Arts (NYSCA), other recognition includes Juror’s Selection from Darren Ching (Klomching Gallery) in Same But Different at the New York Center for Photographic Art and a Top Knots Award from Photo District News. Her work has been curated into exhibitions at the Griffin Museum of Photography, Humble Arts Foundation, Dumbo Arts Center, and Light Work, among other venues, and her editorial photographs have appeared in many publications including The New York Times, Bicycling, Martha Stewart Weddings, and The Chronicle of Higher Education. Colleen received her MFA from Syracuse University and BA from Western Michigan University, where she currently teaches in the Photography and Intermedia Department.

The Photography Atelier 26 will present an exhibit of student artwork from September 7th to October 1, 2017. The Atelier is a course for intermediate and advanced photographers offered by the Griffin Museum of Photography. You are invited to come view the photographs at the Griffin Museum, 67 Shore Road, Winchester, MA 01890.

On Thursday, September 7th, the public is invited to attend the artists’ opening night reception from 6:30-8:30 p.m. at the Griffin Museum.

Photography Atelier Instructor and Photographer Meg Birnbaum shared, “The Photography Atelier has such a long and rich history, I’m honored to be leading this workshop for emerging photographers with Amy Rindskopf assisting. The talent among the 19 members of this group show is varied and inspiring — from our relationship with the past to emotions, memory, objects, poetry, science and the landscape — the show is very satisfying feast for the eyes and soul.”

Work by 2017 Atelier 26 members includes:
Tony Attardo, Diane Bennett, Terry Bleser, Edward Boches, Judy Brown, Larry Bruns, Fehmida Chipty, Megan Cronin, Erik Eskedal, Kay Goodman, Claudia Gustafson, Donald Harbison, Janis Hersh, Cynthia Johnson, Charles Mazel, Coco McCabe, Amy Rindskopf, Darrell Roak, and Maria Verrier.

Tony Attardo: “Just as He Left It” is a series of photographs that are crafted to express the honor and dignity of Joseph L. Attardo by capturing moments, settings and the personal objects that define who he was and how he lived.

In Terry Bleser’s ‘Brink of Change’, the photographs emerge as little postcards from sleep-born anxieties over moving to a new city.

‘Without you” Diane Bennett says that in after her husband passed away, she picked up her camera and found scenes that reflected her sadness, isolation, and grief and became a source of comfort.

Edwards Boches’: Seeking Glory: are portraits that celebrate the strength and courage it takes to be a boxer.

Judy Brown is an animal photographer  concentrating on farm animals in the project, “Far from the Madding Crowd“.  It is her hope that these photographs might be useful to an organization working for better treatment of farm animals.

Larry Bruns has photographed light and space in “Christina’s Home” the subject of Andrew Wyeth’s iconic painting, “Christina’s World.”

Femida Chipty studies and captures color and light as they bring new vision and thought to ordinary architectural shapes like doors and windows.

‘Shadow Land’ finds Meghan Cronin exploring one of the things that we all have in common, we all cast shadows.

Erik Eskedal: In ‘Junkyards: The Transcendental Automobile’ there is the mystery of countless stories as the native growth slowly enshrouds these battle-scarred metal icons.  The breeze speaks with ghostly whistles and inspires the art of transcending automobiles.

In “Fire, Air, Earth, Water” Kay Goodman explores relationships between elements

Claudia Gustafson, In the series ’The Space Between’ I am re-enacting my dreams. To create these images, I use metaphors and symbols. I write poetry, sketch my visions, and then I capture them with my camera using toy and vintage lenses to create a blur reality.

Donald Harbison remembers the woods as his ‘Sanctuary‘ growing up. His photographs explore memories that are still raw but muted by time.

 Janis Hersh‘s ‘Season Prelude’ focuses on the largely un-noticed scenes and transitions that occur as a town on Cape Cod wakes from a very long and quiet winter season and readies for summer.

Cynthia Johnston’s work, ‘In the Quiet Hours’, features landscapes lit by ambient lighting and by mysterious evening skies.

 Charles Mazel: Light under Light explores the stunning visual dimension of fluorescence that is around us all the time, but unseen beneath the sea of white light in which we live.

Coco McCabe: In “T time” a commute can be an intensely private time in the most public of places. It’s that tension that I am capturing in this series of photographs: the aloneness in a crowd, the pause in a rush, the emptiness in a station after hours.

In “Interstellar,‘ Amy Rindskopf discovers an earth-bound journey through the stars

In “Mother Nature’s Easel”, Darrell Roak represents his “continuing wonder of Mother Nature and her artistic hand at molding all of her created parts and pieces in just the right places”.

Maria Verrier – What you say and what I hear is not the same. The diptychs in ‘The In-between’ are intended to represent my own fractured ability to communicate all that is hidden beneath.

About the class:
Photography Atelier, in its twenty-second year, is a unique portfolio-making course for emerging to advanced photographers. In addition to guidance and support in the creation of a body of work, the class prepares artists to market, exhibit, and present their work to industry professionals.

Each participant in the Atelier presents a final project in the form of a print portfolio, a photographic book or album, a slide show, or a mixed media presentation. In every Atelier, students hang a gallery exhibition and produce work for their own pages on the Atelier website. To see the photography of present and past Atelier students and teachers, please visit www.photographyatelier.org. Instructor Meg Birnbaum will be happy to discuss the Photography Atelier at the reception on September 7th with anyone interested in joining the class.

The Atelier was conceived by Holly Smith Pedlosky in 1996 and taught by Karen Davis for 7 years. The workshop was previously offered at Radcliffe Seminars, Harvard University and Lesley Seminars and in the Seminar Series in the Arts, The Art Institute of Boston (AIB), both at Lesley University.

Photography Atelier 26 Website

The juror for the Griffin’s Juried Exhibition this year is Hamidah Glasgow. Ms. Glasgow has been the Executive Director and Curator at The Center for Fine Art Photography in Fort Collins, Colorado since 2009. Hamidah holds a master’s degree in humanities with a specialization in visual and gender studies and a bachelor’s degree in philosophy. Hamidah’s contribution to photography has included curatorial projects, national portfolio reviews (FotoFest, Photolucida, Medium, Center, Filter, etc.), professional development education programs, contributions to publications and online magazines and the co-hosting of regional conferences.  Hamidah is also a co-founder of the Strange Fire Collective. This collective is dedicated to photo-based work that engages with current social and political forces, highlighting the work of women, people of color, and queer and trans artists, writers, and curators. Glasgow resides in Colorado.

The 23^rd Griffin Museum Juried Exhibition is on display in the Main Gallery of the Griffin Museum July 6 through September 1, 2017. An opening reception is July 13, 7-8:30 p.m. The opening reception is free to all. Hamidah Glasgow will give an informal gallery talk at 6:15 PM on July 13, 2017 followed by portfolio reviews on July 14^th  and portfolio sharing. Portfolio reviews are for members only and on a first come first served.

The 23^rd Griffin Museum Juried Exhibition will be named in honor of Ed Friedman, a celebrated Arlington-based photographer who unexpectedly passed away through a tragic accident in July 2016. Ed was an active member of the Griffin Museum. His Old Schwamb Mill photographs were exhibited at the Griffin in 2011. He was also an active member of Gallery Galatea in SoWa and the Cambridge Art Association.

After earning a degree in physics from Carnegie Mellon University, he had a long career working with computers. For a long time, Ed focused on landscape photography, but broadened his approach to include street photography and portraiture. When not working on photographic projects, Friedman worked as a web developer. Ed Friedman was loved and remembered by many. During the 23^rd exhibition the Griffin will exhibit a number of Ed Friedman’s photographs from his work.

Alongside the juried exhibition, the Griffin Museum is organizing a series of professional development workshops presented by a diverse range of thought leaders. These workshops will share instrumental ideas, methods and tools to help build the business and legal foundation of a thriving artistic practice.

This exhibition is sponsored in part by the friends of Ed Friedman; Mary Ryan and Joe Rizzo, Mary and Rob Gold, The Maximowicz and McAvoy family, Amy Vreeland. Charlie and Lauren Duerr, Tom Diaz, Paula and Dragan Pajevic, Bill Clougher and Hayes Miller.

Selected Artists (55 photographers/57 photographs): Anne-Laure Autin, Zeren Badar, Hannah Bates, Clare Benson, Richard Boutwell, Alexandra Broches, Robert Calafiore, Lauren Ceike, Rebecca Clark, Lisa Cohen, Virgil DiBiase, Kev Filmore, Randi Freundlich, Preston Gannaway, Randi Ganulin, Amy Giese, Leonard Greco, Joe Greene, Frank Hamrick, Robert Johnson, Gregory Jundanian, Brian Kaplan, David Kelly, Richard Kent, Barbara Kyne, Emily Hamilton Laux, Susan Lirakis, Joshua Littlefield, Ward Long, Joyce P. Lopez, Molly McCall, Alyssa Minahan, Astrid Reischwitz, Suzanne Revy, Amy Rindskopf, Michelle Rogers Pritzl, Charles Rozier, Claudia Ruiz-Gustafson, Joshua Sarinana, Michael Seif, Wendy Seller, Karen Sparacio, Tema Stauffer, John Steck Jr., Robert Sulkin, Jane Szabo, Jerry Takigawa, Sal Taylor Kydd, David Underwood, Claire A. Warden, David Weinberg, Nina Weinberg Doran, Stuart Zaro, Ryan Zoghlin, Mary Zompetti.

AWARDS: $2,500 Ed Friedman Award- Claire A. Warden, $1,000 Arthur Griffin Legacy Award- Charles Rozier, $500 Griffin Award- Hannah Bates, and Honorable Mentions: Randi Ganulin, Molly McCall, Alyssa Minehan, Astrid Reischwitz, Tema Stauffer, Clare Benson, Robert Calafiore.

Director’s Award: Suzanne Revy. Suzanne will receive a catalog of her work and a solo exhibit in the Fall 2017.

Awagami Factory Paper Award, $300 worth of Awagami ‘A.I.J.P’ photo inkjet papers: Jerry Takigawa

Exhibitions to run June and July 2018: Catherine Wilcox-Titus and Sheri Lynn Behr/ Russ Rowland and Craig Becker. Each of these four artists will have solo exhibits.

Virtual Gallery to run simultaneously with 23rd Juried Exhibition: Susan Lapides

Critic’s Pick on-line gallery to run simultaneously with 23rd Juried Exhibition: J. Felice Boucher

Instagram exhibition: See web exhibition

Member in Focus: Kay Canavino

 

Juror’s Statement
In my mind and through my eyes, this exhibition is an expression of life, creativity, and ultimately, of love. It is through the lens of love that we cherish the days past and the memories. Emotions of longing, pain, and regret are available through exploring history. While it is our collective love of our humanity and the creatures that inhabit the planet that creates concern for others and our home. Finally are the moments of beauty that remind us to be present.

The lives of images are complicated and in many ways mystifying. As our culture has become a visual society, the images of our lives take on new meaning. While some artists have chosen to create their work by exploring photography in new ways as Claire Warden has done with her series, Mimesis. Others have taken a more traditional route albeit photographing the ordinary and daily moments of family life for over twenty years as Charles Rozier has in his series, House Music. Playing with the notions of the Real, Hannah Bates uses photographic backdrops to play with our senses and push us to examine what we see and understand or think we know.

It is through these artists that we can see the world in a new way. We, in the photography world, are in an exciting time of growth in the myriad of ways that photographic artists can express themselves. Old meets new with a mash-up of approaches and a host of techniques unavailable just a few years ago. While the art isn’t about technique, the ways that people are able to make the work have expanded exponentially. We are the beneficiaries of this wave of innovation and creativity.

My gratitude goes to the artists participating in this exhibition and to The Griffin Museum for inviting me to be the juror.

– Hamidah Glasgow

Purchase the catalog for the 23rd Griffin Museum Juried Exhibition – Ed Friedman Legacy

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 twelthth 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.

Students met with Cheryle St. Onge, a photographer and educator and Guggenheim Fellow in November.  St. Onge explained her process of finding imagery in the everyday and nature.

Andrew Mroczek met with students in February and discussed the path of his photography career. He reminded students that work can come from a very personal place. His photography and mixed-media work is done in collaboration with artist Juan Jose Barboza-Gubo (Barboza-Gubo & Mroczek) and focuses on themes of masculinity, sexuality, gender, gender-identity, and the effects of patriarchy as a social system; currently focusing on gay and transgender rights in Peru. Students also met with photographer Sam Sweezy to discuss sequencing of images. Sweezy is a professional fineart and commercial photographer and educator who resides in Newton, MA. He has exhibited at major photography venues including the George Eastman House in Rochester, NY.

Alison Nordstrom, the former curator of the George Eastman House in Rochester, N.Y., and photographer Sweezy gathered with students for a one-on-one discussion of their work and a final edit was created for the exhibition at the museum.

“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 Murphy 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.’’

Griffin Museum of Photography Juror’s Choices for the 24th Juried Exhibition
Juror: Richard McCabe, Curator of Photography, Ogden Museum, New Orleans

Review Mark Feeney The Boston Globe
Review Suzanne Révy What Will You Remember
Elin Spring Curator Viewpoint Richard McCabe

 

 

 

 

 

 

Elizabeth Albert
Philip Augustin
Siobhan Beasley
Gary Beeber
Molly Block
Rachel Boillot
Cody Bratt, Honorable Mention
Edie Bresler, Director’s Prize
Terri Bright
Jeff Caplan
Lauren Ceike
Tom Chambers
Fehmida Chipty
David Clarkson
Martha Coe
Ashleigh Coleman, Honorable Mention
James Collins
Maura Conron
Emily Corbato
Robert Dash
Norm Diamond
Barbara Ford Doyle
Bill Franson
Ashley Gates
Danielle Goldstein
Susan kae Grant, Honorable Mention
Elizabeth Greenberg
William Hamlin
Frank Hamrick
Jeannie Hutchins
Paul Ivanushka
Jamie Johnson
Paul Johnson
Eleanor Owen Kerr
Stefanie Klavens
Molly Lamb, Griffin Award $500
Joseph Landry
JK Lavin
Joyce P. Lopez
Rhonda Lopez
James Mahoney
Darrell Matsumoto
Andy Mattern, Arthur Griffin Legacy Award $1000
Molly McCall, Honorable Mention
Katherine McVety
Alyssa Minahan
Judith Montminy
Rebecca Moseman
Nancy Newberry, Richards’ Family Trust Award $2500
Robin Radin
Paula Riff
Joshua Sarinana
Janet Smith
Ryan Steed
Susan Swihart
Paul Wainwright
Jacqueline Walters
Liza Wimbish
Cate Wnek
Jane Yudelman

24th Annual Juried Members’ Exhibitions
Exhibition dates: July 19 – September 2, 2018
Reception: July 19, 2018 7-8:30 PM
Richard McCabe gallery talk 6:15 PM, July 19, 2018
67 Shore Road, Winchester MA 01890

AWARDS: $2,500 Richards Family Trust Award, $1,000 Arthur Griffin Legacy Award, $500 Griffin Award, and Honorable Mentions. We will award 4 exhibitions that will take place next June and July 2019. We will award 1 Director’s prize that will result in a catalog and exhibition. We will produce a catalog of the 24th Juried exhibition. We will produce an online exhibition from photographs not chosen by the juror and it will run on Instagram as well. We will award a Member in Focus.

– Director’s Prize, Edie Bresler
– 4 Exhibits for June and July 2019, Eleonora Ronconi, Kay Kenny, Richard Cohen and J. Felice Boucher
– Member in Focus, Sarah Anthony
– Virtual Gallery, Natalie Christensen
– Critic’s Pick, Kevin Hoth
– Instagram Exhibition, TBA

Juror’s Statement For 24th Annual Juried Exhibition: Griffin Museum of Photography

When asked to jury an open-call exhibition, I view the photographs online with an open mind, and let the work dictate the direction of the exhibition. By looking for consistent formal and conceptual threads throughout the submissions, and following visual clues or signifiers from the work submitted, I hope to jury a cohesive exhibition that also features the best work.

Visual storytelling seemed to be the dominant thread throughout the work submitted and selected for the Griffin Museum of Photography’s 24th annual juried exhibition. These images were made by photographers who use the camera to explore and make sense of their world through the traditional genres of portraiture, still life, and the natural and built landscape. Their stories – told with the camera – ranged from straight, documentary photographs to constructed narrative work made on site or manipulated post-production by the computer.

The work that resonated the most with me was the constructed reality or narrative photographs. These photographs reimagine the traditional photographic image through manipulation of the photographic process or the act of making a photograph. My top three award selections all counter the idea of photographic purity or truth in photography.

In first place, the Richards’ Family Trust Award goes to Nancy Newberry. Smoke Bombs and Border Crossings featured a constructed narrative revolving around the myths and history of the state of Texas. Her portraits feature subjects acting out scenes – real and imaged based on Texas-folklore.

In second place, the Arthur Griffin Legacy Award goes to Andy Mattern. His series, Average Subject / Medium Distance features Postmodernist images that are almost anti-photographic – made through computer manipulations of “found  objects” or materials usually associated with the average college photo darkroom. His work is painterly and clever,reflecting early 20th century constructionist painting.

In third place, the Griffin Award goes to Molly Lamb.Untitled, The Fog is a dreamy subjective visual manifestation of memories from childhood,constructed and re-imagined years later in the camera, and realized in the form of a 2-diminsional photographic print

What makes a successful photograph to me comes down to the image. Based on many factors including light, subject matter, and composition, I ask, “Does the image work?”. I really don’t care how the photographer arrived at the image; the only thing that matters is if the image resonates with my visual sensibilities, which are totally subjective.  

-Richard McCabe, Curator of Photography, Ogden Museum

ELIGIBILITY: This Call for Entries is open to all member photographers. Entrants must be members of the Griffin Museum of Photography (with an expiration after 4/1/2018). We do not advocate for members to join the museum for this juried opportunity only. We always welcome new members as part of our family and offer a broad range of member opportunities. While some opportunities are for long distance members like our on-line classes, we are working on increasing our offerings this year for distance members. The Griffin Museum invites member photographers working in all mediums, styles and schools of thought to participate. Experimental and mixed techniques are welcome. There is no theme. The juror will choose between 50 – 60 photographs. We ask the juror to TRY not to choose more than one photograph per photographer. The juror will choose the recipients of the monetary awards. We encourage submitting images from a singular, unified body of work for a cohesive selection for the Juried Exhibition. Artwork selected for gallery exhibition will be limited to FRAMED SIZE of 30×40 inches and under.

JUROR: Richard McCabe is the Curator of Photography for the Ogden Museum in New Orleans. He received an MFA in Studio Art from Florida State University in 1998. Also in 1998, he received a Fellowship to New York University to attend the American Photography Institute, National Graduate Seminar. From 1998 – 2005 he lived in New York City where he worked for numerous art galleries and museums including – The International Center for Photography, Robert Miller Gallery and the El Museo del Barrio. He was also an adjunct Photography Professor at Pratt Institute, New York City, Fairfield University, Fairfield, Connecticut, and Montclair State University, Montclair, New Jersey.

In 2005, He relocated to New Orleans, Louisiana and has worked within the curatorial department of the Ogden Museum of Southern Art for the past twelve years. In 2010, he became the Curator of Photography at the Ogden Museum. He has curated over 25 exhibitions in the past seven years including – Eudora Welty: Photographs from the 1930s and 40s, The Mythology of Florida, Mark Steinmetz: South, Self-Processing: Instant Photography, The Rising, and Seeing Beyond the Ordinary. (Photo of Richard McCabe by Patrick Barnes).

PROGRAMMING: Alongside the juried exhibition, the Griffin Museum is organizing a series of professional development workshops presented by a diverse range of thought leaders. These workshops will share instrumental ideas, methods and tools to help build the business and legal foundation of a thriving artistic practice.

HANDLING FEE: The handling fee is $25 for 5 images. We have kept our handling fee very low for many years. *The fee is waived for institutions who have Academic Memberships to the Griffin for their photo students and faculty.

SUBMISSION TIMELINE: February 20 – April 23, 2018 (We want to get the images to the juror in the last week of April.) Due to server crashes from high volume traffic, we have extended our submission period to April 24, 2018 at Midnight.

SUBMISSION REQUIREMENTS:

• Must be a member of the Griffin Museum of Photography through April 2018. Availability to renew membership on submission page.
• All images must be submitted as jpeg files, sized to 1200 px on the longest dimension, 72 dpi is fine, and in Adobe RGB or sRGB color space only.
• Files should be titled as follows: LastName_FirstName_Title_ImageNumber (Ex. Smith_John_Sunset_01, Smith_John_Flower_02)
• All entries that do not adhere to the guidelines above will be rejected.
• $25 Handling Fee
• Upload through our portal  5 images. 8 images can be submitted for members at the dual level ($75) or above.
• We ask for an artist project statement copied and pasted from word file or typed into application.

MAILED SUBMISSIONS:

Please include a title sheet, artist statement and information page including: Name, E-mail, Address, Phone and proof of membership or membership renewal form.

Prepare your images to the same specifications.

Burn images to CD and mail to:

Griffin Museum 24th Juried Submission

67 Shore Road

Winchester, MA 01890

ACCEPTANCE NOTIFICATION:
Selected artists will be posted on the website by May 28, 2018. Please do not call the Griffin Museum to inquire whether your images were chosen. We have very limited staffing.

IMPORTANT DATES:

• Entries: February 20 – April 23, 2018
• Notice of Acceptance: May 28, 2018
• Final day framed works will be accepted to hang June 29, 2018 although earlier is appreciated.
• Gallery Exhibition at the Griffin Museum: July 19 – Sept 2, 2018
• Opening Reception: July 19, 2018 @ 7pm
• Richard McCabe gallery talk 6:15 PM on July 19, 2018

EXHIBIT PRINTS: All accepted images submitted for exhibition must be printed and framed professionally with either glass or plexi. The Griffin Museum recognizes that some work is non-traditional and incorporates the framing as an integral part of the presentation. Artists will be responsible for shipping their framed images to The Griffin Museum in advance of the gallery show and for supplying a pre-paid return-shipping label. The FRAMED size may not exceed 30×40 in. We have found that images mounted on aluminum have a high damage rate. We cannot be held responsible for any damage to photographs mounted on aluminum.

SALES: All work accepted for the gallery show can be for sale. The Griffin Museum will retain a 35% commission on the sale of any work.

 USE RIGHTS: Artists maintain copyright on all of their work. By submission, artists grant The Griffin Museum the right to use their images for the purpose of marketing the exhibition and other Griffin Museum programs; and for reproduction online and in a print exhibition catalogue. Artists grant the use of their image(s) as stated without further contact or compensation from the Griffin. Artist’s recognition is provided with any use. Submitting artists will be added to The Griffin Museum’s monthly newsletter subscriber list. They may opt out using a link on each newsletter at any time.

Please retain this information and your filename information for your files until after announcement of the jury selection.

 

 

Davis Orton Gallery and Griffin Museum of Photography

March 9 – March 31, 2017

Reception March 9, 2017 6:30 – 8:30

Visit: http://davisortongallery.com/7th-annual-photobook-catalog/

February 21, 2017 (Winchester, MA) — PHOTOBOOK 2016 is an annual competition open to photographers in the United States and abroad who have self-published a photobook. This competition was offered by Davis Orton Gallery in Hudson NY for the seventh year. The competition results were exhibited at Davis Orton Gallery and thirty-one books are now traveling to the Griffin Museum of Photography. Karen Davis, co-director of the Davis Orton Gallery in Hudson, NY and Paula Tognarelli, executive director and curator of the Griffin Museum of Photography were the jurors for Photobook 2016.

7th Annual Photobook Exhibition 2016 is featured in the Main Gallery at the Griffin Museum March 9 through March 31, 2017. An opening reception with the artists takes place on March 9, 6:30-8:30 p.m.

For the 7th Annual Photobook Exhibition, jurors Karen Davis and Paula Tognarelli chose 20
Photobooks to be exhibited at the Davis Orton Gallery:  The authors are: Angela Jimenez, Diane Cassidy, Ellen Slotnick, Georgia Landman, Graeme Williams, Jeanny Tsai. Jeff Evans, Juergen Buergin, Kyoko Yamamoto, Lawrence Schwartzwald, Lydia Panas, Mark Indig. Martin Desht, Mike Callaghan. Miska Draskoczy, Mo Verlaan, Patricia Barry Levy, Sharon Lee Hart, William Glaser and Yoichi Nagata/

The book artists above plus the following artists will exhibit at the Griffin Museum. The artists are
Andrew Child, David Loble, Linda Morrow, Manda Quevedo, Eric Myrvaagnes, Ruth Lauer Manenti, Stephen J. Albair, William Betcher, William Chan, William Gore and William Fuller for a total of 41 books. The book titles and catalog can be viewed here http://davisortongallery.com/2016-davis-orton-gallery-exhibitions/.

The Best of Show awards were given to Yoichi Nagata, Lawrence Schwartzwald, Jeanny Tsai, and Graeme Williams.
.
There are growing options available for self-publishing a book such as on-demand (blurb, lulu, viovio, iphoto, etc.); small run offset or web printing/publishing firms, binderies. For the
competition if photobooks submitted had been hand-made/bound, they had to be available in multiples of at least 25. Entrants could submit up to three different titles that are self-published photography books of any size, format, or style: hard cover, soft cover, case-wraps, landscape, portrait, square, color, black and white. Submissions were judged on the basis of: cover design, strength of the photography, subject matter of the book, page layouts, editing and sequencing and emotional impact of the overall book. All Submissions had to be original works of authorship
created by the photographer who submitted the book.

“A photobook relies on the image to form visual sentences,” says Paula Tognarelli, executive director and curator of the Griffin Museum of Photography. “A photobook that is produced well can transport us in time and place just as any book produced with the written word.”