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The Founder's Gallery

E. caballus: The Domesticated Horse

Posted on September 21, 2021

The overarching idea of E. caballus is simply the domesticated horse. All included solo exhibitions are threaded together by photographs and narratives related to these large single-toed, beautiful animals of today. The seven photographers included in E. caballus are: Mary Aiu, Chris Aluka Berry, Anne M. Connor, Susan Irene Correia, Landry Major, Ivan McClellan and Keron Psillas Oliveira.

Mary Aiu – Unbridled: The Horse at Liberty (In the Main Gallery)
Bio
Statement
CV
View Website

Chris Aluka Berry – Second Chances: Josh’s Salvation (In the Main Gallery)
Bio and Statement
View Website

Anne M. Connor – Equus: The Horse (In the Main Gallery)
Statement
Bio
View Website

Susan Irene Correia- Power – Dance with Beauty, Play with Abandon, Be Loved (In the Main Gallery)
Statement
Bio
View Website

Landry Major – Keepers of the West (In the Main Gallery)
Statement
Bio and CV 
View Website

Ivan B. McClellan – Eight Seconds (In the Main Gallery)
Bio and Statement
View Website

Keron Psillas Oliveira – Cavalo Lusitano: The Spirit Within (In the Main Gallery and Founder’s Gallery)
Statement
Bio
View Website
Keron Psillas Oliveira’s Cavalo Lusitano is available in our gift store.

 

 

 

 

We are pleased to have partnered with Life Between the Ears, based on Vashon Island, Washington with product in our Museum Shop and buttons available during our opening reception.

lbte logo buttons

Logo buttons are courtesy and © of Life Between the Ears.

 

Home Views

Posted on August 7, 2021

The overarching idea behind this exhibition revolves around a very broad interpretation of “home” through the eyes of eleven photographers in ten solo exhibitions and one video.

Joy Bush – Places I Never Lived in the Main Gallery
Bush Statement
Bush Bio
View Joy Bush’s website

Anton Gautama – Selections from Home Sweet Home in the Main Gallery
Gautama Statement
Gautama Bio
Celina Lunsford Essay

Judi Iranyi – Mantel in the Founders Gallery
Iranyi Statement
Iranyi Bio
View Judi Iranyi’s website

Charles Mintz – Lustron Stories video
Mintz Statement
Mintz Bio
View Charles Mintz’s website

Colleen Mullins – The Bone of Her Nose in the Atelier Gallery
Mullins Bio
Mullins Statement
View Colleen Mullins’ website

Roberta Neidigh – Property Line in the Main Gallery
Neidigh Statement
Neidigh Bio
Neidigh CV
View Roberta Neidigh’s website

Jane Szabo – Somewhere Else in the Main Gallery
Szabo Statement
Szabo Bio
View Jane Szabo’s website

Brandy Trigueros – There’s No Other Like Your Mother in the Griffin Gallery
Trigueros Statement
Trigueros Bio
View Brandy Trigueros’ website

Kathleen Tunnell Handel – Where the Heart Is: Portraits from Vernacular American Trailer and Mobile Home Parks in the Main Gallery
Tunnell Handel Bio and Statement
View Kathleen Tunnell Handel’s website
Curator’s Essay
Catalog available for $24.95
cover of catalog

 

 

 

 

 

 

Ira Wagner – Twinhouses of the Great Northeast in the Main Gallery
Wagner Bio and Statement
View Ira Wagner’s website

Melanie Walker – Wanderlust in the Atelier Gallery
Walker Statement
Walker Bio
View Melanie Walker’s website

 

 

 

 

 

Dylan Everett

Posted on July 14, 2021

Statement
The preface to Oscar Wilde’s The Picture of Dorian Gray is a series of aphorisms about art and beauty, including the declaration that “all art is at once surface and symbol.” If all art is at once surface and symbol, I create symbolic surfaces. Through the use of photo-collage, still life, and re-photography, my pictures collapse figure and ground into surface. Drawing from a range of references – my personal life, literature, art, pop culture – and cultural signifiers, these surfaces are loaded with symbols. The viewer is invited to decode these symbols, or at least to try. The symbols in my images often function as homages to the people and things that I love or admire: LGBTQ-identified creative figures, gay icons, and personal relationships. In one instance, this manifests as a room constructed of cyanotypes inspired by John Dugdale; in another, a grisaille room winks to George Platt Lynes’ black-and-white male nudes that remained hidden until after his death; rose wallpaper hints at the titular setting of James Baldwin’s Giovanni’s Room. This series of homages is held together by an aesthetic that strips away any sense of hierarchy among cultural signifiers. In my fabricated spaces, there is no distinction between highbrow and lowbrow, personal or famous, historical or contemporary. The resulting photographs are layered, symbolic works that simultaneously speak to contemporary art and culture, while questioning classic ideas of taste, sensuality, and beauty.

Bio
Dylan Everett (b. 1994 in New Jersey) is an artist/photographer working with still life and photo collage. He received an MFA in Photography from the Rhode Island School of Design in 2019, and a BA in Visual Art from Brown University in 2016. In 2020 he was a recipient of the West Collection LIFTS Grant and Acquisition Award; he was previously awarded the Digital Silver Imaging Portfolio Prize in 2018, and was named second place for the 2019 Lenscratch Student Prize.

Dylan Everett is a recent finalist for the John Chervinsky Scholarship 2020.

CV
Education
2019 MFA, Photography, Rhode Island School of Design, Providence, RI

2016 BA, Visual Art, Brown University, Providence, RI

Exhibitions
2021 Photography is Dead – Candela Gallery, Richmond, VA

2020 Fear Environmental Mayhem Ahead – The Icebox Project Space, Philadelphia, PA

2019 The Curated Fridge Autumn 2019 Show – The Curated Fridge, Somerville, MA

In Close Range – ClampArt, New York, NY

Graduate Thesis Exhibition – Rhode Island Convention Center, Providence, RI

2018 New Photography – Sol Koffler Gallery, Providence, RI

2017 Photography Triennial – Woods Gerry Gallery, Providence, RI

2016 2nd PULP Showcase – FotoFilmic, Bowen Island, BC, Canada

Vanitas – LoosenArt LAB-A, Cagliari, Italy

Performing Decay – The Open Aperture Gallery, Newport, RI

Spring Arts Festival – Granoff Center for the Creative Arts, Providence, RI

36th Annual Juried Student Exhibition – David Winton Bell Gallery, Providence, RI

2015 Accretion/Avulsion (solo) – Granoff Center for the Creative Arts, Providence, RI

35th Annual Juried Student Exhibition – David Winton Bell Gallery, Providence, RI

2013 Rising Waters 2.0: More Photographs of Sandy – Museum of the City of New York, NY

Grants/Awards
2020 LIFTS Grant and Acquisition Award – West Collection

2019 Lenscratch Student Prize, Second Place

2018 DSI Portfolio Award – Digital Silver Imaging

Graduate Student Project Grant – Rhode Island School of Design

Graduate Fellowship – Rhode Island School of Design

2017 Graduate Fellowship – Rhode Island School of Design

2016 Seventh Annual Manifest Prize Semi-Finalist – Manifest Gallery

Minnie Helen Hicks Award for Excellence in Visual Arts – Brown University

Round 4 Juried Showcase Winner – ArtSlant

Acquisition Award Shortlist – The Annex Collection

Marlene Malik Award – Brown University

Julie Sloane Memorial Fund Award – Brown University

Creative Arts Council Grant – Brown University

2015 Creative Arts Council Grant – Brown University

Publications and Press
2021 Photography is Dead, Candela Gallery

“LIFTS Recipient: Dylan Everett,” West Collection

“Portfolio Feature: Dylan Everett,” Float Magazine

“Dylan Everett,” Yolanda Josef  Projects

2019 “2019 Lenscratch Student Prize: Second Place,” Lenscratch

2018 Manifest Exhibition Annual, Season 13 – Manifest Gallery, v.1 – Rhode Island School of Design

View Dylan Everett’s Website

Hard Breath Volume 2

Posted on July 6, 2021

Project Statement
At the height of the AIDS epidemic experimental drug treatments lead to the invention of modern antiretroviral medications that keep the virus suppressed, but these drugs would have never become available had there not been individuals willing to receive them on an experimental basis. This body of work titled Hard Breath Volume 2 is the second iteration in a series of works exploring the body as artifact and its preservation. In January of 2019 I enrolled as a volunteer in a year-long experimental drug study aimed at treating and suppressing the HIV virus in a way not yet attempted by medical researchers using broadly neutralizing antibodies. During the study I received multiple day-long infusions of two new experimental HIV drugs over several months. To create a record of this process I gave a Polaroid camera to nurses and visitors and asked them to take pictures of me since I was not capable of making a portrait of myself on my own. When I was capable of making photographs on my own during the process I captured my surroundings – hallways, clocks, vials of blood, and the people who helped and supported me. The original polaroid photographs are kept in a red research binder along with thorough original documentation including blood work indicating the detectability of HIV in my body.

Participating in this study and the construction of this photographic record is about making a contribution to the future of HIV treatment – to make it easier for others and perhaps unnecessary one day. This work took on a greater urgency for me in the current wake of the COVID-19 pandemic where the search for a vaccination is at the forefront of medical research. The importance of volunteers willing to put their bodies and livelihoods on the line for the benefit of their fellow humans cannot be ignored. I believe I wouldn’t be alive if there weren’t similarly minded people to develop and test the antiretroviral drugs we have today that keep me alive, and I wish there was more of a record of those who give the gift of their bodies and their stories so that others may hold onto theirs. These photographs are, for me, a small push forward in that direction.

Bio
Logan Bellew is a photographer and installation-focused artist based between Brooklyn, New York and Nicosia, Cyprus. The practice of conserving artifacts, stories, and histories form the conceptual core of his work and uses investigative ideologies and autobiographical experiences to develop the deep personal narrative that concerns his work to this day. He is also an active volunteer with the AIDS Solidarity Movement of Cyprus where he was a representative for AIDS Action Europe and helps facilitate island-wide HIV education, public speaking, testing, and outreach campaigns. Logan is currently working to document the experience of volunteering in medical research before and in the wake of the COVID-19 Pandemic.

Logan earned an MFA in photography from the University of New Mexico and currently teaches at the State University of New York in New Paltz and Arizona State University. His photographs, videos, and installations are exhibited and published internationally including the International Association of Photography and Theory in Cyprus, Primal Sight – a contemporary survey of black and white photography – and the Museum of Modern Art’s artist book collection among others. He is one of the first international recipients of a residency with the Visual Artist’s Association of Cyprus.

Logan Bellew is a recent finalist for the John Chervinsky Scholarship 2020.

CV

View Logan Bellew’s website.

Alayna N. Pernell: Our Mothers’ Gardens

Posted on April 9, 2021

Statement
Throughout history, there has been a unique curiosity to capture and study the Black body, especially those of Black women. Our bodies have continued to be seen as objects to capitalize off of and often times hardly anything beyond that. With these ideas in mind, my practice is currently revolving around two questions. What can visual art tell us about the depiction of Black women throughout history? How have those negative depictions of Black women resulted in our lack of mental and physical care?

I have spent months researching and uncovering suppressed images of Black women held in photographic collections at the Art Institute of Chicago. The images I have found and researched thus far depict the exploitation and violence towards Black women. In my practice, I have excavated, re-photographed, re-captioned, and re-contextualized the original works. By engaging with these images with the intervention of my hands and my body, I attempt to rescue and protect Black women’s bodies and their humanity, and also unearth their stories so that they can be seen and heard. With my ongoing body of work entitled Our Mothers’ Gardens, I beg for more than the visibility of Black women in institutional collections and hopeful reparations. I also desire for the issue around institutions holding and silencing collections of visible and (in)visible violent visual depictions of Black women to be further highlighted.

Bio
Alayna N. Pernell (b. 1996) was born and raised in rural Alabama, USA. In May 2019, she graduated from The University of Alabama where she received her Bachelor of Arts in Studio Art with a concentration in Photography and a minor in African American Studies. She received her MFA in Photography from the School of the Art Institute of Chicago in May 2021. Pernell’s practice considers the gravity of the mental wellbeing of Black people in relation to the physical and metaphorical spaces they inhabit. Pernell has had her work published in the 2020-2021 School of the Art Institute of Chicago MFA Catalogue; 2020-2021 School of the Art Institute Department Photography Department Catalogue; and the 1stand 2nd editions of Todo, a graduate student zine. Her work has also been exhibited in various cities across the United States. Pernell was also recently named the 2020-2021 recipient of the James Weinstein Memorial Award.

Alayna N. Pernell is a recent finalist for the John Chervinsky Scholarship 2020.

View Alayna N Pernell’s Website

CV

Mark Feeney, photo critic of The Boston Globe reviews our current exhibitions at the Griffin.

 

The Last Rose of Summer

Posted on January 17, 2021

The 2020 jurors for the Chervinsky Scholarship awardee have chosen Tavon Taylor to receive the Chervinsky scholarship. The jurors would like to acknowledge their shortlist as well.

“We propose the opportunity to have a longer short-list so that we have a larger group of emerging artists who receive the encouragement of being short-listed for the award. As we discovered a larger pool of individuals who deserve to be finalists and have equally impressive work. We thought this would be a wonderful opportunity for more emerging artists to add this accolade to their CV’s and receive the acknowledgement that their work deserves.”

Logan Bellew
Becky Behar
Maria Contreras-Coll 
Dylan Everett
Alayna N. Pernell
Kendall Pestana
Daniel Seiffert

2020 Jurors and their websites:

Michelle Rogers-Pritzl

Jennifer Georgescu

Rachel Fein-Smolinski


The 2020 award for the John Chervinsky Emerging Scholarship went to photographer Tavon Taylor. View Tavon Taylor’s  website.

The judges said, “Tavon Taylor shows an already robust practice as a recent MFA recipient with a collection of rich, cinematic imagery. He presents a powerful voice that communicates the complexities and intimacies of the artists experience as a queer Black artist. A look at the larger bodies of work solidified the world that he has built where tenderness and vulnerability reign supreme. Kinship, intimacy, and community runs through this work and Taylor both stitches together and unties these concepts with each shared interaction between photographer and subject.”

Tavon Taylor submitted The Last Rose of Summer for consideration for the scholarship. Taylor says of the body of work:

“The Last Rose of Summer was Inspired much by the injustice shown within the media in 2020. Over the last few months, I’ve focused on creating images of the people closest to me. I’ve started with single portraits of my loved ones, then I grew curious about photographs before my time. I came across a photo album stored deep within my childhood home. Full of ceremonies, the city, all the people I didn’t know, and all the stories untold, the richness spilled through each image. This compelled me to dive more into my own family’s history. Through stories from my elders and found images, I’m navigating ways to dissect my own family dynamics.”

Tavon Taylor’s Statement of Purpose:

“Within the last few months, I’ve started my photo and video-based project, The Last Rose of Summer. In this body of work, I am discovering my family’s history within the DC and Maryland areas. So far, I’ve done interviews, filed archived images, make images of my loved ones, photographed our surroundings, and more. There’s so much that I’m thinking about and planning for the blossoming of this project. I’m excited to get to know more about my ancestry. I would love to be able to properly document the richness and depth that branches back far before myself. Through discovering and sharing my own lineage, I hope to create inspiring imagery celebrating the lives and legacy of those who’ve once walked this earth. In this process of discovering moments that have come before me, I am discovering myself. The last rose of summer gives me the chance to proudly and boldly take control of my own narrative as a queer black man navigating in today’s social climate. In this process, I am celebrating the people in my family that I love and those that we’ve lost. In sharing these stories, with a larger audience, I hope to inspire people to value those closest to them.”

Read Mark Feeney of the Boston Globe’s Review.

The Changing Views of the Griffin Museum

Posted on December 18, 2020

The Griffin put out a call on Winchester Residents’ Facebook group looking for photos of the Griffin Museum of Photography. Marybeth Dixon responded.

Marybeth Dixon is half of the partnership of Wicked Shots Photography.

“I rediscovered photography a few years ago.  Since picking up the camera again I have developed a new appreciation for everything around me – beauty is everywhere!  This started with flowers, nature, architecture and landscapes.  I love to photograph the details, especially in a way that isn’t expected. I enjoy exploring my neighborhood and the surrounding areas in my quest to capture the beauty around me.  Then I started photographing friends and family for portraits and realized I absolutely love capturing those moments.  I look forward to capturing your family’s special moments.”  – MD

See more of Marybeth’s photographs here.

Tours of Duty

Posted on September 17, 2020

Preparation for Tours of Duty has been ongoing for almost 2 years. It  includes the photographs of William Betcher (from the  Boston area) with War Games, Todd Bradley (from San Diego) with War Stories I Never Heard, Binh Danh (from San Jose, CA) with Military Foliage and One Week’s Dead, D. Clarke Evans (from the San Antonio area in Texas) with Before They Are Gone: Portraits and Stories of World War II Veterans, Suzanne Opton (New York State) with Many Wars, David Pace (from the San Francisco Bay area) and Stephen Wirtz in collaboration  with WIREPHOTO and Allison Stewart (from LA) with Bug Out Bag: The Commodification of American Fear.

The exhibition was developed under an overarching idea; in this case Tours of Duty. A “Tour of Duty” usually refers to service in the military. It commonly refers to time spent in combat or in hazardous conditions. I chose work with a broader brush however, focusing also on those who serve in a crisis that are not necessarily military personnel.

Under the Tour of Duty title, we have thematically linked 8 solo exhibitions and 8 photographers under one roof. Each exhibition stands on its own with individual titles but there are common threads that hold the exhibitions together.

This exhibition is not rooted in politics. It is more about what we can see, learn, feel and understand about war through the photographs and videos themselves without a narrative to guide us. How did the legionaries of the Roman Empire differ from the soldiers in World War II or other modern day wars? What is it like for a family at home with a soldier off at war? What are the many ways these photographers have approached the topic of war? What is it like to return home from conflict? There will be different questions and answers for different folks. Empathy however may be the impetus to finding pathways to peace making.

Researchers believe the first wars took place long before history was recorded. There is evidence of a prehistoric war along the Nile River. Archaeologists found a large group of bodies with arrowheads lodged in bones. The remains have been dated to 13000 BC. The first war to be recorded by historians is said to have been fought in 2700 BC.  It’s the 21st century. The threat of war surfaces still in pockets of the planet. We hope for the day when “all swords are fashioned into ploughshares and there will be war no more.” – PFT

Read the review from What Will You Remember.

Read the review from Mark Feeney at the Boston Globe.

Tours of Duty includes the following photographers with further details.

Todd Bradley War Stories I Never Heard is in the Main Gallery

Bio
Todd Bradley (b1970, Detroit, USA) has lived in San Diego for over 30 years; 20 of those with Walter, Todd’s husband, and their 2 Rat Terriers; Gus and Hank. Self-taught with occasional classes and workshops; he draws inspiration from photographers Lori Nix and David Levinthal. As an artist, Todd uses different mediums and styles to express his views. Todd’s work focuses on decay, whether it is organic, structures, or our society.

Todd believes the current state of photography is mirroring the early 1900’s when Kodak introduced the Brownie camera to the masses. Today, we have the cell phone. In both times, Cameras became common and artists took notice. As the Modernists once did, Todd wants to push the medium in new ways. Using a tradition photography foundation, he digitally altering his photographs or use micro dioramas to discuss social issues facing us.

Todd was named 2017 “New Talent of the Year” by the London Creative Awards and has exhibited in numerous group shows in museum and galleries worldwide. His work has been published internationally. Todd is also a founding member of Snowcreek Collaborative, a collective of fine art photographers in San Diego.

Statement
War Stories I Never Heard explores the impact of discovering a loved one’s World War II military stories after his death, and the longing for a deeper personal connection with him after he is gone.

My grandfather Raymond Bradley was just 21 years old when he was drafted into the U.S. Army in 1943 to fight Hitler’s Nazi regime that was taking over the world. Hitler had been trying to create a superior race by killing the “unfit,” including Jews, the physically/mentally handicapped, and homosexuals. I am gay and I recently discovered a small percentage of my ancestry is Ashkenazi Jewish. Had I been living in 1944, my life would have been in danger; my grandfather was fighting for me 75 years ago without his knowing it.

After he passed in 2008, I was given a small box of photographs and mementos of my Grandpa Ray. I knew he had fought in Normandy, but it never registered as anything important. But all of a sudden, holding his stripes and medals in my hands, I needed to know about his time in battle. Due to the limited number of photos from D-Day and bits of information written on the backs of photos he saved, I created dioramas to fill in the gaps and recreate scenes from photographs my grandpa had kept. I tell about his time serving in the Army during WWII through still-life arrangements of memorabilia, photo collages, and our genetic DNA codes (specifically, my Y-chromosome code which is the same as my dad and grandfather’s codes), which symbolizes our family lineage and my personal connection to my grandfather.

View Todd Bradley’s Website.

Binh Danh, Military Foliage and One Week’s Dead is in the Main Gallery.

Bio
Binh Danh (MFA Stanford; BFA San Jose State University) emerged as an artist of national importance with work that investigates his Vietnamese heritage and our collective memory of war. His technique incorporates his invention of the chlorophyll printing process, in which photographic images appear embedded in leaves through the action of photosynthesis. His newer body of work focuses on nineteenth-century photographic processes, applying them in an investigation of battlefield landscapes and contemporary memorials. A recent series of daguerreotypes celebrated the United States National Park system during its anniversary year.

His work is in the permanent collections of the National Gallery of Art, the San Francisco Museum of Modern Art, The DeYoung Museum, the Philadelphia Museum of Art, the Center for Creative Photography, the George Eastman Museum and many others. He received the 2010 Eureka Fellowship from the Fleishhacker Foundation, and in 2012 he was featured artist at the 18thBiennale of Sydney in Australia. He is represented by Haines Gallery, San Francisco, CA and Lisa Sette Gallery in Phoenix, AZ. He lives and works in San Jose, CA and teaches photography at San Jose State University.

Statement
Military Foliage statement is excerpted from an essay by Lori Chinn, Curator Mills College Art Gallery

“Military Foliage is an installation of framed chlorophyll prints. The series illustrates camouflage patterns that the military uses for their uniforms. Camouflage attire is meant to render the invaders less visible in hostile territory. Danh also prints the patterns onto living tropical leaves through the process of photosynthesis, embedding them with artificial designs, so that, ironically, nature is now masked. According to Danh, the remnants of war still exist in the landscape and the plants act as witnesses to the violence that has taken place on one country’s soil, “The landscape of Vietnam contains the residue of the war, blood, sweat, tears, and human remains. The dead have been incorporated into the soil of Vietnam through the cycles of birth, life, and death, the transformation of elements, and the creation of new life forms….

In addition, jungle foliage often served to conceal the North Vietnamese, both military and passive civilians, triggering the devastating defoliation campaigns with Agent Orange.” – Lori Chinn

Statement
One Week’s Dead
statement is excerpted from an essay by Laura A. Guth, Associate Director at Light Work from 2007.

“Regardless of generation, cultural background, or level of direct involvement with war, we cannot escape being touched by the faces in Binh Danh’s series, titled One Week’s Dead. Danh collects photographs and other remnants of the Vietnam War and reprocesses them in a way that brings new light to a history marked by painful memories. A main source of the images is the 1969 Life magazine article, Faces of the American Dead: One Week’s Dead.1Portraits of two hundred forty-two young American men, casualties in one week of the war, were presented in a yearbook style layout, triggering a powerful public response: “the entire nation mourned those soldiers…you saw those faces, that’s what brought it home to everyone.”2

Danh returns these faces to the public’s attention nearly four decades later. Using photosynthesis, he incorporates the portraits into the cells of leaves and grasses, symbolic of the jungle itself bearing witness to scars of war that remain in the landscape. Danh’s method is based on a principle as simple as leaving a water hose on the lawn too long. The cells in leaves react to light by turning dark green, or the absence of light by turning pale. Danh is able to create images onto leaves, not by printing onto them, but by capturing the image within the leaves. By imprinting faces of war casualties and anonymous soldiers from the battlefield, Danh encapsulates remnants of history in the biological memory of plant cells. Through this process, he recycles collected news images and snapshots from an isolated past and memorializes them in the present. The final product, leaves embedded in resin, transform the source images into precious, yet permanent artifacts…..”  – Laura A. Guth

View Binh Dahn’s Website.

Suzanne Opton Many Wars is in the Main Gallery.

Bio
Suzanne Opton is the recipient of a 2009 Guggenheim Fellowship. Her soldier portraits, icons of the aftermath of the current wars, have been presented as billboards in eight American cities, and have sparked a passionate debate about issues of art and soldiering. The conversation continues on the blog at SoldiersFace.net

Suzanne’s work lives on the edge between documentary and conceptual. She often asks a simple performance from her subjects as a means of illustrating their circumstances.

Her photographs are included in the permanent collections of the Brooklyn Museum, Cleveland Museum, Dancing Bear collection, the International Center of Photography, Fotomuseum Winterthur, Library of Congress, Musee de l’Eysee, Museum of Fine Arts Houston, Nelson-Atkins Museum, and Portland Art Museum. She has received grants from the NEA, NYFA, and Vermont Council on the Arts. Suzanne lives in New York and teaches at the International Center of Photography.

Statement

The warrior held a place of honor in society since the time of Sophocles. In making these portraits I wanted to suggest that although weapons may change and the proximity to killing may change, relatively changes little in the realm of how warriors are affected by combat and the struggle to overcome their training. I gave each veteran a piece of fabric. He could be a boy with a cape, a warrior, a king, a homeless person or even a martyr. Here are veterans from five wars. The portraits were primarily made on the day we met in a group therapy room at a VA clinic in Vermont. It was an open-ended collaboration. I am grateful for their trust in me and in the process.

View Suzanne Opton’s Website.

David Pace/Stephen Wirtz, “WIREPHOTO” is in the Main Gallery

Bio
David Pace is a Bay Area photographer, filmmaker and curator. He received his MFA from San Jose State University in 1991. Pace has taught photography at San Jose State University, San Francisco State University and Santa Clara University, where he served as Resident Director of SCU’s study abroad program in West Africa from 2009 – 2013. He photographed in the small sub-Saharan country of Burkina Faso in West Africa from 2007-2016 documenting daily life in Bereba, a remote village without electricity or running water. His African photographs of the Karaba Brick Quarry were exhibited in the 2019 Venice Biennale in a group show entitled “Personal Structures.” *

Pace’s images of rural West Africa have been exhibited internationally and have been featured in The New Yorker, The Financial Times of London, National Geographic, NPR’s The Picture Show, Slate Magazine, The Huffington Post, Wired, Verve, Feature Shoot, PDN and Lensculture among others. A monograph of his project Sur La Route was published by Blue Sky Books in the fall of 2014, and an exhibition catalog was published in 2016 by the Center for Photographic Art in Carmel, CA.  His collaboration with Stephen Wirtz, Images In Transition, was published in 2019 by Schilt Publishing of Amsterdam. His work is in the collections of the San Jose Museum of Art; the Portland Museum in Portland, OR; the Crocker Museum in Sacramento, CA; the Triton Museum in Santa Clara, CA; the de Saisset Museum at Santa Clara University; the Microsoft Collection and Museum Villa Haiss in Zell, Germany. Pace received the 2011 Work-In-Process Prize from the Center for Documentary Studies at Duke University and was a finalist for the 2015 Gardner Fellowship in Photography at Harvard University. He is represented by the Schilt Gallery of Amsterdam.

Pace has been a member of the Board of Directors of the San Jose Institute of Contemporary Art for 24 years. He is currently the chair of the Curatorial Committee. He is a member of the Acquisition Committee of the San Jose Museum of Art, and the Photography Advisory Board of Foothill College. He previously served as President of the Board of Directors of San Francisco Camerawork.

Stephen Wirtz is a collector of photographs and a former art gallerist. With Connie Wirtz he co-founded the Wirtz Gallery in San Francisco, exhibiting national and international painting, sculpture, and photography for forty years.

*Over the past few weeks beloved photographer, David Pace passed away.  He will always be in our hearts and his photographs will be on our minds. For more information see our tribute to Dave Pace on our blog.

Statement
The Wirephoto project is a collaboration between photographer David Pace and gallerist/collector Stephen Wirtz. Wirephoto re-interprets historical images from World War II that were transmitted by radio wave for subsequent publication in newspapers. The photographers are unknown and no known negatives survive. Pace and Wirtz begin with rare original prints, which they examine and radically re-crop to create new compositions. The selected details are then scanned, digitally enhanced and enlarged to make 16”x20” prints. The new scale magnifies the inherent imperfections and artifacts of the original transmission process and reveals the extensive retouching that was done to the prints both before and after transmission. Cracks in the emulsion bear witness to the age of the transmissions and add a layer of history. The alterations to the original images force us to consider the notion of truth in journalism and documentary photography as well as the role of propaganda in war photography.

View David Pace’s Website.

William Betcher War Games is in the Griffin Gallery.

Bio
William Betcher’s photographs have been exhibited in juried shows at Danforth Art, including the New England Photography Biennial, and at the Catamount Arts Center. His work has been featured in shows at the University of New England, the Mass Audubon Habitat Center, the Heart of Biddeford Gallery, Massachusetts General Hospital, and in the Norris Cotton Cancer Center at the Dartmouth Hitchcock Hospital, as well as in Solstice Magazine. His book, Anthem, For a Warm Little Pond, was included in Photobook 2016 at the Griffin Museum. He is the author of four other non-fiction books. He received a Ph.D. in Clinical Psychology from Boston University, an M.D. from Harvard Medical School, and an MFA in fiction writing from the Vermont Center of Fine Arts. Currently, he is the photography editor for Solstice, a Magazine of Diverse Voices, and he is a psychiatrist in private practice in Needham, MA.

Statement

War Games is composed of macro photographs of as found, damaged, vintage toy soldiers from the 1930’s through 1960’s. Why were these broken toys not thrown away? Because they were important to the children who played with them, and because they have stories to tell.

Consider the boys and the men they became as implicitly present in these portraits of British, American, and German soldiers. And I invite you to reflect on war trauma and on how play mirrors and prepares for adult experience. Both long ago, and now.

The portraits take the form of one-of-a-kind, 4”x5” wet collodion tintypes that I place in 19th century brass matte cases, and 36”x24” dye sublimated aluminum prints. I also create action images and dioramas, often “dragging the shutter.”

My purpose is not to glorify but to evoke through metaphor. As the Civil War soldier and jurist, Oliver Wendell Holmes Jr., said on Memorial Day, 1897, “The army of the dead sweep before us, wearing their wounds like stars.”

View William Betcher’s Website.

Allison Stewart Bug Out Bag: The Commodification of American Fear is in the Founders Gallery.

Bio
Allison Stewart grew up in Houston, Texas and currently lives in Los Angeles, CA. She received her MFA in Photography from California State University Long Beach and her BFA in Painting with a minor in Art History from the University of Houston. Allison travels the United States exploring the construction of American identity through its relics, rituals, and mythologies. Her work has been published and exhibited internationally, including Cortona On The Move, the Aperture Foundation, The Wright Museum, The New Mexico History Museum, The Griffin Museum of Photography, The New Republic, Die Zeit, Wired, Mother Jones, and Vogue Italia. Her work has been honored by the Magenta Foundation, IPA, the Texas Photographic Society, and the Houston Center for Photography. Her work is included in the Rubell Family Collection, The New Mexico History Museum Palace of the Governors Photo Archive, the University of Wisconsin Alumni Association, and private collections. Allison is a founding member of the Association of Hysteric Curators.

Statement

Hurricanes.  Earthquakes.  Superstorms.  War.  Martial Law.  The Rapture.  The Zombie Apocalypse. Bug Out Bags are manifestations of the fears and obsessions of the 21st Century American. The Bug Out Bag is the most basic piece of gear for disaster preparedness. It is usually a backpack or an easy to carry duffel bag containing the essentials needed to sustain life for 72 hours, or to possibly begin a new civilization.  As I traveled the different regions of the United States I met liberals and conservatives, atheists, evangelicals, Catholics, and Mormons.  They are prepared and they are prepared to help others. Each bag becomes a portrait of its owner, showing us their most basic needs and also their fears in the face of environmental and global change.  The contents reflect the survivalist instincts and character of each owner.  Everyone I meet tells me that preparedness is a necessity in Post 9/11 America.  They are eager to discuss their fears, share tips and some even share their resources.  Most are community minded but some are fiercely independent.  Independence is a fundamental principle when describing the American character.  We praise the self-reliant man and credit him for the shining city upon the hill, but America has changed and our fears are running rampant.  The new self-reliant American no longer experiences transcendence in nature as Thoreau once did, but instead, escapes to nature in an effort to hoard and protect property.  Prepping has become a capitalist enterprise, banking on our fears and desires for stability.

View Allison Stewart’s Website.

D. Clarke Evans Before They Are Gone: Portraits and Stories of World War II Veterans is in the Atelier Gallery.

Bio
D. Clarke Evans, a graduate of Brooks Institute of Photography, served in the Marine Corps Reserve from 1964-1970 and was honorably discharged as a Sergeant. He has a Master of Arts degree in Museum Science from Texas Tech University. He is the recent Past President of the Texas Photographic Society (TPS), www.texasphoto.org, a non-profit fine arts photographic organization. Under his leadership, TPS sponsored 54 exhibitions that were shown in 21 Texas cities, New York, Florida & California. Through sister organizations in Europe, TPS exhibited Texas artists in France, Italy, Germany, and Greece. While Clarke was President, membership increased from 100 Austin based members to over 1,250 from 48 States and 11 countries. The Board of Directors honored him with the title of President Emeritus. 

Statement

Dick Cole’s story changed the course of my life. We met at one of the first Monday of the month breakfasts I attend with other Marines, in which we honor World War II veterans. I started attending these breakfasts several years ago when I began photographing and interviewing U.S. Marines. However, I had too little time to fully pursue the project as I was team photographer for the San Antonio Spurs. That Monday, when Lt.Col. Cole, ( in his 90’s like all WWII vets), told me his story, I knew that I needed to take these photos and give testimony to these stories now! After 25 years as the Spurs photographer, I retired to begin the project “Before They’re Gone: Portraits and Stories from World War II Veterans.” Dick Cole was Medal of Honor winner Jimmy Doolittle’s co-pilot during the famous Doolittle Raid on Tokyo in April 1942. It was the U.S.’s response to the attack on Pearl Harbor. Cole is a genuine American hero, one of Tom Brokaw’s “Greatest Generation.” In this project I honor veterans, revealing snapshots of their lives. Each is photographed and interviewed in their home, to offer a fuller picture of their life before, during and after their service. The finished image is 13×18, framed to 18×24, accompanied by an 10×13 biography, featuring interview highlights and a small photo from their active duty days. This project will preserve important stories and memories of World War II veterans. Many WWII veterans became quite accomplished in later careers. Their office walls reflect those accomplishments, displaying awards, plaques and medals. Entering veterans’ homes, determining a suitable shoot location, lighting the subject and environs, and creating an exhibition image is an ambitious undertaking that I love. Each participant is thanked with a 7×11 photo framed to 14×17. The project will result in museum and gallery exhibitions and a book. These rapidly disappearing Americans represent this “greatest generation” of more than 16 million Americans who served. Fewer than 400,000 remain, and approximately 400 die each day. Soon there will be no veterans alive to recount their experiences. This urgency propels me to take their portraits and record their stories now. Photographing ”The Greatest Generation” has been the experience of a lifetime. These veterans are humble, grateful, with most being sharp as a tack. I believe my father said it best when I queried, “Dad, describe World War II to me in 25 words or less.” He glared at me and harshly said, “It was four years of just trying to stay alive.” My one overriding goal is to photograph these veterans with the dignity that they deserve. 

View D. Clarke Evans’ Website.

See What Will You Remember’s Newsletter

Lacus Plasticus in the Founder’s Gallery and Under Glass Gallery

Posted on July 8, 2020

Statement
For almost 40 years, I’ve been sailing off the beaches of Lake Michigan. As a kid and now a father with children, I’ve always loved the shore. As time has marched on, I’ve noticed the increase in plastics on the beach year after year. A few years ago, I started collecting and disposing of the plastic bits I would find. Now I collect plastic to create photogram photographs. The images depict plastic parts and pieces as underwater creatures. The pieces dramatize, for now, a fictitious state where plastics displace nature. I’ve been calling this series, “Lacus Plasticus”.   RZ

Bio
My memory of a love for photography started early on. Using my father’s Pentax Spotmatic during a family road trip to Cape Canaveral, I clearly remember taking photographs of an early rocket sitting on its launch pad. By 14, I had my own darkroom and was very fortunate to have a very good photography department in my high school. This gave me the tools to move on to Rochester Institute of Technology, where I gained a solid technical background in photographic illustration. Wishing to explore photography as fine art and art in general, I moved on to study at The School of the Art Institute of Chicago, where I received a BFA in photography and sculpture in 1991.

My personal pursuits in photography have not waned through the years. Though my subject matter is varied, the intensity and thought put into each project is the same. While some work has been produced as digital prints from both color negatives and digital files, most of my work is done traditionally in a personal darkroom that I’ve maintained for the last 35 years. In the same time, I’ve used many alternative processes such as kallitypes, ambrotypes, cyanotypes, and orotones in my art. My work in orotones has been included in the Getty Conservation Institute’s Research on the Conservation of Photographs project.

My work has been a part of the Museum of Contemporary Photography’s Midwest Photographers Project in Chicago and is in the collection of the Museum of Fine Art in Houston, TX. A recipient of an Illinois Art Council Fellowship and a Buhl Foundation Grant, I have also been featured in publications including Black & White Magazine, Photography Quarterly, Diffusion Magazine, Camera Arts Magazine and Photo District News, as well as many others. I am currently represented by Etherton Gallery in Tucson, AZ and Obscura Gallery in Santa Fe, NM. -RZ

CV
Education
The School of the Art Institute of Chicago, Chicago, IL, BFA, 1991,
Concentration: Photography, Sculpture

 Rochester Institute of Technology, Rochester, NY, May 1986–December 1987,
Concentration: Photographic Illustration

Collections
Capital One Corporate Art Collection, Capital One, Chicago IL, 2017
Joan Morgenstern Private Collection, Houston, TX, 2012
Museum Art Collection, The Museum of Fine Arts Houston, Houston, TX, 2008
Getty Conservation Institute, J Paul Getty Museum, Los Angeles, CA, 2007
Collections, Center for Fine Art Photography, Fort Collins, CO, 2008
Richard & Ellen Sandor Family Collection, Chicago, IL, 2007
Deloitte & Touche Corporate Art Collection, Deloitte Chicago, Chicago, IL, 2006
Museum Art Collection, The Museum of Fine Arts Houston, Houston, TX, 2005
Midwest Photographers Project, Museum of Contemporary Photography, Chicago, IL, 2003-05
Harris Bank Corporate Art Collection, Harris Bank, Chicago, IL, 2003
Sprint Corporate Art Collection, Sprint World Headquarters, Overland Park, KS, 2002
Multiple private collections, 1991-2019

Publication
Unconventional Photography, Diffusion Magazine Volume 10, 2019
Fotomagazine, Germany, 2017
Alternative Printing Process, Black & White Magazine, October 2016
The Hand Magazine, Issue 10, 2015
Black + White Photography, United Kingdom, 2015
The Hand Magazine, Issue 9, 2015
Fotomagazine, Germany, 2015
Unconventional Photography, Special Issue Volume #1 – Limited Edition, Diffusion Magazine, 2013
Understanding the Effect That Photographs Have on Us: Case Studies in Photographic Criticism, James R. Huginin, 2012
The Photo Review, 2012
Newspace Center for Photography, Retrospective, 2011
Unconventional Photography, Diffusion Magazine Volume 3, 2011
Photography Annual, Photo District News, May, 2007, 2008
Artist Showcase, CamerArts Magazine, March, 2007, 2008
Photography Now, Photography Quarterly #91, Center for Photography at Woodstock, NY, 2005
Spotlight Feature, Black & White Magazine, December, 2003

Grants/Awards
Third Place, Choice Awards, Center, Santa Fe, NM, 2014
Second Place, Annual Alternative Processes Competition, Soho Photo, New York, NY, 2007, 2012
Honorable Mention, Regional Exhibition, South Haven Arts Center, South Haven, MI, 2012
First Prize, The Photo Review International Photography Competition, The Photo Review, Boston MA, 2011
Illinois Arts Council Photography Fellowship Award, 2009
Featured Artist, 15th Annual Juried Show, Griffin Museum of Photography, Winchester, MA, 2009
Winner, New Works Gallery Competition, Silver Eye Center for Photography, Pittsburgh, PA, 2009
Honorable Mention, Singular Image Competition, Center, Santa Fe, NM, 2009
Third Place, Annual Alternative Processes Competition, Soho Photo, New York, NY, 2009
Jurors’ Choice, Alternative Process Show, Center for Fine Art Photography, Fort Collins, CO, September, 2007
Critical Mass Top 50 Entries, Photolucida, 2006, 2007
Honorable Mention, International Photography Awards, 2004, 2007
Buhl Foundation 4th Biennial Grant, Buhl Foundation, New York, NY, 2004

Teaching/Speaking/Other
Board Member, Artist Representative, Bucktown Arts Fest, Chicago, IL 2007–present
Hosted photography camp for teens, summer 2012, 2015, 2016
Artist Lecture, Chicago Photography Center, 2005, 2011
Artist Lecture and Workshop, Newspace Center for Photography, Portland, OR, 2008
Juror: 3rd Annual Juried Photography Exhibit, Morpho Gallery, Chicago, IL, 2007
Instructor: Basic Darkroom Photography, Alternative and Historical Processes, Evanston Art Center, Evanston, IL, Fall 2007
A Career in Photography Workshop, Burley Elementary School, Chicago, IL, 2003, 2004, 2007
Photography Workshop, Ogden Elementary School, Chicago, IL, 2003

Recent Exhibitions
One-Of-A-Kind, Obscura Gallery, Albuquerque, NM, 2019
International Juried Exhibition, Center for Photographic Art, Carmel, CA, 2019
Alternative Process Photography Exhibition, Image Flow Gallery, Mill Valley, CA, 2019
Light Sensitive, Art Intersection Gallery, Gilbert, AZ, 2019
Alternative Visions, Lightbox Gallery, Astoria, OR, 2019
Alternative Perspective, The Art Center, Dover, NH, 2019
Light Sensitive, Art Intersection Gallery, Gilbert, AZ, 2018
13th Annual Alternative Process Competition, Soho Photo Gallery, New York, NY, 2017
Light Sensitive, Art Intersection Gallery, Gilbert, AZ, 2017
Remnants: On the Edge of Avant-Garde and Antiquarian Photography, Lightbox Photographic Gallery, Astoria, OR, 2016
74th Rockford Midwestern Biennial, Rockford Art Museum, Rockford, IL, 2016
The Photography Show – Presented by AIPAD, Park Avenue Armory, New York, NY, 2016
Light Sensitive, Art Intersection Gallery, Gilbert, AZ, 2016
Photography Re-imagined, Tilt Gallery, Scottsdale, AZ, 2016
Alternative Cameras: Pinholes to Plastic, Photoplace Gallery, Middlebury, VT, 2015
Space Oddity, Wallspace Gallery, Santa Barbara, CA, 2015
11th Annual Alternative Process Competition, Soho Photo Gallery, New York, NY, 2015
Alternative Process, Texas Photographic Society, Odessa TX, 2015
Light Sensitive, Art Intersection Gallery, Gilbert, AZ, 2015
Breaking Ground, College of William and Mary, Williamsburg, VA, 2014
The Curve Exhibition, Center for Contemporary Arts, Santa Fe, NM, 2014
Photo LA, The 23rd Annual International Los Angeles Photographic Art Exposition, Los Angeles, CA, 2014
Photo Objects and Small Prints, photo-eye Gallery, Santa Fe, NM, 2013
Unconventional Photography, 15th Lishui International Photography Festival, Lishui, China, 2013
Under Glass, Griffin Museum of Photography, Winchester, MA, 2013
8th Annual Alternative Processes Competition, Soho Photo, New York, NY, 2012
Regional Exhibition, South Haven Arts Center, South Haven, MI, 2012
Best of Show: The Photo Review 2011 Competition Prize Winners,
The University of the Arts, Philadelphia, PA, 2011
Solo Exhibition: Mixing it Up, Historically, Chicago Photography Center, Chicago, IL, 2011
Art Chicago, photo-eye Gallery, Chicago IL, 2010
Alternatives: Uncommon & Unconventional Processes, Minneapolis Center for Photography, Minneapolis, MN, 2010
Blue, Photoplace Gallery, Middlebury, VT, 2010
NIMBY, New Works Gallery Competition, Silver Eye Center for Photography, Pittsburgh, PA, 2009
5th Annual Alternative Processes Competition, Soho Photo, New York, NY, 2009
15th Annual Juried Show, Griffin Museum of Photography, Winchester, MA, 2009
BareWalls, The School of the Art Institute of Chicago, Chicago, IL, 2001–2009
Photo Forum Exhibition, Museum of Fine Art Houston, Houston, TX, 2008
Second Annual Mary Beth Creiger Memorial Photo Exhibition,
Around the Coyote Gallery, Chicago IL, 2008
Our Environment; the Good, Bad, and the Ugly, Center for Fine Art Photography, Fort Collins, CO, 2008
NIMBY, Flatfile Gallery, Chicago, IL, 2008
NIMBY Solo Exhibition, Newspace Center for Photography, Portland, OR, 2008
Elemental/Environmental: SPACE, New Orleans Photo Alliance, New Orleans, LA, 2008
Annual Photography Re-Imagined, Tilt Gallery, Phoenix, AZ, 2007, 2008
Found at fotofest, John Cleary Gallery, Houston, TX, 2008
Resurrection; A New Look at Old Photographic Processes, 23 Sandy Gallery, Portland, OR, 2008
Evanston + Vicinity Biennial, Evanston Art Center, Evanston, IL, 1994, 2002, 2008
Third Annual Alternative Processes Competition, Soho Photo Gallery, New York, NY, 2007
Member’s Exhibition, Photographic Center Northwest, Seattle, WA, 2007
First Annual Mary Beth Creiger Memorial Photo Exhibition, Around the Coyote Gallery, Chicago, IL, 2007
Fotowerk 2007, Flatfile Gallery, Chicago, IL, 2007
Alternative Processes Exhibition, The Center for Fine Art Photography, Fort Collins, CO, 2007
13th Annual Juried Show, Griffin Museum of Photography, Winchester, MA, 2007
DIA Art Exhibition, Denver International Airport, Denver, CO, 2007
Members’ Exhibition, Photographic Center Northwest, Seattle, WA, 2006
Members’ Exhibition, The Center for Fine Art Photography, Fort Collins, CO, 2006
Black & White, Flatfile Gallery, Chicago, IL, 2006
NIMBY, Mars Gallery, Chicago, IL, 2006
Photo Works of the 21st Century, The Center for Fine Art Photography, Fort Collins, CO, 2006
Positive Negative, The Center for Fine Art Photography, Fort Collins, CO, 2006
National Competition Exhibition, Soho Photo Gallery, New York, NY, 2005
1st Annual National Juried Exhibition, Newspace Center for Photography, Portland, OR, 2005
Online Onsite, photo-eye Gallery, Santa Fe, NM, 2005
Photo LA, photo-eye Gallery, Los Angles, CA, 2004
AAF Contemporary Art Fair, Meter Gallery, New York, NY,2004
Photo San Francisco, Lyonswier Gallery, San Francisco, CA, 2004
Serial, Flatfile Gallery, Chicago, IL, 2004
Curators’ Choice, Flatfile Gallery, Chicago, IL, 2004
Rockford Midwest Exhibition, Rockford Art Museum, Rockford, IL, 2004
Darkroom Only, Flatfile Gallery, Chicago, IL, 2003
Artist’s Open, Chicago Artist Coalition, Chicago, IL, 2003
Anti-Spacesuit, The Dirty Future, The School of the Art Institute of Chicago Alumni Association, Chicago, IL, 2003
Around the Coyote, Around the Coyote Arts Festival, Chicago, IL, 1995, 1996, 1999, 2001, 2003,
Curators’ Choice Award, 1999, 2001, 2003
Outside the Box, Flatfile Gallery, Chicago, IL, 2002
Momento Momenta, ART of the Central Coast Art Gathering, Morro Bay, CA, 2002
Unnatural Landscapes, Flatfile Gallery, Chicago, IL, 2002
4 Corners, The School of the Art Institute of Chicago Alumni Association, Chicago, IL, 2001
Urban Archeology, Flatfile Gallery, Chicago, IL, 2001
In Transit, Flatfile Gallery, Chicago, IL, 2001
Modern Ruins, ARC Gallery, Chicago, IL, 2000
Emotional Landscape, Flatfile Gallery, Chicago, IL, 2000
Urban Views, The School of the Art Institute of Chicago Alumni Association, Chicago, IL, 1997
Annual Show, Wilmette Arts Guild, Wilmette, IL, 1990–1997, Purchase Award, 1995, 1996
The Signature Show, John Hancock Building, Signature Lounge, Chicago, IL, 1994
18th Biennial Regional Art Competition, South Bend Regional Museum of Art, South Bend, IN, 1993
One Man Show, Izimbra, Chicago, IL, 1993
Amalgamations, Gallery 2, The School of the Art Institute of Chicago, Chicago Ill, 1992

Check out Ryan Zoghlin’s website

Single Figure

Posted on January 15, 2020

Artist Statement
The news stories and famous faces that I photographed number in the thousands. I had a front row seat on life itself. I covered the great and near great, and the homeless eating out of dumpsters. I filmed kings and queens, presidents, and princes of the church. I recorded militants and pacifists, and great revelations in medicine. My camera and I were witness to the wise counsel of the experts of our time. I had a great passion for covering television news during the journalistically exciting period of the 50’s through the 80’s, a time that produced a constant flood of headline stories. You never knew what the next phone call would bring.

However, artists, sculptors, photographers, and other creators of art, can hold their work in their hands or stand back and behold it with their eyes. That’s not the case for a photojournalist or producer of television news. Our work is so fleeting. Unless it is a story of a very unusual news event that gets played over and over, once the film or tape runs on the news—it’s gone forever. Great effort and creativity vanishes, for the most part never to be seen again—only remembered. Knowing this motivated me, if possible, to try and capture the essence of the moment with my still camera.

Although miles and miles of film and videotape have traveled through my motion picture cameras recording the great and the extraordinary, I have actually gained a deeper sense of satisfaction of my life’s work through the still camera. If I was fortunate enough to have the time or presence of mind while filming for television to also make an image or two with my Leica or Nikon, either a portrait, landscape, or some other related image, I could eventually make a memorable print, hang it on the wall and say, “I did that—I was there!” – DM

Bio
David Marlin’s career in broadcast television spanned 4 decades filming the faces and events of our time.  As a photojournalist for both television and print, he has won dozens of awards, principally for CBS News and 60 Minutes.

David learned his photographic skills in Boston’s old black and white studios of the 40’s and 50’s and as a Signal Corps photographer during the Korean War. Television news and documentaries influenced his style, and for years he was considered New England’s top network cameraman.

Covering television news also gave David many opportunities to use his skills as a still photographer. He made hundreds of portraits of newsmakers and well-known personalities while on network assignments. Five of Marlin’s portraits have recently been acquired by the National Portrait Gallery at the Smithsonian in Washington, DC.

In addition to traveling throughout New England to photograph many of the nature studies seen on the network’s “Sunday Morning” program, some of the most memorable stories that Marlin filmed include the Andrea Doria lying on it’s side before it sank in the Atlantic, presidential candidate Edmund Muskie weeping in the New Hampshire snow, President John F. Kennedy at the Summer White House in Hyannisport, and Ted Williams hitting a memorable home run in his final at bat for the Red Sox.

David Marlin’s filming career has been wide-ranging, starting at the end of the newsreel era and continuing through the production of images on videotape and computers. As a film editor, lighting director, and wire service photographer, his work has been used to communicate and inform. As a Director of Photography he has filmed, produced, and directed corporate, educational, and documentary programs for a blue-chip client list including the Harvard Business School, Polaroid, Charrette, Cross Country Group, Institute of Contemporary Art, and the Alfred P. Sloane Foundation.

 

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Floor Plan

Amy Rindskopf's Terra Novus

At the market, I pick each one up, pulled in by the shapes as they sit together, waiting. I feel its heft in my hand, enjoy the textures of the skin or peel, and begin to look closer and closer. The patterns on each individual surface marks them as distinct. I push further still, discovering territory unseen by the casual observer, a new land. I am like a satellite orbiting a distant planet, taking the first-ever images of this newly envisioned place.

This project started as an homage to Edward Weston’s Pepper No. 30 (I am, ironically, allergic to peppers). As I looked for my subject matter at the market, I found that I wasn’t drawn to just one single fruit or vegetable. There were so many choices, appealing to both hand and eye. I decided to print in black and white to help make the images visually more about the shapes, and not about guessing which fruit is smoothest, which vegetable is greenest.

Artistic Purpose/Intent

Artistic Purpose/Intent

Tricia Gahagan

 

Photography has been paramount in my personal path of healing from disease and

connecting with consciousness. The intention of my work is to overcome the limits of the

mind and engage the spirit. Like a Zen koan, my images are paradoxes hidden in plain

sight. They are intended to be sat with meditatively, eventually revealing greater truths

about the world and about one’s self.

 

John Chervinsky’s photography is a testament to pensive work without simple answers;

it connects by encouraging discovery and altering perspectives. I see this scholarship

as a potential to continue his legacy and evolve the boundaries of how photography can

explore the human condition.

 

Growing my artistic skill and voice as an emerging photographer is critical, I see this as

a rare opportunity to strengthen my foundation and transition towards an established

and influential future. I am thirsty to engage viewers and provide a transformative

experience through my work. I have been honing my current project and building a plan

for its complete execution. The incredible Griffin community of mentors and the

generous funds would be instrumental for its development. I deeply recognize the

hallmark moment this could be for the introduction of the work. Thank you for providing

this incredible opportunity for budding visions and artists that know they have something

greater to share with the world.

Fran Forman RSVP